Luxman 308 User manual

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OPERATION MANUAL
110W STEREO INTEGRATED AMPLIFIER

TABLE OF CONTENTS
Outline of Control! Functions & Connections
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Tuner, Operation of Controls
4-Channel System
Standard Curves

Thank you for purchasing one of our quality products, the LUXMAN L~-308. With natural care, it will
give you many years of outstanding performance and personal delight. Please read this Owner’s Manual
carefully before operating the unit. The first section diagrams the various controls, connections and
summarizes their operation; Keep it handy for quick and convenient reference. The second section gives
detailed descriptions and operating procedures for the electronic and mechanical components of the
L-308. Again, thank you for your selection, and may ‘good listening’ be your daily-pleasure.

Oufline of Control Functions
-@ Speaker Selector @ Pilot Lamp
Choice of Main or Remote {or both) and Off. .
@® Input Selector Switch
© Bass Programme source (Phono, Tuner, Aux, etc.).
Inner axts for Left and outer axis for Right shanaele 3 io 3
Turn clockwise for bass boost. @® Attenuator =
Keep fully clockwise for normal use. Turning counter-
@ Treble clockwise reduces the volume up to 18 dB. Can be
Inner axis for Left and outer axis for Right channels. used as a volume level control when the amplifier
Turn clockwise for treble boost. section is used separately.
©
Linear
Equalizer
@
Volume
The “up tilt cuts bass and boosts treble. ““down-tilt”
cuts treble and boosts bass. (A full description @ Balance
appears on Page 16). Both channels are balanced at the mid-position. ‘
Q) Low Cut @® High Cut
OFF at NORMAL. ON at either 20 Hz or 70 Hz.
Useful for rumble filtering, etc.
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OFF at NORMAL. ON at either 7 KHz or 12 KHz.
Useful for scratch filtering, etc.
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@® Power Switch ® Monitor
Deck-1 or Deck-2/4ch for tape playback. For Phono,
© Phono Tuner, Aux, etc., set at SOURCE.
@® Dubbing
From Tape-1 to Tape-2, move to the upper position.
From Tape-2 to Tape-1, move to the lower position.
Otherwise, leave at SOURCE.
@ Mode Selector Switch
7) Treble Frequency Selector Stereo, Monaural selection, etc. .
Choice of turnover point from three frequencies. @ Deck-1 Reproduction Jack
Used in conjunction with the Monitor Switch for
playback from a tape-recorder.
For connection of stereo headphones.
@ Bass Frequency Selector
Choice of turnover point from three frequencies.
© Tone Controls Switch
When at NORMAL, it allows full tone control. When @ Deck-1 Recording Jack
at
LOW
BOOST,
it
gives
an
extra
bass
boost,
and
Used
in
conjunction
with
the
Monitor
Switch
for
when at DEFEAT, it provides a flat response. recording.

¥
Connections
@ GND Terminal
For grounding.the amplifter.
@ Phono-1
2.2mV sensitivity. For connecting the first turntable.
@ Phono-2
2.2 mV sensitivity. For connecting the second
turntable.
¢) Tuner Input
For connection of AM/FM/LW/SW tuner.
&) Aux-1
Use
for
a
second
tuner
or
qther
audio
equipment.
@ Aux-2
Use for a second tape player or other equipment.
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~¢ Deck-1 Connector
(DIN
type)
For
recording
and
playback.
-@ Rec. Out (Deck-1)
Connect to the input of tape-recorder 1.
‘€ Monitor (Deck-1)
Connect to the output of tape-recorder 1.
@ Rec. Out (Deck-2)
Connect
to
the
input
of
tape-recorder
2,
or
connect
to a 4-channel system.
@ Monitor (Deck-2)
Connect to the output of tape-recorder 2.
€ Pre-Out
For independent use of the pre-amplifier or for a
multi-amplifier system with a channel divider.
——( Tuner-Level
-—) Main Speakers
Red terminals are positive (+): black terminals are
negative(—).
€
Remote
Speakers
,
Red
terminals
are
positive
(:+);
black
terminals
are
negative
(—).
@ AC Outlets (Unswitched)
Two extra outlets for AC current. Power is always
available.
& AC Outlet (Switched)
Power for this extra outlet depends on the Mains
Switch.
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Use
to
adjust
possible
volume
level
deviations
from
various
programme
sources.
9 Input Impedance for Phono-1
Check the specification for each type of cartridge
and set this control accordingly.
—_ Main In
For
independent
use
of
the
main
amplifier
section.
€
DC
Speaker
Fuses
@
AC
Line
Fuse
@ Mains Power Input

Switches &
Controls
@ Speaker Selector Switch (SPEAKERS)
This amplifier offers convenient use of 2 speaker systems, Main
and Remote. You can choose independent or simultaneous driv-
ing of 1 or 2 systems as per the indication on the front panel.
When both Main and Remote speakers are used, make sure that
the overall impedance is not less than 4a.
At the OFF position, the speakers are disconnected from the
amplifier, and you can enjoy private listening by headphone.
@ Mains Switch (POWER)
Press alternately for ON or OFF.
@© Headphone Jack (PHONES)
Connection of a stereophonic headphone to this jack allows pri-
vate listening. Output signal is always available regardless of
the position of the Speaker Selector Switch (1). For private listen-
ing, however, set the Speaker Selector Switch at the OFF posi-
tion.
@ Bass Level Control (BASS)
A clockwise turn of the control] boosts the bass response, and a
counter-clockwise turn decreases and cuts the bass. This control
has a click-stopper with 11 points. It yields a flat frequency res-
ponse when set at the centre of the rotation angle. You can
choose a turnover (roll-off) frequency of 150Hz, 300Hz or
600Hz with the Selector Switch (5). The Bass Level Contro!} is
of dual concentric construction and permits separate control of
either the right or left channels: the outer axis is for the right
channel, and the inner axis is for the left channel. This contro!
usually controls both channels simultaneously, but you may
adjust either channel by holding one axis while turning the
other. The click-stoppers are only for the outer axis, i.e., the right
channel.
@ Bass Frequency Selector Switch
Bass turn-over (roll-off) frequencies can be selected with this
switch. When the desired frequency (150Hz, 300Hz or 600Hz)
is set by this switch, tone contro] starts to function at the selected
frequency. At the DEFEAT position, a flat frequency response is
obtained, regardless of the position of the Bass Level Control
(4).
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@ Treble Level Control (TREBLE)
A clockwise turn of this knob boosts the treble response, while
a counter-clockwise turn decreases the treble. This contro! is
of the same construction as that of the Bass Level Control, and
its operation corresponds to that described in (4).
@ Treble Frequency Selector Switch
Function wise, it is the same as the Bass Frequency Switch
described in (5).
@ Linear Equalizer (LINEAR EQUALIZER)
This is a new tone control which provides a tonal compensation
specifically intended for subtly augmenting regular tone controls.
With the control in its mid-position, flat frequency response is
achieved. When switched to either of 2 “up tilt’ positions, the
entire response curve is rotated so as to linearly increase treble
response while simultaneously decreasing bass response. Con-
versely, selection of a ‘‘down tilt” position rotates the response
curve In a clockwise direction and provides a gradual decrease of
treble and a simultaneous increase of bass. This equalizer is not
released even when the Tone Controls Switch (9) is set at the
“tone defeat’ position. For further details, refer to the Operation
of Linear Equalizer (Page 16).
© Tone Controls Switch
This switch releases the function of the tone controls (4 5, 6,
7 above) when set at the ‘tone defeat’ position. To operate
these controls, this switch must be set at the centre or NORMAL
position. It functions as a low booster at the “low boost” posi-
tion where bass frequencies below 70Hz are boosted at the rate
of 6 dB/oct. In case this amplifier is used as a component ampli-
fier of a 4-channel system, take care with the phase matching of
the speakers, since the phase of signals becomes reversed when
they pass through the tone controls (normal or low boost),
while remaining norma! at the ‘‘tone defeat” position. Refer to
the Operation of Low Booster and Connection of 4-CH DE-
CODER (Page 16).
@ Low Cut Filter (LOW CUT)
OFF at the centre position. When moved up to the 7OHz posi-
tion, a bass roll-off occurs at 70Hz at the rate of 6 dB/oct. When
moved down to 20Hz, the roll-off occurs at 20Hz. For further
details, refer to Low Cut Filter (Page 16).

®
High
Cut
Filter
(HIGH
CUT)
OFF
at
the
centre
position.
When
moved
up
to
the
7KHz
posi-
tion,
the
amount
of
high
frequencies
is
reduced
sharply
at
the
rate
of
6
dB/oct.
When
moved
down
to
the
12KHz
position,
the
roll-off
starts
at
12KHz
For
further
details,
refer
to
High
Cut
Filter
(Page
16).
@
Tape
Monitor
Switch
(MONITOR)
The
input
function
selector
(phono,
AUX,
etc.)
is
separated
from
the
volume
and
tone
contro]
section.
If
a
tape
recorder
is
not
connected,
and
this
switch
is
moved
from
NORMAL
to
either
of
the
tape
inputs,
no
sound
will
be
heard.
In
case
a
3-head
tape
recorder
is
used,
simultaneous
playback
monitoring
is
possible
while
recording.
In
this
case,
the
amplifier
receives
the
playback
signals
either
from
the
Tape
Monitor
terminals
(32,
34),
the
Tape
Connector
(23)
or
the
tape
reproduction
jack
(17),
while
at
the
same
time
feeding
the
recording
signals
to
the
Recording
Output
terminals
(31,
33),
the
Tape
Connector
(23),
or
DECK-
1
recording
jack
(18).
In
case
a
matrix
4-CH
decoder
is
connect-
ed
to
the
DECK-2
Monitor
(34)
and
Recording
Output
terminals
(33),
this
lever
switch
must
be
set
at
the
DECK-2/4ch
position.
Eor
further
details,
refer
to
Connection
of
4-CH
DECODER
(Page 17)-
@®
Tape
Dubbing
Switch
(DUBBING)
Tape
dubbing
(reprinting)
is
possible
with
this
switch.
When
the
leveris
set
at
the
“1
to
2”
position,
the
playback
sound
of
the
DECK-1
terminals
can
be
printed
on
DECK-2,
and
vice
versa
when
set
at
the
2
to
1°”
position.
While
in
the
dubbing
process,
it
is
possible
to
monitor
with
the
Tape
Monitor
Switch
(12).
Except
when
reprinting
a
tape,
it
is
recommended
that
this
switch
be
set
at
the
centre,
SOURCE
position.
@ Pilot Lamp
This
lamp
indicates
that
the
Mains
Switch
(2)
and
the
electric
current
are
On.
:
® Input Selector Switch
This
switch
permits
proper
selection
of
desired
programme
sources
(Phono-1,
Phono-2,
Tuner,
Aux-1,
Aux-2).
@ Mode Selector Switch
Use
this
switch
for
selecting
reproduction
modes
such
as
Stereophonic
or
Monaural.
For
further
details,
refer
to
Mode
Selection
(Page
14).
@ DECK-1 Reproduction Jack (IN)
This
jack
has
a
function
equivalent
to
that
of
the
Deck-1
Moni-
tor
terminals
(32)
on
the
rear
panel.
Plug
in
the
line
output
of
the
tape
recorder,
and
you
can
monitor
by
setting
the
Monitor
Switch
(12)
at
the
““deck-1"
position.
@ DECK-1 Recording Jack (OUT)
This jack hes a function equivalent to that of the Deck-1 Re-
cording Output terminals (31). Recording output is always a-
vailable from this jack in so far as an input is given to the
amplifier. If the Dubbing Switch (13) is set at the ‘2 to 1” posi-
tion, this jack will be connected with the Deck-2 Monitor termi-
nals, and recording output will be available from the Deck-2
terminals (33).
© Attenuator (ATTENUATE)
Adjustment
of
this
control
makes
it
possible
to
pre-set
efficiency
of
the
Volume
contro!
(20)
in
the
range
of
0
dB
to
—18
dB
(about
).
Also,
since
this
attenuator
is
placed
at
the
entrance
of
the
main
amplifier
section,
it
can
be
used
as
an
input
level
setter
for
independent
use
of
the
main
amplifier
section.
@ Volume Control (VOLUME)
A clockwise turn of this control increases volume, while a
counter-clockwise turn decreases and finally cuts out volume.
@ Balance Control (BALANCE)
The volume balance on right and left channels can be adjusted
with this control. Turn it clockwise, and the volume of the left
channel will decrease; counter-clockwise causes a dectease of
the right channel. When the volume of both channels is balanced,
monaural reproduction sound comes from the centre of both
right and left speakers. This point is usually obtained by setting
the click-stopper at its centre point.

Inout & Outpu
Terminals
&) Earth Terminal (GND)
Connect the earth lead wire of the record player (from motor or
pickup arm) to ground the amplifier.
€ Tape Connector (CONNECTOR)
This connector is of DIN standard. With the recording output
terminal (REC OUT) and the tape monitor terminal in it, con-
nection for recording and playback is feasible with a single lead-
wire with DIN plug— providing the tape recorder has the same
connector. For playback through this connector, the Monitor
Switch (12) must be at the “deck-1" position, and the Dubbing
Switch (13) at the SOURCE position. Recording output signal
is always available from this connector, except when the dubbing
switch is set at the ‘’2 to 1” position.
@ PHONO-1 Terminal
For playback through magnetic cartridge (MM, MI, MC type).
Input sensitivity, 2.2mV. Input impedance is selectable: 50Kaq,
65Ka,. and 90Ka. Except for very low output MC type cartridge
(output voltage, 0.01mMV-0.1mV). almost all cartridges can be
used. For such MC type cartridges of very low output level, it
is necessary to boost voltage up to the specified level by use of
step-up transformers or a head-amoplitier.
& Input Impedance Selector for PHONO-1
This selector permits selection of desired impedance: 50Kaq,
65Kao, and 90Ka. With MM type cartridge, frequency response
varies according to load impedance. For the cartridges which
tend to intensify the high frequency range, set the load impedance
at the 50Ka position. On the contrary, for those which tend to
attentuate, setting at 9OKQ is recommended. Because the car-
tridge of 65Ka is presently dominant in the market, this ampli-
fier’s selector is set at 65Ka.
€& PHONO-2 Terminal
Same as PHONO-1 Terminal, except that the input impedance is
fixed at 65Ka.
& TUNER terminal
For reproduction of tuner (AM/FM/LW/SW). The input level
can be adjusted by the Level Control for TUNER terminal (28).
Max. sensitivity, 100mvV.
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@ Level Control for TUNER Terminal
This ts a variable resistor to set an Input level of the TUNER
terminal. It can be used to adjust possible volume level devia-
tion at the time of selection of the Input Selector switch. This
amplifier is delivered with volume set at the extreme counter-
clockwise position.
@® @) AUX-1, 2 Terminals
These are auxiliary input terminals for playback of flat frequency
response such as AM/FM stereo-tuner, line output of a tape
recorder, or the audio output of a television receiver. Input sen-
sitivity, T100mV. Input level is not controflable in conjunction
with the Leve! Contro! for TUNER (28).
@ DECK-1 REC. OUT Terminal
(Recording Output Terminal)
A signal for recording is taken out from this terminal (always
available when an input signal is given to any of the input termi-
nals). In case the Dubbing Switch (13) is set at the “2 to 1”
position, the recording signals come from the DECK-2 recording
output terminal.
@ ‘“DECK-1” Monitor Terminal
Playback of the line output of a tape recorder is possible from
this terminal. It is put into operation when the Monitor Switch
(12) is set at the ‘“deck-1” position. In case a 3-head tape re-
corder is used, simultaneous playback monitoring is possible.
& “DECK-2” REC. OUT Terminal
(Recording Output Terminal)
Offers the same function as the DECK-1 REC. OUT terminal (31).
lf the Dubbing Switch is set at the 1 to 2” position, the signal
from the DECK-1 terminal is available. If the Dubbing Switch is
at the SOURCE position, the recording signals are fed to both
DECK-1 and DECK-2 terminals for simultaneous recording on
2 tape recorders. In case a matrix 4-CH decoder is used, this
terminal has to be connected with the input terminal of the
decoder with a pin jack cord.

@ ““DECK-2’’ Monitor Terminal
Functions the same as the DECK-1 terminal (32). Tape playback
is possible if the Monitor Switch Is set at the DECK-2/4ch posi-
tion. In case this amplifier is used as a 2-CH amplifier for a
matrix 4-CH system, 2 of 4 channels at the output side of the
decoder should be connected to this terminal, and the Monitor
Switch should be set at the “deck-2/4ch” position.
€ Pre Amplifier Section Output Terminal
(PRE OUT)
The whole output in the pre-amplifier section, including the tone
controls and the linear equalizer, can be taken out from this
terminal. Output voltage is 60OmV against the standard input.
When using a shield wire, there is no attenuation in the high
frequencies because this terminal has sufficiently low output
impedance of about 100. This terminal is for independent use
of the pre-amplifier, as well as for a mulit-amplifier system using
a channel divider. Usually, this terminal and the Main-Amplifier
Input Terminal (36) are coupled by a jumper cord.
€ Main-Amplifier Section Input Terminal
(MAIN IN)
The Main-Amplifier section can function independently when
the signal is passed through this terminal. The input sensitivity
is 6OOmvV. The variable Attenuator (19) is inserted just after this
terminal, permitting adjustment of the input level in case of the
independent use of the main-amplifier section.
& € Speaker Terminals
(Main and Remote)
The speaker systems should be connected to these terminals.
Press the cap of the terminal and insert the bare speaker cord
into the terminal hole, then release it. Firm connectionis now made,
These terminals are coupled with the speaker switches, and the
speaker switch must be set at the position corresponding to the
terminal to which the speaker systems are connected. 37 ts for
the main speaker, and 38 is for the remote speaker. The red
terminal is for (+) and the black for (—). For further details,
refer to Connection of Speakers (Page 9).
€ DC Fuses (RIGHT and LEFT SPEAKER)
Short circuit of the speaker terminals or extremely low impedance
given by the speakers may cause the DC fuses to blow out. In
such a case, ascertain the cause and correct it. Replacement of
the fuses is done by turning the fuse cap in the direction of the
arrow mark and inserting new fuse. Be sure that the mains cord
is disconnected.
& Mains Fuse
A 5A fuse is inserted in the mains power circuit of this amplifier.
If the fuse blows out, replace it, ascertain the cause and correct
it. Replace the fuse by turning the cap in the direction of the arrow
mark. Be sure that the mains power cord is disconnected.
@ Extra Mains Outlets
Convenient for supplying mains power to other equipment such
2s AM/FM tuner or record player. The terminals (41 UNSWITCH-
ED) are independent of the mains switch of the amplifier, while
the other (42 SWITCHED) is coupled with the mains switch.
The supply of the mains power depends on the mains switch.
The total capacity for the UNSWITCHED (41) terminals is
200W. The rated capacity for the SWITCHED (42) terminal is
1OOW.
€ Mains Connector
One end of the attached mains cord should be connected to this
point, while the other end with plug should be connected to the
mains power supply.

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Basic Connection
p
|
Connection to
Bese

Record
Player
Connections:
The player has 2 cords with pin plugs at their ends for both right
and
left
channels.
Connect
the
pin
plugs
to
the
input
terminals
of
this
amplifier
(PHONO-1
(24),
PHONO-2
(26).
The
player's
earth
lead
can
be
connected
to
the
GND
terminal
(22).
The
player's
power
flex
can
be
connected
to
the
extra
power
outlet
(41) of the amplifier.
This amplifier is provided with 2 input terminals (PHONO-1
&
PHONO-2)
to
be
selected
by
the
input
selector
switch.
This
Is
useful
for
comparison
or
using
two
record
players.
For
use
of
one
player, either of the two input terminals can be selected. But in
case
MM-type
cartridge
(Moving
Magnet)
is
used,
it
is
advisa-
ble
to
use
PHONO-1,
since
its
impedance
can
be
varied
(using
the
impedance
selector
at
the
bottom)
to
give
a
proper
load
to
the cartridge.
Bax fo}: BY LUX COMP JAPAN pPHONO)
SERIAL NO.
TO L 7
RECORD
Lo
|
PLAYER R ;
IMPEDANCE
DECK-1
Signal Paths:
Put the disc on the turn-table, switch on the phono motor,
and set the stylus on the groove of the disc. Then recorded signals
begin to be fed to the amplifier. First, the signals fed to the
amplifier through PHONO terminals are brought to the equalizer
section, where recorded signals are restored to the original fre-
quency curve. Incidentally, this equalizer curve has been
standardized to, the RIAA curve. The equalized signals are then
fed to the input selector switch (function switch). If this switch
is not set at PHONO position, the signals are blocked here and
no amplification is possible.
After equalization, the signals are divided into two channels
at sufficiently low impeaance (about 1002 to prevent possible
high frequency attenuation caused by long cables or floating
-—10—
capacitance) by the emitter-follower stage annexed at the last
portion of the equalizer section. From here, one line goes to
the REC OUT terminal, and the other to the tape monitor switch.
If the Monitor Switch (12) is set at the “SOURCE” position,
the signals are sent to the mode ‘selector switch, balance
and
volume
controls,
but
if
at
the
‘“-DECK-1"
or
“DECK-2”
po-
sition,
the
signals
are
stopped
at
the
tape
monitor
terminals.
Except
during tape playback, the monitor switch must be kept at the
“SOURCE”
position.
But
when
the
input
signals
are
fed
to
PHONO
or
AUX
terminals,
recording
output
is
always
obtainable
regardless of the position of the monitor switch. Then the signals
are
sent
to
the
volume
contro!
through
the
mode
selector
and
balance control.
Such
controls
as
Linear
Equalizer,
Low-cut
filter,
High-cut
filter,
Attenuator,
Low
booster,
and
Tone
controls
are
for
flexi-
ble
and
diversified
adjustment
of
playback
sound
and
do
not
block
the
signals
completely.
PREOUT MAIN IN
As long as the pre-main Jumper connector is hooked, the
signals
reach
the
speaker
circuits
amplified
by
the
main
ampli-
fier. Sound reproduction from speaker systems is thus realized
if the Speaker Selector switch is set at the position correspond-
ing
to
the
speaker
terminals
to
which
the
speakers
are
connected.
Playback
Put a disc on the turn-table for playback. As the volume
control is turned clockwise, playback sound comes from the
speakers. As explained above, playback is possible regardless
of the position of the Mode Selector, etc.. Input Selector Switch
(15), Monitor Switch (12), Pre-Main Amplifier Connection
Jumper, Speaker Switch (1) and Volume Control! (20) should
be set at the correct positions. After all preparations are com-
pleted, check if the volume levels on both right and left speakers
are identical. If different, adjust them with the Balance Control.
For Stereophonic playback, set the Mode Selector Switch to the
STEREO position.

CARTRIDGES
Types
There
are
various
types
of
cartridges:
magnetic
type,
photo-
electric
type.
electrostatic
type
and
piezo-electric
type.
Most
predominate
is
the
magnetic
type
which
includes
the
MM
(Mov-
ing
Magnet),
the
IM
(Induced
Magnet).
the
MI
(Moving
Iron)
and
the
MC
(Moving
Coil).
The
PHONO
terminals
of
this
ampli-
fier
are
designed
to
match
with
these
types
of
magnetic
car-
tridges,
but
a
cartridge
of
low
output
level
(output
voltage
0.01
to
0.1mV)
cannot
be
directly
connected.
(Refer
to
the
Step-up
Transformer
for
MC
Type
paragraph.)
lf
using
the
photo-electric
or
electrostatic
type
cartridge.
choose
appropriate
input
terminals
according
to
the
explanation
sheet
of
the
cartridge.
Among
the
piezo-electric
types,
there
are
crystal
types
and
ceramic
types.
Generally,
these
types
can
be
connected
to
the
AUX
terminals,
but
the
equalizer
characteristic
will
be
incorrect
(further
equalization
will
be
needed).
For
this
reason,
they
are
seldom
used
in
high
class
units.
Input
Impedance
The
PHONO-1
input
terminals
(24)
are
coupled
with
a
3-step
(50Ka,
65KaQ
and
90Ka)
impedance
selector
(25)
on
the
rear
panel.
Except
fora
special
low
impedance
type
cartridge,
almost
all
currently
marketed
cartridges
specify
recommended
load
impedance
of
30/1
OO
Ka.
tn
this
range,
the
cartridge
with
a
65Ka
load
impedance
is
by
far
predominate.
It
is
known
that
variation
of
the
load
impedance
value
affects
the
frequency
response
to
a
great
extent.
The
graph
shown
here
illustrates
this
point.
Notice
that
a
low
load
impedance
cuts
treble
output,
while
a
high
load
impedance
causes
a
peak
in
the
treble
range.
The
degree
of
such
effect
is
notthe
same
with
different
cartridges,
but
generally
a
cartridge
having
a
higher
output
impedance
tends
to
be
more
delicately
influenced.
It
is
therefore
necessary
that
selection
of
a
proper
input
impedance
is
made
with
this
control.
5d8 :
5dB
~ BOHz 100Hz
a
aan
aInaESsnIn
ann
|
|
Step-up
Transformer
Unit
for
MC
Type
Cartridges:
:
This
amplifier
does
not
have
connectors
for
exclusive
use
of
a
step-up
transformer.
However,
if
input
voltage
step-up
is
desir-
ed,
use
of
the
LUX
mode!
6521S
pin-plug
step-up
transformer
unit
is
recommended.
This
completely
new
step-up
transformer
is
extremely
compact
and
features
highly
efficient
performance.
Fitting
of
this
transformer
to
the
amplifier
is
accomplished
through
the
PHONO
terminals.
By
using
this
transformer,
low
output
level
phonograph
signals
from
a
MC
(Moving
Coil)
cartridge
can
be
boosted
by
30
times.
The
core
of
the
transformer
is
made
of
super-permalloy
material
to
ensure
superb
frequency
response.
Bisection
winding
coil
construction
and
complete
shielding
provision
for
the
core
perfectly
eliminate
induced
noise
from
external
sources.
Specifications
(6521S
trans
unit,
2
pes.
&a
pair)
Primary
end
impedance
Less
than
40
Secondary
end
impedance
More
than
30Ka
Step-up
ratio
138
Frequency
response
40
to
30,000Hz
Output
voltage
distortion
500mvV,
0.02%
Induced
noise
level
Less
than
—80dB/m
Weight 12 grams
tkKHz 7’ BH SS*«*WT' KHZ
Effect
of
the
Load
Impedance
on
the
frequency
response.

Playback
from
Tape
Monitor
Terminals:
Almost
all
tape-recorders
and
tape-decks
currently
marketed
include
an
audio
amplifier
in
their
circuitry,
and
some
tape-
players
are
made
exclusively
for
playback.
Connect
the
output
terminal
(LINE
OUT)
to
the
Tape
Monitor
terminals
(32)
&
(34).
Then
set
the
Monitor
Switch
at
the
cor-
responding
position
to
which
the
tape-recorder
is
connected.
If
two
tape-recorders
are
connected
to
the
terminals
(32)
and
(34),
selection
between
either
unit
is
possible
by
the
Tape
Moni-
tor
Switch
(12).
This
amplifier
can
be
divided
into
two
sections:
one
before
the
Recording
Output
terminals
(REC.
OUT)
and
the
other
after
the
Tape
Monitor
Switch.
A
3-head
tape-recorder
makes
it
feasible
to
make
recordings
with
the
former
section
and
simul-
taneously
make
playback
with
the
latter
section.
Note
that
a
normal
function
cannot
be
expected
if
2
or
3
sets
of
tape-recorders
for
playback
are
connected
to
the
terminals
of
TAPE-1,
Tape
Connector
(23)
and
the
Deck-1
playback
jack
(17)
at
the
same
time,
since
these
three
are
coupled
in
the
inside
circuit
and
affect
each
other.
Therefore,
if
the
Tape
Monitor
terminals
and
the
Tape
Connector
are
used,
the
tape-recorders
should
be
connected
to
the
terminals
of
TAPE-2
(with
the
Moni-
tor
Switch
at
the
Deck-2
position)
and
to
the
Tape
Connector.
OO LALA
TAPE DECK
t
TAPE DECK
= be
Playback from AUX Terminals:
Playback of tape is possible if the line output of the tape-
recorder or tape-deck is connected to the AUX terminals of this
amplifier by use of a pin-jack lead, and the Input Selector Switch
is set at the position corresponding to the AUX terminals. All
operations in this case are the same as those for the playback
from tuner (Page 14).
Note that when tape playback is made through the AUX
terminals, the fine input or AUX input terminals of the tape-
should be kept free. If connected to the Recording Output
terminals (REC. OUT) of the amplifier, there will be possible
oscillation by feed-back of signals.
Playback from Tape Connector:
This is a DIN connector and is convenient for simple connec-
tion with a patch cord between the tape-recorder and recording/
playback connectors of this amplifier. Playback from the Tape
Connector is possible if the Monitor Switch is set at the DECK-1
position. (Make certain to use DIN cord only, since the impedance
at REC OUT terminals is kept at 80KQ +10KaQ.)
Playback from Tape Jacks:
When the Tape Playback Jack (17) and the line output of the
tape-recorder are connected and the Monitor Switch (12) Is set
at the DECK-1 position, playback from the tape jack is possible.
In this case, it is necessary to modify the pin-jack cord to the
plug-cord as shown below.
OO
TAPE DECK
OO
TAPE DECK

Recording
on
Tape:
In
case
of
playback
of
various
programme
sources
through
input
terminals
of
this
amplifier,
the
same
signals
as
those
re-
produced
in
the
speakers
are
always
available
at
the
REC.
OUT
terminals
(31,
33)
and
the
Tape
Connector
(23).
By
connecting
these
terminals
to
the
input
terminals
(AUX
or
LINE
IN)
of
the
tape-recorder,
you
can
enjoy
simultaneous
recording
and
play-
back.
(It
is
recommended
that
the
Dubbing
Switch
be
kept
at
the
SOURCE
position.)
These
recording
signals
are
taken
out
beforé
the
tape
monitoring
stage,
and
there
is
no
influence
on
the
Filters,
Volume
or
Tone
Controls,
etc..
as
far
as
the
quality
of
the
recorded
signal
is
concerned.
Tape
Dubbing
(REPRINTING)
With
this
amplifier,
it
is
possible
to
reprint
from
one
tape-
recorder
to
another.
Connect
the
line
output
terminals
and
the
line
inout
(or
AUX)
terminals
of
one
tape-recorder
to
the
DECK-1
Monitor
and
REC
OUT
terminals
of
the
amplifier.
Like-
TO
TAPE
DECK
1
¢ dubbing
r dubbing
ito2 ito?
102
e
ch
7101
ch
,2%01
a2
to
Dubbing
Source
Dubbing
1
onto
2
2
onto
1
wise.
connect
the
line
input
and
output
of
the
other
tape-re-
corder
to
the
DECK-2
terminals.
Dubbing
is
now
possible
by
use
of
the
Dubbing
Switch.
At
the
“1
to
2”
position,
the
tape
of
DECK-1
terminals
can
be
reprinted
on
the
tape
of
the
DECK-2
terminals,
and
vice
versa
at
the
‘2
to
1”
position.
In
this
way.
repetition
of
switching
between
SOURCE
and
“1
to
2"
or
2
to
1"
makes
possible
a
comparison
of
the
master
tape
and
the
re-
printed
tape.
Except
when
actually
dubbing,
it
is
recommended
that
the
Dubbing
Switch
be
set
at
the
SOURCE
position.
43
Simultaneous Playback Monitoring:
A
3-head
tape-recorder
ensures
simultaneous
playback
monitoring
and
recording.
In
this
case,
recording
on
tape
and
playback
of
the
recorded
sound
is
done
at
the
same
time,
and
connections
must
be
made
for
both
functions.
It
is
necessary
to
connect
the
REC
OUT
terminals
(31
or
33)
to
the
line
input
terminals
(AUX
Input)
of
the
tape-recorder,
and
the
Tape
Moni-
tor
terminals
(32
or
34)
to
the
output
terminals
(LINE
OUT)
of
the
tape-recorder.
The Tape Monitor Switch (12) is set at the
position corresponding to the terminals to which
the tape-recorder is connected, and repetition of
switching between SOURCE and DECK-1 or
DECK-2/4CH allows a comparson to be made
between the original and the recorded sound.
Possible recording errors can thus be prevented.
Incidentally, note that reproduction of recorded
sound becomes a little delayed as compared with
that of original sound since there is a gap bet-
ween the recording head and the playback head.
Simultaneous playback monitoring can be
made through the Tape Connector (23) as well.
A single piece of DIN cord ensures connection
for recording and playback on the Tape Connector, and simple
operation of switching between SOURCE and DECK-1 ts
sufficient.
monitor -
deck-1
deck-2/Ach
Simultaneous Recording:
This amplifier is provided with two sets of REC OUT termi-
nals~enabling simultaneous recording on two tape-recorders.
If desired, a combination of recording on open-reel recorders
and/or cassette recorders can be accomplished. Moreover, if the
Tape Connector and Tape Jack are used, recording on four
tape-recorders or combinations is possible. The Dubbing Switch
must be set at SOURCE in this case.
This facility is useful for safer printing, effective recording, etc..
As the impedance at the REC OUT terminals is kept sufficiently
low (about 100), mutual interference will be almost nil between
the recorders under simultaneous recording.
Playback from Other Sources:
The signals of flat frequency response from such sources as
TV receivers do not need an equalizer stage. For playback of
such audio equipment, either of the AUX terminals or the TUNER
terminal can be used. Connection and operation is the same as
that of a tuner.

Playback from Tuner
Connect the tuner’s Output terminals (left and right) to either
of the amplifiers AUX terminals (29 or 30) or to the Tuner
terminals (27).
The Input Selector Switch (15) must be set at the correspond-
ing position. As shown in the block diagramme, the Input signals
from the tuner are fed directly to the input selector circuit. After-
wards, the signals trace the same blocks as are explained in
the TAPE DECK section and are reproduced from the speaker
systems. Both for FM stereophonic and monaural broadcasting,
the Mode Selector Switch should be set at the STEREO po-
sition, for such accommodation to the input source can be made
in the tuner. Modulation hum in the AM programme can be
eliminated by varying the distance and angle of these components.
Input Level Control:
The TUNER, AUX-1 and AUX-2 terminals are all for auxiliary
input terminals for the reproduction of flat frequency response.
For
the
TUNER
terminals
(27),
a
LEVEL
CONTROL
(28)
Is
pro-
vided.
The
input
sensitivity
is
100mV
when
the
control
is
at
the
extreme clockwise position. Any sensitivity exceeding 100mV
can be obtained by turning the control counter-clockwise.
If other programme sources are connected to the AUX termi-
nals, possible deviation of the input level among the various
sources can be adjusted by the LEVEL CONTROL if the pro-
gramme source with the highest output is connected to the
TUNER terminals.
tes
Operation
of Controls
Mode Selector:
This amplifier is for stereophonic reproduction and incorpo-
rates Independent amplifiers for two channels (right and left).
Without the Mode Selector, the signals fed to the right channel
terminal are reproduced at the right channel speaker only. The
Mode Selector is placed between the two amplifiers to change
the mode of reproduction.
Mode Selector Chart
connection
input output
knob position performance use
for normal
stereo playback
STEREO
NORMAL
normal stereo
playback
when program
STEREO R R /reversed stereo ,
Be source Is revers-
REVERSE L. L ‘playback | ly connected
right input
signal is repro-
MONO R jaa duced from both
right and lett | to+ monaural
speakers
left input signal
is reproduced
from both
right and left
speakers
program source
playback
or playback
of monaural
record with a
stereo phono
pick-up
right and left
input signals
are integrated
R R
MONO L+R,
Volume Control:
The variable resistor of this control yields an A type curve.
In the attenuation characteristics of A type, the turning angle ts
proportionate to the attenuation degree (dB), the dB value and
the volume audible to human ears. In other words, the rotation
of the control is in proportion to the sound volume felt by
human ears. The increasing degree of volume is felt quite natural-
ly as the control is turned itn the clockwise direction.
Attenuator Switch:
This switch should normally be kept fully clockwise for maxi-
mum sensitivity. When turned to the minimum position, the
volume is reduced by up to 18dB (about % power). If, however,
you should be using high efficiency loudspeakers, such as horn-
loaded types, setting the switch half way will make the main
volume control easier to use.
Another use for this switch is as follows; If you wish to use
the main power amplifiers separately, then this switch will adjust
their input sensitivities to match your other equipment.

Balance Control:
In
case
of
deviation
between
the
volume
Jevels
of
right
and
left
channels,
adjust
the
unbalanced
volume
level
with
this
contro!
(21).
A
complete
turn
of
the
control
to
either
the
clock-
wise
or
counter-clockwise
direction
causes
a
cut
off
of
the
volume
of
the
other
speaker.
The
volume
balance
of
both
chan-
nels
can
be
adjusted
so
that
monaural
disc
sound
reproduced
by
the
stereo
cartridge
comes
from
the
centre
of
the
right
and
left
channels.
At
mid
position,
the
volume
of
both
channels
is
adjust-
ed
to
the
same
level.
Thus,
a
proper
balance
is
established
through
all
playback
stages.
If
a
programme
source
is
un-
balanced
(or
the
speakers
are
placed
in
an
oblique
position),
establish
the
correct
balance
with
this
control.
BALANCER VOLUME CONTROL
LEFT CH.
AF AMP.
RIGHT CH.
AF AMP.
BALANCER
VOLUME CONTROL
Tone Controls:
The
ultimate
purpose
of
the
audio
system
is
to
make
high
fidelity
reproduction
of
programme
sources.
The
reproduction
and.
acoustic
conditions
do
not
always
match
with
recording
conditions,
and
it
is
impossible
to
reproduce
the
same
sound
as
the
original.
Also,
there
is
no
objective
standard
to
judge
a
good
sound
from
an
inferior
one.
The
only
possible
solution
is
for
every
listener
to
create
his
favorite
sound
according
to
his
own
taste.
It
is
therefore
very
important
that
the
audio
system
offers
a
facility
to
permit
flexible
controls
for
creation
of
the
best
sound.
This
amplifier
is
equipped
with
the
LUX
original
NF
type
turn-over
(roll-off)
frequency
selector
for
subtle
and
minute
control
of
the
reproduced
sound.
Tone
controls
include
Bass
Level
Control
(4),
Bass
Frequency
Selector
(5),
Treble
Level
Control
(6),
Treble
Frequency
Selector
(7)
and
Tone
Controls
Switch
(9).
lf
the
Tone
Controls
Switch
(9)
is
set
at
the
DEFEAT
position,
flat
frequency
response
Is
obtained
regardless
of
the
position
of
the
level
controls
and
frequency
selectors.
After
setting
the
Tone
Contro|
Switchs
(9)
at
the
NORMAL
position
and
controlling
the
levels
and
frequencies
as
desired,
you
can
again
obtain
flat
25s
frequency
response
by
resetting
the
Tone
Controls
Switch
at
the
DEFEAT
position:
controlled
tone
and
flat
tone
can
be
easily
recognized.
The
Bass
Frequency
Selector
(5)
has
three
positions:
150Hz,
300Hz
and
600Hz.
From
the
position
selected,
~~~"
Bass
Level
Control
(4)
begins
to
function.
In
‘
ee
other
words,
turn-over
(roll-off)
of
a
lower
frequency
range
below
the
frequency
which
has been selected can be controlled by the Bass
Level Control (4). The controllable range is
wider by 150Hz, 300Hz and 600Hz respectively.
The Bass Level Control, which functions in
conjunction with the Bass Frequency Selector,
is a tone contro! of the lower range of the fre- ae
quency response. It is designed so that response © = re
is
flat
at
the
mid-position.
A
clockwise
turn
intensifies
the
low
frequency
range,
while
a
counter-clockwise
turn
yields
attenua-
tion. For easy adjustment, the control is equipped with an 11-
point click-stopper.
This contro! is of dual concentric construction, and usually
both channels are controlled simultaneously.
Separate contro! of either channel! is possible if oe — tess
one axis is turned while the other is held by
hand. The inner axis is for the left channel and
the outer axis is for the right channel.
These same descriptions are applicable to the
Treble Level Control (6) and the Treble Fre-
quency Selector (7). The Treble Frequency
Selector has 3 positions: 6KHz, 3KHz and 1.5KHz
(controllable range is wider in this respective Gs
order).
Treble
control
begins
to
function
ffOM
sencym:
2
the position that is selected. This control also ~~ ™™ =m
has an 11-point click-stopper, and a clockwise turn boosts the
high frequency range. It is of dual concentric construction like
the Bass Level Control.
For details of these tone controls’ characteristics, refer to the
attached chart concerning the response curve.
Mode Chart
LER T
CHANNEL
CHANNEL
MODE
l.mono L. 2.muoeno R 3L+R
RIGHT
CHANNEL
RIGHT
CHANNEL

The Linear Equalizer:
Although recordings are equalized in accordance with RIAA
standards,
it
is
quite
Common
to
encounter
variations
in
overall
tonal
balance
from
one
recording
to
the
next.
In
addition,
dif-
ferences in listening environment and room acoustics often
require subtle degrees of tonal compensation that conventional
tone controls cannot correct because of their wide range and
overlapping crossover characteristics.
THE LINEAR EQUALIZER control
provides a new form of tonal compen-
sation specifically intended for subtly
augmenting regular tonecontrols. With
the contro! in its mid-position, flat
frequency response is_ achieved.
Switched to either of the two “up-tilt”
positions, the entire response curve is
rotated about a 1KHz fixed axis so as to linearly increase treble
response while simultaneously decreasing bass response. Con-
versely, selection of one of the “down-tilt” positions rotates the
response curve in a clockwise direction, providing a gradual
decrease of treble response and simultaneous increase of bass
response. Degree of slope for either positive or negative settings
has been carefully preset, and the overall response curve
maintains complete linearity from 50Hz to above 10KHz, unlike
the curvature in response normally associated with ordinary tone
controls.
Specifically, when the contro! is turned to the first “up-tilt’
position, it will decrease bass and increase treble by 1.5dB at
100Hz and 10KHz respectively, while selection of the second
“up-tilt’” position will result in a 3dB cut and boost at these same
frequencies. Selection of the first “down-tilt” position will de-
crease treble and increase bass by 1.5dB at the same reference
frequencies, while the second “down-tilt” position provides
3dB of cut (at 100Hz) and boost (at 10KHz).
Combined use of the LINEAR EQUALIZER and conventional
tone controls provides a degree of tonal flexibility which cannot
be achieved with any other tone control arrangement presently
available. Because of the inherently linear nature of this new
circuit, it introduces no increase of harmonic distortion at any of
its settings.
LINEAR EQUALIZER
Linear Equalizer “up-tilt”’
“down-tilt’”’
AG
Low Cut Filter:
When this filter (10) is moved up from the
centre NORMAL position, the low frequencies
you hear are cut off below 7OHz at the rate of
6dB/Octave. When, it is moved down, the low
frequencies are cut off below 20Hz. Thus, it is
useful for removing low frequency noise such as
rumbling of the phono motor. It can also be used
as an auxiliary control for Bass Level! Control.
“, loweut hi
20Hz
High Cut Filter:
When this filter (11) is moved up from the it highcut m
centre NORMAL position, the high frequency : 7KHz dé
range over 7KHz is cut off at the attenuation rate |
of 6dB/Octave. When moved down, the high
frequencies over 12KHz are cut off. Thus, it is
useful for removing scratch or hissing noise and
can also be used as an auxiliary control for Treble
Level Control.
z I2KHz de
Operation of Low Booster
The Tone Controls Switch (9) has two func-
tions: tone defeater and low booster. When this
switch is set at the LOW BOOST position, the
low frequency range below 7OHz is boosted
with a slope of 6dB/Octave in addition to other
tone controls. This circuit, effective only on the
extreme low frequency range, allows flexible and
versatile tone adjustment. For instance, probable
rise-up in a small room of approximately 10m2
in the neighbourhood of 150 to 200Hz can be
subdued with this control by lowering the bass level to the 300Hz
position on the Bass Frequency Selector. This process can sup-
press such unnecessary rise-up without spoiling the response
at the extreme low frequency range. Moreover, when the human
voice sounds unnaturally stout, it can be adjusted to a Clear,
natural voice by switching on this booster and cutting the low
frequency range a small extent with the Bass Level Control.
low boost
tone defeat

4-Channel
System
At
present
there
are
many
4-channel
systems
available,
Of
these,
the
three
most
popular
systems
are
the
CD-4®
_
(com-
pletely
discrete
disc),
the
R.M.@®
(Regular
Matrix)
and
the
S.0.®
systems.
Even
though
the
LUXMAN
L-308
is
a
2-channel
ampli-
fier,
it
can
be
used
with
other
equipment
to
provide
4-channel
sound.
If
you
use
a
CD4@®
de-modulator
unit,
there
will
be
four
output
terminals.
Connect
two
of
these
(such
as
Left-Front
and
Right-Front)
to
the
AUX-1
input
terminals
of
the
amplifier.
For
details,
refer
to
the
De-modulator
Instruction
Manual.
Front-Left
RL RR
Rear-Left
Demodulator
lf you use either the R.M.® or S.O.® system, again connect
two of the four outputs to the AUX-1 inputs. However, most
of the available de-modulators do not have built-in Phono
amplifiers. Therefore, to use a de-modulator with your record-
player, connect the inputs of the de-modulator to the Tape-1
outputs of the amplifier and use the amplifier’s Phono-1 inputs
for the turntable. For more details, consult the De-modulator
Instruction Manual.
A word of caution! For correct phasing, there are marks on
the back panel: @ over the Tuner, Aux, and Monitor inputs and®
over the Main-In terminals. These marks mean that the speaker
output is in phase ® or out of phase ® with the inputs.
Front-Right
Rear-Right

T.H.D. Vs. POWER PHONO Input Voltage (Output: REC. OUT Terminal)
“ ° Py —— a ee ee il ee ee eee ee
5OHz 100Hz. Ssi(‘<i«é‘sé«S Hz KH 'BkH2 10kHz
0.05W O.1W 0.2W O.5W 1W 2w 5W 10W =. 20W 5OW
(Input: Main in, Load 89, Both channel driven)
I.M.D.Vs. POWER Equalizer (Output: REC. OUT Terminal)
~BOHz 100Hz
iW Frequency .
(Input: main in Frequency & Modulation ratio 7OHz: 7kHz= 4: 1) ;
Ap

aig
POWER BANDWIDTH 802 load OdB: 30W
oss” a
| 5OHz 100Hz 500Hz 1kHz 5kHz 10kHz 50kHz
DAMPING FACTOR 82 ioad 1W output
100
50.
DAMPING
FACTOR
50H2z 100Hz 5KOOHZ 1kHz 5kHz tOkHz 5OkHz
LINEAR EQUALIZER
epeisare A-Up-tilt 2 B-Up-tlt 1, C-Flal- D-Down-tilt 1 ‘E -Downetilt 2)
1248 i 3,
BiB”
Pen
0dB
— 4dB
—8dB
20Hz _ 50Hz ~ 100H2 | 200Hz 500H z kHz | 2kHz 5kHz 10kKHz 20kHz
n24Q=
12dB :
84B
4dB
OdB :
— 4dB '
— 8dB
—12d8 ©
12dB °-
8dB :
4dB :
ue
~ 4dB ;
= dB.
—12dB |
12dB
8d8
4dB
odB
— 4dB
— 8d8
—12¢8
BASS TONE CONTROL
Turn-over (Rol-off} Frequency; 150Hz
50Hz 100Hz
500HZ 1kH2z
5SkHz tOkHz
BASS TONE CONTROL
Turn-over (Roll-off} Frequency; 300Hz
~ BOHz 100Hz
500Hz 1kHz 5kHz 1OkHz
BASS TONE CONTROL
Turn-over (Roll-off) Frequency: 600Hz
-BOH? 100Hz
500Hz tkHz
5kHz 10kHz
50kHz
50kHz
5O0kHz
TREBLE TONE CONTROL
Turn-over {Roll-off) Frequency: 6kHz
ee
848
4dBi
5OHz 100Hz 500H2 1kHz 5kKHz 10kHz 5OkKHzZ
TREBLE TONE CONTROL
Turn-over (Roll-off) Frequency: 3kHz
8B. .
4dB2
OdB:
err: ae
-- 8dB
—12dB°.
50Rz 100Hz 500Hz ikHz S5kHz 10kHz 5OkH2
TREBLE TONE CONTROL
Turn-over {Roll-off) Frequency; 1.5kHz
12dB
8dB
4dB
odB
408
-- 8dB
— 12dB
. BkHz 10kHz
5OHz 100Hz 00H z IkHz
=e