Harman kardon 900+ User manual

+

AM/FM Multichannel Receiver

harman/ kardon

CD-4

•

ooru·····

-

SQ

Instruction Manual

INTRODUCTION

You

are

now the owner

of

an

instrument unique

in

concept and design.

The Harman/Kardon Model

900

+ 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

con

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

toking place. The

sound, which normally

em

erges from the

speaker

boxes,

will

lose its

boundaries

and

will

emanat

e fram 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 hos the

some ambience ond 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

proiect 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

900

+

bears

the

heritage

of

the

Harman/Kardon

trademark

-ultra-

wideband

frequency response, virtually immeasurable 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

900

+

is

not a complicated instr,ument. However, 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

material

and

work-

mo:nship

under

normal

use

ond service, ond

in

accordance wi

!'h

the conditions

set

forth below. Should o

defect

occur within

the

period

specified,

and

pro-

vided

that

the

unit

is

returned

to

either HARMAN/KARDON

or

er. authorized

HARMAN/KARDON

warranty

station, transportation

prepaid,

cmd which

our

exominotior, shall disclose

to

our

satisfaction to

be

defect:ve,

we

will, for o

period

of

!wo

(2)

years

from

dote

of

purchase, either

replace

or

repo:r

and

install

any

defect

ive ports

of

the receiver free

of

charge.

EXCEPTIONS

This warronty

does

not

include

any

obligotion as

to,

o)

repair

or

replacement

of

the

wooden

enclosure

due

to

damage

:ncurred

ofter

initial delivery.

b) transportation

charges

to

and

from the factory

or

on

authorized

warranty

station.

REGISTRATION

To

obtain

service

under

the

terms

of

this policy,

it

is necessary for you

to

retain your ORIGINAL

B!lL

of

SALE.

The enclosed registration cord

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

so!e to

either

o factory-authorized

repair

agency

er

the

factory itself will insure your rights under

the

policy

as

outlined

in

this manool.

This

warranty

is

not

applicable

to

any

:nstrument which shall

have

been

repaired

or

altered

in

any

wcy

so

as, ,n

our

iudgment, to

affect

its stability

or

reliability

or

has

been

subiect

to

neglect, misuse, negligence,

or

accident;

or

which

has

had

t!>e

serial number

altered,

effaced

or

removed. Neither shall

this worran!y

apply

to

any

instrument which hos

been

connected

other

than

in

accordance

with instructions fornished

by

us.

SERVICE

HARMAN/KARDON

has

o special c<Jstomer service division

to

answer all

questions pertinent to

the

instollotion

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 prob!em

cannot

be

resolved through our

combined

efforts,

we

may

wish

to

refer

you to o local authorized

repo:r

agency,

or

we

may

prefer

to

Ol.lthorize the return

of

your

<Jnit

to

the factory.

In

the

event

it must

be

returned,

en

authori:::ation form

end

proper

packing instructions

wjfl

be

forwarded

to

you.

This

author,zotion form

MUST

BE

RETURNED

with your unit.

UNDER

NO

CIRCUMSTANCES

SHOULD

YOUR

UNIT

BE

SHIPPED

TO

THE

FACTORY

WITHOUT

PRlOR

AUTHORIZATION.

This

warranty

is

in

lieu

of

all

other

warranties,

expressed

or

implied, or.d

of

all

ether

obligations

or

liabilities on our port,

and

we neither assume nor

authorize

any

representative

or

other

person

to

assume for

us

any

other

liability

in connection with t

he

sole

of

this instrument.

INSTALLATION

VENTILATION

Heat

is

a normal

operating

by-product

of

your receiver, but the

amount

developed

by

your receiver's power amplifier section

is

rarely high. The

cabinet

that

houses your receiver has

been

carefully

designed

to provide the ventilation

necessary,

under

normal

operating

conditions, when the

-unit

fs

placed

where

air

can

pass

freely around it. Placing your receiver

in

a more closed space will

restrict

free

air

flow. The

higher

temperatures

that

result within the receiver

cabinet

can

influence

performance

and

adversely

affect

the

life

of

the

unit.

If

it

is

inconvenient for you

to

place your receiver

in

an open

area,

be sure

you allow

at

least two (2) inches

clearance

on

each

side

and

the

rear

panel

of

the receiver,

and

four

(4)

inches

clearance

above

it.

If

the

space

in

which

you

place

the

receiver

is

completely enclosed (except,

of

course, for access to

operating

controls), you must

provide

several holes

or

slots below

and

above

its position to allow cool air to flow through the receiver. The bottom

clearance

af

the receiver (provided by its feet)

is

important too.

NEVER

OPERATE

YOUR

UNIT

ON

A

SOFT

SURFACE

LIKE

A

PILLOW

OR

A

RUG-COVERED

SHELF,

OR

COVER

IT

WITH

RECORD

JACKETS,

WIRES

OR

CABLES

. Your unit

cannot

self-

ventilate under these conditions.

POWER

REQUIREMENTS

Connect

the

AC

line

cord

to

any

outlet furnishing

11

7 volts,

60

Hz

AC

current. The

voltage

may

vary

between

l

05

and

125

volts.

An

auxiliary

AC

power outlet

is

provided

on

the

rear

panel

of

your receiver. Any accessory

equipment

[lope

recorder,

phonograph,

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

lo

overload

or

short circuits. The

900

+ receiver employs five

protective fuses.

All

five

are

located

on

the

rear

panel.

The

AC

fuse

labeled

3AG-5A

is

used to

protect

the

power

supply

of

the

entire system. The other four fuses

labeled

3AG-5A

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

"CON-

NECTING

THE

SPEAKERS")

In

the

event

of fuse foilure,

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.

2

FM

ANTENNA

Refer to the special

antenna

booklet

supplied with this

set

on

how to select

the

FM

antenna

most suited

for

your location. ln most metropolitan

or

near-

metropolitan

areas,

the

antenna

supplied with your receiver will

be

adequate.

However, if you

are

located a considerable distance from the transmitters, an

outdoor

antenna

may

be

required. Consult your high fidelity

dealer

as

to

the

best

type

to use

in

your location.

SPEAKER

PLACEMENT

!See

Fig.

11

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-channel

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.

A C E

~

FRONT

SPEAKERS

ff

L R

~

FRONT

SPEAKERS

~

FRONT SPEAKERS

ff

L R

13-

BACK SPEAKERS

---E

~

L R I

II

us,rnrn II I

~II

LISTENER

'1----E

11

LISTENER

,,

BACK SPEAKERS

BAC•

SP

EAKERS

B D F

L R I L R L

~

FRONT

SPEAK

ERS

~

FRONT

SPEAKERS

~

FRON

T

SPE

AKER

S

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BA

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SPEAKERS

~

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R

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Fig. 1

3

The

900

+ 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

900

+ 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.

4-CHANNEL

OPERATION

!See

Fig.

21

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

card

to

your

RIGHT FRONT speaker.

4.

Attach

the

other

end

of

the

lamp

card

ta

the

MAIN,

FRONT terminals

marked

RIGHT +

and

-on the re

ar

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

ta

the

MAIN,

BACK terminals

marked

LEFT

+

and

-on the

rear

panel

of

your

receiver.

7.

Connect

another

length

of

lamp

card

ta

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.

Use

above

steps

ta

connect

REMOTE

speakers, using

REMOTE

terminals.

4

FRONT SPEAKERS

LEFT

RIGHT

LEFT

RIGHT

BACK SPEAKERS

REMOTE

LffT

11:IGlff

• •

(@~

(@

@0

1!

@~~

@0

11

CAUTION

CONNECT SPEAKERS

WITH CARE.

AVOID

SHORTS.

4-CH

FIG-2

STEREO

OPERATION

!See

Fig.

31

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

rec

eiver.

3.

Similarly

connect

anoth

er

length

of

lamp

cord

to

your

RIGHT

FRONT

spea

k

er.

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.

Use

above

steps to

connect

REMOTE

s

peakers,

using

REMOTE

terminals.

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

.it

t

GHT

+ +

~

I I ~01~

!o

@

~ ~ ~

o!o

~ ~ ~

@

oil

CAUTION

CONNECT SPEAKERS

WITH

CARE.

AVO

ID

SHORTS

STEREO

FIG

- 3

5

SPEAKER

PHASING

For maximum

enioyment

of

multichannel sound, it

is

important to have the

four

speaker

sy

ste

ms

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

betw

e

en

the

front

and

back

channel

s.

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

pola

ri

ty

iden

tification,

phasing

can

be

accomplished

by

the

following

pro

ce

dur

e ,

1. After

connecting

your

speakers,

place

the

re

ceiver

in

the

MONO

mode

of

o

peration

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

speaker

s inde

pendently,

the

sp

e

akers

are

out

of

phase

.

4.

If

you

determine

that

you

r

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

speak

e

rs

to the receiver since the

900

+

is

a solid state

in

strument

and

c

an

accommodate

all

speakers

ranging

in

impedance

from 4 to

16

ohms without

special

trans-

formers.

Repe

at

this

proce

ss for all

additional

pairs

of

speakers

in

your

system.

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~

SWITCH

QUIETING

METER

harman/kardon

90

0 4

FRONT PANEL

7

SOUND

FJ

ELD

BAlANCE

• •

SOUND

FIELD

BALANCE

CONTROL

OPERATING

PROCEDURE

Every

control

on

this receiver

serves

a specific

and

useful

function

and

is

importanf

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.

REAR

PANEL

SWITCHES

AND

CONTROLS

STEREO/

4-CH

SWITCH

The

900

+

receiver

is

shipped

with

the

STEREO/4-CH switch

in

the

4-channel

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

900

+

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

hav

e

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

YOU0WISH TO

USE

THE

RECEIVER

TO POWER

ANY

BACK

SPEAKERS,

FIRST

TURN

OFF

THE

RECEIVER.

REMOVE

THE

LATCH

AND THROW

THE

STERE0/4-CH SWITCH TO

4-CH.

REPLACE

THE

PROTECTIVE

LATCH

.

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

stat

i

ons

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.

CD-4

SEPARATION

CONTROLS

The CD-4 circuit

in

your

receiver

will give optimum

channel

separation

to

the

four-channel

playback

of

your

CD-4

recordings

only

when

it is

adjusted

lo

the

characteristics

of

the

specific CD-4

cartridge

you will

be

using. Two controls

on

the

rear

panel

(one

marked

LEFT,

the

other

RIGHT)

make

the

adjustment

easy.

A CD-4

test

record

is

necessary

to

set

separation.

We

have

provided

a

record

with

complete

instructions

for

adjustment

on

Side

1;

band

1. Follow

those

instructions carefully.

The

procedure

itself

is

not

complicated,

but

you may wish to listen to

the

instructions

once

or

twice

before

actually

making

the

adjustment.

You

can

use

what

follows

as

a

guide.

It

is

an

exact

duplicate

of

the

announcer's

script.

8

Before

you

begin,

be

certain

to

set

the

MODE switch

to

the

CD-4/DISCRETE

position,

the

FUNCTION switch

to

PHONO

,

and

the

SOUND

FIELD

BALANCE

control ("joystick"] to

its

exact

center

position.

The

CD-4

SEPARATION CONTROLS on this

Harman-Kardon

unit

have

been preset

at

the factory using a calibrated

CD-4

generator. Your

CD-4

phonograph

and

cartridge

may

be

used

without

readjusting these controls.

There

are

variations in phonograph cartridges

and

you m.ay

wish

to

set the controls to your

own

personal toste.

To

moke

these settings,

follow

the instructions

that

follow

on

this disc,

and

refer

to

the owner's

manual

for

additional

details.

The

following

tone

will

be

for .adjustment

of

the

LEFT

channel separation:

I.

Move

your

balance control

so

you

hear

only the

LEFT

BACK channel.

2.

When

the tone begins, adjust the

LEFT

SEPARATION

CONTROL for minimum output from the

LEFT

BACK

speaker

system.

-TONE

(15

sec.l

-

The

will

be for adjustment of the RIGHT channel

separation:

I.

Move

your

balance

control

so

you

hear

only the RIGHT

BACK

channel.

2.

When

the

tone

begins,

adjust

the

RIGHT SEPARATION

CONTROL

for

minimum

output

from

the

RIGHT BACK

speaker

system

.

-TONE (15

sec.l

-

Return

your

balance

control

to

its

neutral

position.

Your

system

is

now

adjusted

for

optimum

separation

.

You

should

now

hear

my

voice

on

each

of

the

four

channels

in

sequence.

1.

Left

Front

2.

Left

Back

3.

Right

Front

4.

Right

Back

Ito

appear

from

LF)

(to

appear

from

LB)

(to

appear

from

RF)

(to

appear

from

RB)

If

my

voice

does

not

appear

through

the

four

channels

correctly,

check

to

see

that

all

switches

and

controls

on

your

equipment

are

in

their

correct

positions,

and

go

through

this

adjustment

procedure

again.

In

some

cases

you

may

find

your

adjustment

will

result

in

an

imbalance

of

left

and

right

signals,

sometimes

outside

of

the

ability

of

your

balance

controls

to

correct.

This is

especially

true

if

your

adjustment

results

in

the

SEPARATION CONTROLS

being

set

at

or

very

near

their

extreme

minimum

(counterclock-

wise)

or

maximum

(clockwise}

positions.

If

this

is

true,

use

the

reference

markings

on

your

unit

as

a

guide.

The

SEPARATION

CONTROLS

also

act

as

gain

controls

for

the

phonograph

section if

you

use

a

stereo

cartridge. You

may

adjust

these

controls to match the

volume

of

your

phonograph

playback

with that

of

your

FM

section. Do not

use

the controls

at

or

near

their

maximum

settings with a

stereo

cartridge. Using

a

stereo

cartridge with

the

controls

set

at

maximum

could result

in distorted

sound.

During adjustment,

output

in

the

back

channels

is

actually front

channel

signal

leakage

that

should

be

minimized.

Complete

isolation

may

not

be

possible

so

some

leakage

may

be

present.

This

is

a normal condition.

These

separation

controls

may

also

be

used

as

input level controls

when

using a conventional

stereo

phonograph

pickup.

In

this

case,

set

the level

of

your

phonograph

signal to

be

approximately

equal

to

the

signal level

af

your

FM

tuner.

FRONT

PANEL

SWITCHES

AND

CONTROLS

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-chonnel

headphone

receptacles

located

on

the

fr

ont

panel

of

your

receiver will

accept

any

type

of

headphone.

Stereo

phones

come

with a

single

plug which should

be

connected

to

the

FRONT

receptacle.

4-channel

phones

come

with two plugs.

Connect

the

front

plug

to

the

FRONT

receptacle

and

the

bock

plug

ta

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

the

speakers

connected

to

your

main system, Hie

respective

FRONT

and

BACK

MAIN

speaker

switches must

be

depressed.

9

When

in

the

"ON''

position

all

speakers

connected

to

the

main

system

are

"ON''.

Should you

desire

to listen

to

stereo

or

4-channel

headphones

alone,

the

speakers

can

be

turned

off

otyour

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 all

speakers

connected

to

the

remote

system

are

"ON".

Should you

desire

to

listen

to

stereo

or

4-channel

headphones

alone,

the

speakers

can

be

turned

off

at

your discretion.

EXT

DOLBY

NR/TAPE

MON

2

SWITCH

When

on

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

decade

an

encoded

program.

If

the

Dolby button

is

depressed

without

an

external

processor

connected,

you

will

get

no

sound

from your

speaker

system.

Dolby

IN

receptacles

may

be

used

as

a

2-channel

Tape

Monitor

provided

you

ore

not using

the

Dolby Function.

TAPE

MON

l

SWITCH

If

your

4-channel

tape

recorder

has

a

special

monitoring

feature,

depressing

this switch

"IN"

will permit you to monitor

your

tapes

a split

second

after

they

ore

recorded.

When

not in use this switch must

be

in

the

"OUT

11 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-channel

high level inputs.

CONTOUR

SWITCH

One

of

the

limitations

of

human

hearing

is

its

tendency

ta

lose sensitivity

to

the

very low

pitched

sounds

as

the

prog

r

am

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

sound

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 rich, full-bodied

reproduction

at

low listening levels, throw

the

CONTOUR switch

to

the

IN

position. At high listening levels,

the

CONTOUR

switch

has

no effect.

FM

MUTING

SWITCH

The

purpose

of

the

muting circuit

is

ta

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

effect

on

weak

signals.

To

reduce

interstation noise, push the MUTING switch

"ON".

To

defeat

the

circuit, push

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 cul

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

This

position selects the input receptacles on the

rear

of

your receiver

intended for signals from a magnetic

phonograph

cartridge.

Use

it

for all types

of

phonograph

records

playable

with this type

of

cartridge,

monophonic,

stereophonic,

or

four-channel (SQ

or

CD-4).

Any automatic record

changer

or

turntable

equipped

with a quality stereo

magnetic

cartridge

will

play

SQ

encoded

four-channel recordings without special

modifications. CD-4 discs, however, require a

cartridge

specifically

designed

for

CD-4 use. Your

dealer

will

have

information on the CD-4 cartridges he

handles,

or

you can write to our Technical Information Department for a list

of

CD-4

cartridges

available

on the market.

In

order

to

play

SQ

records

in

4 channel,

the

MODE

switch

of

your receiver

must

be

in

either

of

the SQ

MATRIX

positions.

To

play a CD-4 record, place the

MODE

switch

in

the CD-4/DISCRETE position. Your receiver makes use

of

an

exclusive sensing circuit which switches on the CD-4 electronics when the pilot

signal impressed

in

the grooves

of

all CD-4 discs

is

present. The switching action

is

indicated

by

the

steady

glow

of

the CD-4

beacon

in

the dial glass

area.

While

this

sensing

circuit

can

discriminate CD-4 discs from all others,

it

cannot

discrim-

inate

SQ four-channel discs from

regular

stereo ones.

You

must adjust the mode

to

SQ

MATRIX

1

or

2 to play

back

SQ

discs properly.

The CD-4 Beacon, which

is

located on

the

dial glass

adjacent

to

the

mode

switch indicator lights,

will

light up

in

the

presence

of

a CD-4 signal.

This

visual

indication lets you know

that

your

are

playing back a discrete four-channel

phonograph

record.

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 into your receiver

are

operative.

For

further details refer to

paragraph

on

"SELECTING

A MONOPHONIC

OR

STEREO

FM

BROADCAST".

10

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 lo

the

FM

position.

FM

In

this position, you can listen to stereophonic

broadcasts,

monophonically

while monophonic

broadcasts

will

appear

unchanged.

DISCRETE

FM/AUX

1

In

this position, the addition

of

an

accessory 4-channel

decoder

will

permit

the reception

of

discrete

FM.

This

position, when not being used

for

discrete FM, may

be

used as an

additional 4-channel auxiliary position.

As

soon as

an

FM

broadcast

system has

been

selected,

Harman/Kardon

will

be

in

the

position

of

supplying

an

appro-

priate

decoder.

AUX

2

This

selects the four discrete auxiliary receptacles on

the

rear

panel for

playback

through your system (tape recorder,

cartridge

player, etc.).

AM

This

selects

the

AM

broadcast

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 law frequencies; either strengthening

or

diminishing

the

intensity

of

these sounds. The

TREBLE

control adjusts the

higher frequencies

in

the same manner.

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

nor boomy.

Yau 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.

MID

RANGE

CONTROL

In

addition

ta

the normal

BASS

and

TREBLE

controls, we have incorporated

a

MID-RANGE

control which offers wide latitude

of

adjustment

over

the entire

mid

range

of

frequencies.

You

may now

add

depth

and

dimension lo the low,

mid

range

or high frequencies or mask excessive harshness

in

a recording that

is

excessively bright.

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 may-

be

con-

nected

to the

appropriate

LEFT

or

RIGHT

FRONT

input receptacles to

reproduce

sound

in

all speakers.

The O 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

terminals

will

also reproduce stereo

in

each

pair.

In

the

STEREO

position, the f;I 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

!)

fg

!)

mode

indicator lights

will

be

illuminated.

These lights

denote

the channels used from

the

source material/to

recording/

to reproduction.

The SQ

MATRIX

2 position performs the

same

function as

the

SQ

MATRIX

I 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

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.

11

ENHANCED

STEREO

INTl!:OIIATID

AIIPUFll!!!IIS

SPIAKIER$

LF~

LO~

··~

.~

This

position should

be

used to

enhance

(convert) any

stereo

source into

spatially

expanded

sound. When playing

any

stereo

source, if your

900

+

has

been

installed utiHzing four

or

eight

speakers,

the

sound

will

emerge

from

each

speaker

filling the room with sound

that

is

almost as exciting

as

authentic

4-channel.

It

may also

be

used to spatially

enhance

a monophonic source.

In

this position the

lf9

IJ

mode indicator lights

will

be

illuminated, denot-

ing stereo to 4-channel

operation.

TWO

CHANNEL

RECORDING

CD-4/DISCRETE

GJ

RECOVERY

CIRCUITS

FOR"BACK"

SOUNDS

INTEGRATED

AMPLIFIERS SPEAKERS

This

position should

be

used to play your CD-4 records,

or

for a discrete

4-channel source (tape) connected to

the

system.

In

this position

the

!)

D mode indicator lights

will

be

illuminated, denot-

ing discrete 4-channel

operation.

LEFT

FRONT

LEFT

BACK

RIGHT

BACK·

RIGHT

FRONT·

FOUR

CHANNEL

RECORDING c:::::::::J

VOLUME

CONTROL

The

VOLUME

control adjusts the signal level

of

any

program

material

connected

to your receiver. It

is

a

four

section control which simullaneously

adjusts all channels,

and

its close tracking specifications insure

that

the

relative

volume level

of

each

channel

will

be

identical.

SOUND

FIELD

BALANCE

Your

900

+

incorporates

a unique four-channel continuously

variable

balance

control.

The

nature

of stereo

or

4-channel

reproduction

is

such

that

ii

requires iden-

tical

channels

to

attain

the

highest

deg

r

ee

of

faithfulness

and

spatial distribution.

Any variation

in

the efficiency

of

any

channel

as

compared

lo the others

will

disturb this relationship. Since there may

be

slight

differences

betw

een

program

material, room acoustics, etc,, your receiver includes o control to

balance

all

channels. Sufficient

range

is

covered

by this control to permit

rebalancing

of

the

overall

system even

in

cases

where

major

imbalance

exists. This

control

may

be

set

anywhere

within its

range

lo

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

brood

area

between

all

speakers.

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.

LEFT S RIGHT

FRONT

SPEAKER BALANCING

(BACK SPEAKERS

OFF)

LF[&]

+

[&)RF

·

LEFT

FRONT

8

LEFT

BACK

..

SPEAKER BALANCING

( RIGHT

FRONT

a BACK

SPEAKERS

OFF)

"'-~/

•

RIGHT

FRONT 8 RIGHT BACK

SPEAKER BALANCING

(LEFT

FRONT a

BACK

SPEAKERS

OFF)

/

LB~

+

~RB

LEFT

6 RIGHT BACK

SPEAKER BALANCING

(FRONT

SPEAKERS

OFF)

12

SELECTING

MONOPHONIC

OR

STEREO

FM

BROADCASTS

Under

normal use

for

all

FM

broadcasts

the

function s

ele

ctor 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 a

monophonic

or

st

ereophonic

broadcast

,

and

then

automati

cally

adjust

the

mode

of

op

e

ra

tion.

If

the

station

is

transmitting stereo,

your

receiver

will

automatically

switch

on

the multiplex section

and

y6u

will

hear

the

broadcast

in

full

stereo. Should

the

station conclude

br

o

adcasting

in stereo1

your

receiver will

automatically

switch

back

to

monophonic rec

epti

on.

Should you receive a

weak

stereo

signal whose quality hos

been

degraded

by

noise or poor signal conditions, and you

wish

to

listen

to

this

stereo

broad-

cast

monophonically,

place

the

function s

elector

switch

in

the

FM

position.

QUIETING

METER

"Quieting"

is

a te

rm

used in

th

e

measurement

of

th

e

relative

signal

to

noise

ratio

of

a

broadcast

si

gnal.

Conventional signal strength

or

center

ch

annel

meters

do

not

indicate

the

quality

of

the

received

signal

-simply their strength

and

pass

band

accuracy.

Harman/

Kardon's

ex

traordinary

QUIETING

METER

actually

indicates

or

"reads"

the

signal-to-noise

ratio

or

the

QUALITY

of

the

received

signal.

Maximum deflection

of

this meter (highest number)

represents

the

best

listening

point

within

the

pass

band.

As

you

detune

closer to

the

edge

of

a

station's

pa

ss

band,

the QUIETING

METER

will immediately reflect

the

incre

ased

noise

and

distortion.

The QUIETING

METER

will

"ALWAYS"

agree

with

what

you

hear

and

will

"

ALWAYS

''

indicat

e

the

best

tuning point.

STEREO

INDICATOR

A stereo

indicator

is

located

adjacent

to

the tuning

meter

and

operates

in

conjuncti

on

with the

STEREO

FM

position

of

the FUNCTION sw

it

ch. The indica-

tor

visually shows the

reproduction

of

stereo

FM

through your receiver.

To

tune for

stereo

FM

proceed

as

follows,

1. Place

th

e 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 ster

eo

indicator

will now

sho

w if you

ar

e

tu

ned

to a

stereo

program.

If

the

indicator

is

off,

the

program

you

are

list

ening to

is

being

bro

a

dcast

mon

oph

onically.

IN

TUNE INDICATOR

The

"IN

TUNE"

indicator

is

located

adjacent

to

the

quieting

meter

and

operates

in

conjunction with

the

"STEREO FM"

and

"FM"

positions

on

the

function switch.

When

pr

op

erly

tuned

to

the

station

of

your choice,

the

"IN

TUNE"

indicator

will

light.

ANTENNA

ORIENTATION

If

your

antenna

sy

stem uses a rotation

device

,

the

best

antenna

orientation

will

be

achieved

when

the

QUIETING

METER

indicates the

greatest

ste

ady

13

deflection (highest number). Rotate

the

antenna

in

the

general

direction

of

the transmitting station's

antenna

and

obs

erve the QUIETING

METER

to make

fine

adfustments

of

the

antenna's

position.

DIAL

SCALE

The

dial

scale

on your receiver

is

marked

with

three

scales,

an

FM

fre-

quen

cy

scale

(88-108

MHzl, a

logging

scale

(0-1

OJ,

and

an

AM

frequency

scale.

Most

FM

stations

operate

at

frequencies

which are not

whole

numbers

(such

as

96

Hz

as

compared

to

96.3

Hz). Ideally, e

ach

megah

ertz division

on

the

frequency

scale

should

be

divided into

10

parrs

ta

enabl

e

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

in

10

equal

parts

provides

a

means

of

finding your favorite station,

once

you

have

noted

its

position

on

the

logging

scale. Far e

xample,

in

New

York City, WQXR

ope

r

ates

at

96.3

MHz. After

locating this station through

the

use

of

the

fre

quency

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

lo

4.2

on

the

logging

scale

.

EQUALIZATION

In

ord

er to achieve

good

reproduction

af

the

wide

range

of

frequ

encies

in

music

and

lo

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

respon

se by selecting a "turnover

frequency''

and

recording

attenuated

re

sponse

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

e

xaggerated

during

th

e

recording

process. A

measured

and

deliberate

boost

is

effected

above

a

ce

rtain

frequency

. This

combination

of

de

liberate

exaggeration

at

the low

and

high

ends

of

the

frequency

spectrum

c

on

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

introduces the proper equalization.

HUM

AND

NOISE

In

any

high fidelity installation, hum may

be

caused

by the inter

connection

of

a

record

player,

tuner

and

amplifier,

as

a result

of

the

cables

and

different

grounds.

If

hum

is

experienced with your receiver, disconne

ct

everything but

the

sp

e

akers

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

rec

ord

player

chassis to

the

ground

post

on

the rear

of

the receiver

chassis

. Connect your other de\fices

in

this manner.

CAUTION,

Hum

may

also

be

induc

ed

by

defective

connecting

cables

or

by

running

these

cables

too

close to a s

trong

AC

line

cord.

CONNECTING

RECORD

PLAYERS

The following drawings show connections

af

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

IVIONO

RECORD

PLAYER

LEFT~

1 0

FRONT(±)

(t)

RIGHT

O 0

14

CONNECTING

ONE

OR

TWO

STEREO

RECORD

PLAYERS

Typical Operating Conditions (Stereo Record)

Fu

netion Switch: Set to

PHO

NO 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

ar

FIRST

STEREO

RECORD

PLAYER

SQ

MATRIX

2 position

SECOND

STEREO

RECORD

PLAYER

CONNECTING A

TAPE

RECORDER

CONNECTING

A

STEREO

TAPE

RECORDER

Typical Operating Conditions

To

Record

Function Switch: Set to source desired

To

Playl,,ack/Monitor

Tape Mon 1 Switch: Set to "IN" position

Mode Switch: Set to

STEREO

position

STEREO

TAPE

RECORDER

LEFT

FRONT

RIGHT

,~~

~

~;

BACK

RIGHT

O O 0

15

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

CD

-

4/DISCRETE

position

NOTE:

In

order

to make a four-channel recording,

it

is

necessary to have a 4-channel source

connected to the recorder.

CONNECTING TWO

STEREO

TAPE

RECORDERS

Typical

Operaling

Condilions

To

Record

on

Tape Recorder # 1

Funclion Switch:

Set'to

source

desired

To

Playback/Monitor

from Tape Recorder # 1

Tape Mon 1 Switch:

Set

lo

"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

lo "IN" position

Mode Switch: Set to

STEREO

position

To

Record

from

Tape

Recorder

# 1 lo

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

prece

dence

over

TAPE

MON 1

FIRST

STEREO

TAPE

RECORDER

LEFT

FRONT

RIGHl

LEFT

BA

CK

RIGHT

lo

0

\0

0

00

0 0

I®

SECOND

STEREO

TAPE

RECORDER

16

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

·•

1N

1' position

Mode

Switch, Set to CD-4/DISCRETE position

To

Record on Tape Recorder

#2

Fun

ction Switch: Set to source

desired

To

Playback from Tape Recorder

#2

Function Switch :

Mode

Switch:

OUTPUTS

Set

to

AUX

2 position

Set to CD-4/DISCRETE

INPUTS

SECOND

4-CH

TAPE

RECORDER

FIRST

4-CH

TAPE

RECORDER

CONNECTING

ACCESSORIES

CONNECTING

EXTERNAL

DOLBY

NR

To

Operate

Function Switch:

Set

lo source

desired

Ext Dolby

NR

Switch: Se_t to

"IN"

position

Mode

Switch: Set to

STEREO

position

FM

NOISE

REDUCER

17

CONNECTING

FOR

DISCRETE

FM

To

Operate

Function Switch:

Mode

Switch:

Set

lo

DISCRETE

FM

/

AUX

position

Set

to

CD

-4/

DISCRETE

position

0

01©

DISCRETE

FM

DECODER

00

©

SPECIAL

APPLICATION

The versatility

of

the

900

+ 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

lope

recorder output to the bock

lope

monitor receptacles.

Mode

switch to CD-4/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.

Loo

FRONT

Roo

L

BACK

R

SYSTEM

I

TAPE

MON

.

OUT

I I

R

L

18

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

12)

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

Deportment, Harman/Kardon, Incorporated, 55 Ames Court, Plainview, New

York

11803.

Be

sure to include the model

and

serial numbers

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

c:,uthorization.

STEREO

TAPE

RECORDER

OR

ANY

OTHER

HIGH

LEVEL

STEREO

SOURCE

SYSTEM

2

R

L

TROUBLESHOOTING HINTS

SYMPTOM

No

sound,

on/off

switch

and

.

dial

are

not

lighted.

No

sound,

on/off

switch

and

dial

are

lighted.

Phono

operative.

AM

operative.

FM

noisy

or

inoperative.

AM

and

FM

operative.

Phono

inoperative.

Distorted

AM

and

FM

sound.

Hum

or Buzz

on

phono.

Speaker

fuses

blow

out.

Speaker

fuses

blow

out

occasionally.

POSSIBLE

CAUSES

AND

SOLUTIONS

Check A.C. plug

in

wall outlet. Check

on/off

switch -sticking_ Check main fuse.

Replace with exactly

same

type

ond

rating.

Check

speaker

switches. Must

be

depressed.

Check

tape

monitor switch (should not

be

depressed}. Check all protective

speaker

fuses. Replace fuse with exactly

same

type

and

rating.

Check

connections

at

receiver

and

speakers

for

shorted

or

loose

connection.

Check

FM

antenna

orientation

and

connection.

Check phono

cartridge

connections

at

phonograph

and

at

receiver. Check

phono

stylus. Inserted into pickup

ond

secure?

Check

antenna

orientation.

Does

sound

clear

up

when

you

touch

antenna

post,

or

change

its direction?

You

may require a better

antenna.

Check shielded cables for loose

or

braken ground connection. Phonograph chassis

should

be

grounded

to receiver. Check location

of

record player

and

its

relationship to

the receiver. Your

changer

may

be

picking up a

hum

field from the power trans-

formers.

Move

changer

further

away

from

receiver.

Check wiring to

speakers.

Be

sure

there

are

no shorts (nail through center of wire, loose

ends touching).

This

can

occur

if

you play your music

at

excessively loud levels, especially

if

your

speakers

have

an

impedance

of

4 ohms,

or

lower. Also with

bass

con

trol

at

maximum.

19

Harman Kardon 900+ User manual

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