Marantz PROFESSIONAL PMD740 User manual

Model PMD740 User Guide
6
Channel
Mixer/4
Track
Recorder
PROFESSIONAL
HRB en Bean Bae a2’

WARRANTY
For warranty information, contact your local Marantz distributor.
RETAIN YOUR PURCHASE RECEIPT
Your purchase receipt is your permanent record of a valuable purchase. It should be
kept ina safe place to be referred to as necessary for insurance purposes of when
corresponding with Marantz.
IMPORTANT
When seeking warranty service, it is the responsibility of the consumer to establish
proof and date of purchase. Your purchase receipt or invoice is adequate for such
proof.
FOR U.K. ONLY
This undertaking is in addition to a consumer's statutory rights and does not affect
those rights in any way.
FRANCAIS.
GARANTIE
Pour des informations sur la garantie, contacter le distributeur local Marantz.
CONSERVER L’ATTESTATION D’ACHAT
L'attestation d’achat est la preuve permanente d'un achat de valeur. La conserver
en lieur sur pour s'y reporter aux fins d’obtention d'une couverture d'assurance Ou
dans le cadre de correspondances avec Marantz.
IMPORTANT
Pour !’obtention d'un service couvert par la garantie, il incombe au client d’établir la
preuve de lachat et d’en corroborer la date. Le regu ou la facture constituent des
preuves suffisantes.
DEUTSCH
GARANTIE
Bei Garantiefragen wenden Sie sich bitte an thren Marantz-Handler.
HEBEN SIE IHRE QUITTUNG GUT AUF
Die Quittung dient Ihnen als bleibende Unterlage fur Ihren wertvollen Einkauf Das
Aufoewahren der Quittung ist wichtig, da die darin enthaltenen Angaben fur
Versicherungszwecke oder bei Korrespondenz mit Marantz angefthrt werden
mussen.
WICHTIG!
Bei Garantiefragen mu der Kunde eine Kaufunterlage mit kaufdatum vorlegen, Ihre
Quittung.oder Rechnung ist als Unterlage ausreichend.
CONDIZIONI DI GARANZIA
L’apparecchio é garantito per 365 giorni dalla data di acquisto comprovats Gia un
documento attestante il nominativo de! rivenditore e fa data di vendita. La gi/anzia
sara prestata con la sostituzione o riparazione gratuita delle parti difettose.
Non sono coperti da garanzia difetti derivanti da uso improprio, errata install ione,
manutenzione effettuata da personale non autorizzato 0, comunque, da circostanze
che non passano riferirsi a difetti di funzionamento dell’apparecchio.
Sono inoltre esclusi dalla garanzia gli interventi inerenti l'installazione e !’alexccia-
mento agli impianti di alimentazione.
Gli apparecchi verranno riparati presso i nostri Centri di Assistenza. Le spese ed i
rischi di trasporto sono a carico del cliente.
La casa costruttrice declina ogni responsabilita per danni diretti o indiretti prov ocati
dalla inosservanza delle prescrizioni di installazione, uso e Manutenzione dettegliate
nel presente manuale.
Per informazioni sull’abbonamento al servizio Assistenza postgaranzia e pef Cono-
scere l'indirizzo dei Centri Assistenza Marantz rivolgetevi al nostro servizio con-
sumatori (telefono 1678-20026 — numero verde).
GARANTIA
Para informacion sobre las Condiciones de Garantia, sirvase consultar el Certificado
que encontaré en le interior del embalaje del equipo.
CONSERVE EL COMPROBANTE DE LA COMPRA
La factura es el comprobante de la adquisicion de un producto valioso. Consérvela
en lugar seguro para poder consultarla en caso necesario.
IMPORTANTE
4a

CONTENTS LIST
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Seite
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Specifications
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page
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FIQUIES
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page
59
ENGLISH:
This
unit
meets
the
requirements
of
ECC
Recommendation
82/499.
FRANCAIS:
Cet
appareil
est
conforme
aux
directives
82/499
de
la
CEE.
DEUTSCH:
Dieses
Gerat
entspricht
der
EWG
-
Eiotehiting
82/499.
ITALIANO:
Questo
apparecchio
é
conforme
ai
requisiti
della
direttiva
CEE
82/
499.
ESPANOL:
Este
equipo
cumple
las
Directrices
82/499
de
la
C.E.E.

FOREWORD
This
section
must
be
read
carefully
before
any
connection
is
made
to
the
mains
supply.
WARNINGS
Do not expose the equipment to rain or moisture.
Do not remove the cover from the equipment.
Do
not
insert
anything
into
the
equipment
through
the
ventilation
holes.
Do not handle the mains lead with wet hands.
COPYRIGHT
Recording
and
playback
of
some
material
may
require
permission.
For
further
information
refer
to
the
following:
~ Copyright Act 1956
~ Dramatic and Musical Performers Act 1958
—- Performers Protection Acts 1963, and 1972
—- Any subsequent statutory enactments and orders
PRECAUTIONS
The
following
precautions
should
be
taken
when
operating
the
equipment.
GENERAL
PRECAUTIONS
When installing the equipment ensure that:
— the ventilation holes are not covered.
-air is allowed to circulate freely around the equipment.
- it is placed on a vibration-free surface.
- it will not be exposed to excessive heat, cold, moisture or dust.
— it will not be exposed to direct sunlight.
— it will not be exposed to electrostatic discharges.
In addition, never place heavy objects on the equipment.
lf
a
foreign
object
or
water
does
enter
the
equipment,
contact
your
nearest
dealer
or
service
center.
Do not pull out the plug by pulling on the mains lead; grasp the plug.
It
is
advisable
when
leaving
the
house,
or
during
a
thunderstorm,
to
disconnect
the
equipment
from
the
mains
supply.

Really
Important
Stuff
to
Know
Before
You
Start
1.
Track
Format:
4
tracks
on
a
standard
cassette
Stereo
music
requires
2
tracks
of
tape—one
for
the
left
speaker,
and
one
for
the
right
speaker.
That
is
why
stereo
tape
is
sometimes
referred
to
as
2-track
tape.
Stereo
cassettes
actually
have
4
tracks
on
the
tape.
Tracks
1
and
2
comprise
the
stereo
music
on
side
A,
and
tracks
3
and
4
comprise
the
stereo
music
on
side
B.
See
figure
1.
In
order
to
record
and
play
4
tracks
simultaneously,
the
PMD740
uses
the
two
tracks
from
side
A
and
the
two
tracks
from
side
B
at
the
same
time.
See
figure
2.
Effectively,
PMD740
4-track
tapes
do
not
have
a
side
B—they
only
have
a
side
A.
(Fig
1)
Normal
Stereo
Cassette
Track
Format
(Fig
2)PMD
740
4
track
format
PLAYING
SIDE
A
PLAYING
SIDE
B
You
cannot
turn
a
PMD740
four
track
tape
over,
and
record
more
tracks
on
side
B.
To
protect
yourself
from
accidentally
using
side
B,
and
destroying
your
work,
you
can
break
the
record
protect
tab
on the
top
right
side
of
the
tape
(looking
at
side
A).
2. Tape Type
The
PMD740
is
designed
to
provide
optimum
performance
with
high
quality
chrome
tapes
(sometimes
called
CrO,,
Type
Il,
or
High-position
tape).
Marantz
recommends
the
use
of
these
chrome
tapes
in
C-80
(90
minute)
or
C-60
(60
minute)
lengths.
Longer
tapes
(C-100,
C-120)
may
be
too
thin
to
maintain
sound
quality
during
heavy
use
(such
as
long
overdub
sessions},
and
shorter
tape
will
not
provide
much
recording
time.
Because
you
cannot
use
side
B
of
the
tape,
a
C-60
=
30
minutes
of
recording
at
normal
speed,
and
15
minutes
of
recording
at
high
(double)
speed.
3. Impedance >
When
you
connect
other
equipment
to
the
PMD740,
be
aware
of
impedance
matching.
As
a
rule,
you
may
connect
lower-impedance
outputs
to
higher-impedance
inputs.
4. Power supply
The
PMD740
is
shipped
with
a
DC
power
supply.
if
any
DC
adaptor
other
than
the
DA7AOPMD
is
used,
be
sure
that
the
voltage,
amperage,
and
polarity
of
the
adaptor
are
the
same
as
that
of
the
DA740PMD.
a)
e—D-O
Polarity of AC adaptor.

BUTTONS AND CONTROLS (See page 59,60)
@) INPUT SELECTOR SWITCH (Channels 1-4)
These switches select the source of input to the mixer section.
MIC/LINE
In the Mic/Line position, the input for that channel will come from the back panel XLR or 1/4" jack
for that channel. See also the XLR switch,
OFF
The off position is used to mute all input to that channel.
TAPE
When Channels 1-4 have “Tape” selected as their input source, the corresponding tape track will be
routed to that channel, instead of the Mic or Line source plugged into the back. For example, if channel
3 is set to “Tape” input, then channel 3 will get it’s signal from tape track 3, regardless of what is
plugged into Mic or Line input #3 on the back panel.
(2) DIRECT ASSIGN SWITCH (Channels 5 and 6)
The Direct Assign switch allows you to route the output of channels 5 and 6 directly to one track,
before being mixed with other channels, effects, etc. This is useful for recording an isolated signal
on a track of it's own, while still being able to hear it in the mix.
Channel 5
The Direct Assign Switch for Channel 5 has three positions: TRK 1, DIRECT OFF (L/R) and TRK 3.
Channel 6
The Direct Assign Switch for Channel 6 has three positions: TRK 2, DIRECT OFF (L/R) and TRK 4.
@) XLR SWITCH (Channels 1-4)
These switches are found only on the first four channels. When they are in the BAL (down) position,
the channel is expecting input from its XLR connector. When in the UNBAL (up) position, the channel
will expect input from its 1/4" connector. Both can be used for either mic or line level inputs.
@ TRIM CONTROL
When the channel input selector is set to TAPE, this knob has no effect. The TAPE input level is
fixed.
When the input selector is switched to MIC/LINE, these controls adjust how much signal goes from
the channel input jack (on the back panel) to the preamplifier for that channel. This is only the first
“gain stage” for the channel. If you use this control to set a “rough” volume level, you can use
other controls for finer adjustment.
(©) Hl EQ/LOW EQ CONTROL
These Equalization controls are found on each of channels 1-6. They control the High (Treble) and
Low (Bass) frequency content of the signal on that channel.
© MID EQ GAIN (Channels 1-4)
Like the HI and LOW EQ controls, the MID EQ has control! over amplification and attenuation (sométimes
called boost and cut) of a range of frequencies.
@ MID EO SHIFT (Channels 1-4) ;
The HI EQ affects all frequencies above a certain “hinge” frequency (10 KHz). The .LOW EQ affects
all bands below a certain “hinge” frequency (100 Hz).. The MID EQ affects a group, or “band” of
frequencies in between.
The MID EQ SHIFT control sets the middle point, or “center frequency” for this band. If this control
is turned all the way to the left, then the MID EO GAIN will control a band of frequencies centered
around approximately 160 Hz. If this control is turned all the way to the right, then the MiD EQ GAIN
will control a band of frequencies centered around approximately 7.5 KHz.

OQ
FACTOR
(Channels
1-4)
;
Let's
say
that
we
have
chosen
4
center
frequency
with
the
MID
EQ
SHIFT
control
above.
We
know
the
center
frequency
of
the
band,
but
we
don't
know
the
bandwidth.
Put
another
way,
we
know
that
we
are
going
to
control
a
“group”
of
frequencies,
but
we
don't
know
how
big
this
group
is.
The
Q
FACTOR
control
lets
us
specify
a
NARROW
band
(small
group)
of
frequencies,
or
a
WIDE
band
(large
group
of
frequencies).
With
the
switch
in
the
NARROW
(up)
position,
the
EQ
curve
rolls
off
at
12
dB
per
octave,
on
either
side
of
the
center
frequency.
With
the
switch
in
the
WIDE
(down)
position,
the
EQ
curve
rolls
off
at
6
dB
per
octave
on
either
side
of
the
center
frequency.
(@) EFFECT
With
this
control,
each
channel
can
individually
adjust
how
much
of
its
signal
will
go
the
effects
bus.
EFFECT
MASTER
The
EFFECT
MASTER
controls
the
total
output
level
of
the
entire
EFFECTS
BUS.
@i)
EFFECT
RETURN
After
the
signal
leaves
the
effects
bus,
via
the
EFFECT
OUT
on
the
rear
panel,
it
is
processed
by
your
effects
unit,
and
the
new,
modified
signal
is
returned
to
the
PMD740.
It
enters
the
PMD740
-through
the
stereo
EFFECTS
RETURN
JACKS
on
the
rear
panel,
and
then
SOME
of
it
is
mixed
back
into
the
stereo
bus.
HOW
MUCH
of
this
signal
is
mixed
into
the
stereo
bus,
is
controlled
by
the
EFFECT
RETURN
knob.
(2 PAN
All
6
channels
are
routed
to
the
stereo
bus.
How
much
signal
goes
to
the
left
side,
and
how
much
goes
to
the
right
side
is
controlled
by
the
PAN
(panorama)
controls.
43)
CHANNEL
FADERS
The
CHANNEL
FADER
is
the
second
gain
stage.
Once
a
general
level
is
set
at
the
TRIM
control,
this
fader
can
be
used
to
make
further
adjustments
to
the
volume
of
the
signal.
The
signals
from
all
of
the
CHANNEL
FADERS
are
combined,
and
then
go
to
the
STEREO
BUS.
The
total
level
of
this
combined
signal
is
controlled
by
the
MASTER
FADER.
MASTER FADER
After
all
six
channels
of
the
mixer,
the
stereo
line
input
and
the
effects
return
have
been
combined
on
the
stereo
bus,
the
master
fader
controls
the
master
level
of
this
combined
signal
which
is
then
sent
to
the
stereo
line
outs,
and
to
the
headphones.
@5)
PHONES
1
This
knob
controls
output
volume
of
the
PHONES
1
jack
on
the
front
panel.
PHONES
1
always
monitors
the
STEREO
BUS
(line
out)
PHONES
2
This
knob
controls
output
volume
of
the
PHONES
2
jack
on
the
front
panel.
The
signal
going
to
PHONES
2
can
be
switched
with
the
PHONES
2
SELECTOR
switch.
47)
PHONES
2
SELECTOR
The
PMD740
has
two
independent
headphone
jacks.
While
the
first
is
exclusively
for
monitoring
the
STEREO
BUS,
the
second
can
be
switched
between
three
sources.
Depending
on
the
position
of
this
switch,
PHONES
2
will
monitor
1)
the
STEREO
BUS,
2)
the
tape
CUE
combined
with
the
STEREO
BUS,
or
3)
the
EFFECTS
BUS.
SYNC
The
SYNC
switch
re-routes
the
input
and
output
of
track
4
to
the
special
SYNC
IN/OUT
terminals
on
the
back
of
the
PMD740.
This
allows
a
permanent
connection
to
a
MIDI.
or
SMPTE
synchronizer,
without
tying
up
mixer
channels,
and
without
tying
up
track
4
on
non-SYNC
recordings.
When
the
SYNC
switch
is
ON,
track
4
is
re-routed
to
the
SYNC
IN/OUT
on
the
back
panel.
When
SYNC
is
OFF,
track
4
is
not
re-routed,
and
behaves
like
any
other
track.

SYNC OUT
The
SYNC
OUT
knob
controls
the
level
at
which
sync
tones
are
output.
Various
kinds
of
synchronizrs
require
different
level
signals
at
their
input.
This
control
allows
you
to
match
the
PMD740’s
sync
output
level
with
the
input
level
of
your
synchronizer.
The
sync
tone
must
already
have
been
properly
recorded
on
track
4,
and
the
SYNC
switch
must
be
set
to
ON
before
this
control
has
any
effect.
In
most
cases,
the
SYNC
OUT
control
will
be
set
at
the
NORM
(hard
right)
position.
If
the
output
SYNC
signal
is
too
strong,
it
may
be
attenuated
by
turning
the
SYNC
knob
to
the
Left.
¢ NOTE
dbx
noise
reduction
may
interfere
with
using
a
synchronizer.
Test
your syne
system
with
dix
on,
and
if
you
encounter
problems,
leave
dbx
off
for
your
synchronized
recordings.
;
Also
note
that
recording
onto
Track
3
at
high
levels
while
synchronizing
may
interfere
with
the
SYNC
output.
If
you
are
recording
to
Track
3,
and
are
having
trouble
synchronizing,
try
recording
to
Track
3
at
a
lower
level.
METER SELECTOR
This
switch
selects
either
of
the
two
meter
modes.
With
the
switch
in
the
TRK
position,
met@rs
1-4
show
the
signal
recorded
on
their
respective
tracks.
In
L/R/CUE/EFFECT,
meters
1-4
show
the
following:
Meter 1: Left side of the STEREO BUS
Meter 2: Right side of the STEREO BUS
Meter 3: Master output level of the CUE BUS
Meter 4: Master output level of the EFFECTS BUS
@) VU METER
These
four
large
VU
meters
are
backlit
in
green
for
easy
viewing
from
a
distance
or
in
a
dark
studio.
When
a
track
enters
record
mode,
the
corresponding
meter
light
will
change
from
green
to
red,
to
indicate
recording.
When
the
track
is
no
longer
recording,
the
meter
changes
back
to
green.
Note
that
while
other
indicators
light
to
show
that
tracks
are
armed
or
that
the
machine
is
in
record-pause
mode,
the
VU
meter
color
does
not
change
until
the
transport
is
moving,
and
the
unit
is
ACTUALLY
RECORDING.
This
is
an
excellent
form
of
visual
feedback,
to
monitor
the
functioning
of
the
PMD740.
@2) TAPE CUE
These
controls
adjust
the
level
of
each
track
going
to
the
cue
bus.
This
signal
is
then
sent
to
the
CUE
OUT
on
the
rear
panel.
This
signal
may
also
be
sent
to
the
output
of
PHONES
2
if
the
PHONES
2
SELECTOR
switch
is
set
to
CUE.
@3) RECORD SELECT Switches and LEDs
These
switches
serve
two
functions.
First,
they
arm
and
disarm
each
track
for
recording—i.e.,
they
make
it
possible
or
impossible
to
record
on
a
track.
With
a
switch
in
the
SAFE
position,
the
track
is
SAFE
(or
“disarmed”).
This
means
that
you
cannot
accidentally
record
on
that
track.
This
is
particularly
important
when
you
finally
get
“the
perfect
take”
of
a
guitar
solo,
and
you
want
to
protect
yourself
from
mistakenly
recording
over
it.
When
a
switch
is
in
the
LEFT,
RIGHT,
or
DIRECT
positions,
it
is
considered
“armed”.
The
red
light
flashes
on
next
to
the
switch,
and
it
is
possible
to
record
onto
that track.
The
second
function
the
RECORD
SELECT
switches
serve,
is
to
designate
a
source
for
recording.
dbx NR
This
is
the
On/Off
switch
for
the
dbx
noise
reduction
system.
dbx
is
an
Encode/Decode
system
of
noise
reduction.
This
means
that
the
system
does
half
of
its
work
when
recording
the
tape
(encoding),
and
half
of
its
work
while
playing
the
encoded
tape
back
(decoding).
Therefore,
it
is
very
important
that
tapes
recorded
with
dbx
on,
be
played
back
with
dbx
on.
Also,
tapes
recorded
with
dbx
off
should
be
played
back
with
dbx
off.
@) PITCH CONTROL
This
slider
allows
+/-
10%
variation
in
tape
speed,
and
the
associated
pitch
changes.
This
can
be
used
to
correct
tunings
or
for
special
effects.
A
center
detente
allows
you
to
locate
the
“normal”
speed
by
feeling
for the center “click”.

SPEED
This
switch
selects
one
of
the
PMD740's
two
tape
speeds.
The
higher
tape
speed
provides
lower
noise,
and
better
frequency
response,
so
we
recommend
that
all
important
recordings
be
made
on
high speed.
@? TAPE COUNTER
This
display
shows
the
current
tape
counter
location,
in
addition
to
the
location
of
various
memory
points, etc.
There
are
several
LEDs
located
on
the
TAPE
COUNTER
display,
directly
above
the
numbers.
These
LEDs
indicate
what
the
number
on
the
display
means.
You
can
press
the
DISPLAY
button
to
step
through
the
various
display modes.
AUTO FUNCTIONS
This
section
is
used
for
the
operation
of
the
PMD740's
Automatic
functions.
While
the
specific
operation
is
covered
in
more
detail
in
another
section,
we
will
define
the
keys
and
their
basic
functions
here.
MEMORY 1) : This key defines MEMORY 1 as the current tape location.
MEMORY 2) : This key defines MEMORY 2 as the current tape location.
: This key will fast wind (forward or reverse) to 0000 on the TAPE COUNTER
: This key will fast wind (forward or reverse) to MEMORY 1 on the TAPE COUNTER
: This key toggles the Auto-Rewind mode. When this mode is ON, the transport will
automatically rewind to MEMORY 1 when it hits MEMORY 2.
AUTO >) : This key toggles the Auto-Play mode. When this mode is ON, the transport will
automatically enter PLAY mode when the transport stops. This is particularly useful
in conjunction with the key, to begin playback at a specific point, or in conjunction
with the G@@«<«2) key, to hear and rehearse a section repetitively.
| §aag
AUTO REC) : This key engages the AUTO-RECORD MODE. Its operation is covered in much
greater detail in the Advanced Recording Section.
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AUTO

PLAY
Press
this
button
to
start
playback
of
the
tape.
If
the
tape
is
in
record-pause
mode,
you
can
press
this
button
to
begin
recording.
See
also
#33.
When
the
PLAY
button
and
the
FF
(or
REW)
button
are
pressed
simultaneously,
the
tape
transp?
rt
will
enter
cue
(review)
mode.
You
will
now
hear
the
contents
of
the
tape
played
at
the
Fast-wind
speed.
This
is
very
useful
for
locating
a
section
of
a
partially
recorded
tape
for
playback
or
recording.
Once
in
cue/review
mode,
releasing
the
FF/REW
button
will
re-enter
normal
play
mode.
You
(an
toggle
cue/
review
and
play
modes
by
holding
down
the
play
button,
and
toggling
the
fast
wind
buttons.
FF
Press
this
button
to
FAST
FORWARD
the
tape.
(See
also
‘CUE’
in
‘PLAY’
above.)
@)
REW
Press
this
button
to
rewind
the
tape.
(See
also
‘REVIEW’
in
‘PLAY’
above).
@2 STOP
Press this button to stop the tape.
@3) REC
Press
this
button
to
enter
record-pause
mode.
Then
press
play,
or
pause
to
begin
recording.
@4 REC indicator
This
LED,
located
above
the
record
button,
can
have
any
one
of
three
values.
Each
value
shows
the status of the recorder.
RED
You
are
currently
in
record-pause,
or
record-play
mode,
and
tracks
are
selected
(armed)
by
the
RECORD
SELECT
switches.
GREEN
You
are
currently
in
record-pause,
or
record-play
mode,
but
no
tracks
are
selected
by
the
RECORD
SELECT
switches.
If
any
track
is
selected,
that
track
will
immediately
enter
record.
NO
LIGHT
You
are
not
in
record
mode,
and
cannot
record,
regardless
of
which
(if
any)
tracks
are
armed
with
the
RECORD
SELECT
switches.
@) PAUSE
During
playback
or
record,
this
button
will
stop
the
transport,
but
it
will
not
disengage
the
heads.
To
start
the
transport
again,
press
the
pause
button
again.
This
is
called
“releasing”
the
transport
from
pause
mode.
Pausing
and
releasing
the
transport
allows
you
to
start
and
stop
the
tape
more
quickly
and
accurately
than
is
possible
with
STOP
and
PLAY.
In
record
mode,
engaging
pause
will
stop
the
transport,
but
still
allow
you
to
monitor
source
signals
on
the
VU
meters,
whereas
pressing
stop
will
not
allow
you
to
monitor
source
signals.

Front
and
Rear
Panel
Connections
Drawing of front panel
PHONES 1 and 2
PHONES
1
and
2
jacks
are
stereo
1/4"
(TRS)
jacks,
for
connecting
2
pairs
of
stereo
headphones.
PHONES
4
monitors
the
stereo
bus,
and
it’s
level
is
controlled
by
the
PHONES
1
control
on
the
front
panel.
PHONES
2
Can
monitor
the
CUE,
the
STEREO
BUS,
or
the
EFFECT
BUS.
This
is
controlled
by
the
PHONES
2
SELECTOR.
The
level
is
controlled
by
the
PHONES
2
control
on
the
front
panel.
@2 REMOTE PUNCH IN/OUT
The
REMOTE
PUNCH
IN/OUT
jack
is
used
for
connecting
an
optional
PUNCH
IN/OUT
pedal.
While
overdubbing,
a
musician
can
punch
in
and
out
of
record
mode
by
pressing
on
this
pedal,
even
if
both
hands
are
busy
playing
an
instrument,
etc.
REMOTE PAUSE
The
REMOTE
PAUSE
jack
is
used
for
connecting
an
optional
PAUSE
pedal.
This
allows
you
to
PAUSE
either
playback
or
recording
even
when
both
hands
are
busy,
or
you
are
not
close
to
the
controls.
¢ ABOUT FOOTPEDALS -
The
PMD740
is
designed
for
use
with
a
normally
open
momentary
contact
footswitch,
such
as
the
Marantz.
FP740PMD
Remote
Punch
Pedal.
10

Drawing of rear panel
MIC/LINE INPUT.
ERR eR Bean ERE Z.
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Tape. erect EFFECT RETURN sync
CUEQUT SEND R LIMONO ouT
eee eee eee
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MIC/LINE
There are six 1/4" MIC/LINE input jacks—one for each of the six channels on the mixer. These inputs
are high impedance inputs, and can accept high or low impedance microphones, or line level signals—
such as synthesizers, electric guitar pre-amps, etc.
On channels 1-4, the XLR switch must be in the UNBAL (up) position to use these jacks.
XLR
The PMD740 includes balanced XLR inputs for channels 1-4.
The XLR switch @ must be in the BAL (down) position to use these jacks.
If the XLR switch is in the UP/UNBAL position, the channel will expect its input from the 1/4" connector.
11

INSERT
The INSERT jacks make it possible for an individual channel to be processed with external effects,
without affecting other channels, and without hogging the EFFECTS BUS.
This
is
particularly
useful
for
adding
special
effects
to
single
instruments,
without
disturbing
the
other
instruments.
Examples
include
adding
delay
to
vocals,
compression
to
bass
guitar,
gated
reverb
to
a
snare
drum,
etc.
This
is
how
it
works.
A
signal
enters
the
board
at
a
1/4"
or
XLR
jack.
It
goes
through
the
preamp
and
then
gets
sent
out
of
the
board
on
the
special
TRS
(Tip-Ring-Sleeve)
insert
plug.
The
signal
leaves
the
equalizer
and
mixer
on
the
TIP
section
of
the
TRS
plug,
goes
through
the
external
effects,
and
returns to
the mixer
on
the RING
section of
the TRS
plug.
When it
returns
to
the mixer,
the
new,
effected
signal
continues
through
the
channel
to
the
channel
fader,
as
if
nothing
special
had
happened.
TAPE CUE OUT
The
TAPE
CUE
OUT
jack
outputs
the
playback
of
all
recorded
tracks
in
mono.
The
output
level
for
each
individual
track
can
be
adjusted
with
the
TAPE
CUE
knobs.
This feature is very useful for monitoring dry tracks without effects, and for sending a separate, dry,
monitor mix to musicians.
Note:
TAPE
CUE
OUT
affects
the
4
recorded
tracks
ONLY.
It
will
not
output
any
effects
or
instruments
added
in the mixer section, unless
they
have
been recorded
to
a
track.
EFFECT SEND
The
EFFECT
SEND
jack
sends
the
effects
bus
signal
(in
mono)
to
external
processing
gear
such
as
reverb.
The
output
level
for
any
individual
channel
can
be
adjusted
by
Effect
knob
on
on
that
channel,
and
the
overall
output
level
can
be
adjusted
by
the
EFFECT
MASTER.
EFFECT RETURN
The
EFFECT
RETURN
jack
receives
the
changed
(effected)
signal
from
the
external
effects.
Even
though
the
effects
send
is
mono
only,
the
EFFECT
RETURN
can
accept
stereo
signals,
or
mono
signals.
Mono
signals
should
be
plugged
into
the
left
side
of
the
stereo
EFFECT
RETURN.
The
amount
of
this
signal
which
is
mixed
into
the
STEREO
BUS,
is
controlled
by
the
effect
return
knob
on
the
front
panel.
12

CARE AND MAINTENANCE
This
section
describes
the
care
and
maintenance
tasks
that
must
be
performed
to
optimize
the
operation
of your
Marantz
PMD740.
MAINTENANCE
Head Cleaning
If the heads are not cleaned for a long period, dirt or dust may be deposited on the heads and capstans,
causing degraded high-frequency characteristics, volume. drop or degraded recording and erasure.
To prevent this, clean the heads, etc., periodically as follows.
1. Turn the power off.
2. Open the cassette holder.
3. Clean the parts which come in contact with tape, including the heads, capstans, tape guides, pinch
wheels, etc., with a cotton swab soaked in a commercially available head cleaning solution.
Head Demagnetization
When the deck has been used for a long period of time, the head may be magnetized and noise
may be generated. If the head is extremely magnetized, the high frequencies in recorded tapes could
even be erased.
To prevent this, demagnetize the heads and capstans periodically (every 20 hours of use) using a
- commercially-available head demagnetizer. (For the operation, please refer to the instruction manual
supplied with your head demagnetizer.)
Caution:
Be sure to turn the power of the cassette deck off before using a head demagnetizer.
CLEANING OF EQUIPMENT EXTERNAL SURFACES
The exterior finish of your unit will last indefinitely with proper care and cleaning. Never use scouring
pads, steel wool, scouring powders or harsh chemical agents (e.g., lye solution), alcohol, thinners,
benzine, insecticide or other volatile substances as these will mar the finish of the equipment. Likewise,
never use cloths containing chemical substances. If the equipment gets dirty, wipe the external surfaces
with a soft, lint-free cloth.
If the equipment becomes heavily soiled:
— dilute some liquid soap in water, in a ratio of one part soap to six parts water
-—dip a soft, lint free cloth in the solution and wring the cloth out until it is damp
— wipe the equipment with the damp cloth
-dry the equipment by wiping it with a dry cloth.
REPAIRS
Only the most competent and qualified technicians should be allowed to service your PMD740. Marantz
and its factory trained warranty station personnel have the knowledge and special equipment needed
for repair and calibration .of this precision instrument.
In the event of difficulty, call the toll-free telephone number listed on the face of the warranty to obtain
the name and address of the Marantz Authorized Service Center nearest you. In many cases, the dealer
where you purchased your Marantz unit may be equipped to provide service. Please include the model,
serial number of your unit together with a copy of your purchase receipt and a full description of what
you feel is abnormal in your PMD740’s performance.
13

PMD740 Recorder and Transport Controls
Drawing of Recorder and Transport Controls
EER eR Been WREZ.
AUTO REC
aa PUNCH oy
PIN | OuT
@) @ @ @
60
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® © ® ®

Say, What does THIS button do?
This
section
discusses
all
of
the
Inputs,
Outputs,
Controls,
and
Displays
of
the
PMD740.
The PMD740 Mixer
Mixer section
©
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59

TECHNICAL
SPECIFICATONS
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4
Track
4
Channel
Permalloy
REC/PLAY
head
A
Channel
Ferrite
Erase
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Frequency
Response
(Assumes
Chrome
Tape)
Staridard
SOG
sscc.ovcxessenseincbgeanseoes
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veshsaestdbanendgnaieaatenadvarsapeyentsnhteltetnnsdecgyettennrsseeges
40Hz-12.5KHz
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58

MARANTZ EUROPE B.V.
P.O. Box 218, Building HCM-9
Vestdijk 9
5600 MD Eindhoven
The Netherlands
MARANTZ TRADING
P.O. Box 218, Building HCM-9
‘ Vestdijk 9
5600 MD Eindhoven
The Netherlands
AUSTRALIA
Marantz Australia Pty. Ltd.
3, Figtree Drive
Homebush NSW 2140
Australia
AUSTRIA
Marantz Austria
Hietzinger Kai 1374
1130 Wien
Austria
BELGIUM
Marantz Benelux
P.O. Box 218, Building HCM-9
Vestdijk 9
5600 MD Eindhoven
The Netherlands
DENMARK
Marantz Denmark
Harsvinget 5, Box 249
2630 Tastrup
Denmark
FINLAND
Marantz Finland
Kuortanegatan 1
00520 Helsingfors 52
Finland
FRANCE
Marantz France
4, Rue Bernard Palissy
92600 Asniéres
France
GERMANY
Marantz GmbH
Alexanderstrake 1
Postfach 10 44 09
2000 Hamburg 1
Germany
GREECE
Adamco S.A.
188, Hippocratous Street
Athens 11471
Greece
ICELAND
Radio Budin
Skiphold 19
121 Reykjavik
iceland
INDIA
V.V. HiFi Service
176 Fiona Juhu Tara Road
Santacruz (VW)
Bombay 400054
India
ITALY
Marantz Italiana Spa.
Viale le F. Testi 280
20126 Milano
Servizio Consumatori:
@ 1678 - 20026 (linea verde)
italy
JAPAN
Marantz Japan Inc.
35-1, Sagami Ohno 7 - Chome
Sagamihara city, Kanagawa 228
Japan
KUWAIT
alAlamiah Electronics
P.O. Box 8196
22052 Salmiah
Kuwait
NETHERLANDS
Marantz Benelux
P.O. Box 218, Building HCM-9
Vestdijk 9
5600 MD Eindhoven
The Netherlands
NEW CALEDIONIA
Point HiFi Musique
25 bis, Rue Jean-Jaures
B.P. 793, Noumen
New Caledonia
NORWAY
Marantz Norway
Ingvald Ludvigsengate 14
Boks 7034 Assiden
3007 Drammen
Norway
PAKISTAN
Star Audio
179/E/2 P.E.C.H.S.
Karachi 29
Pakistan
POLAND
Audio Arts
Lewicka 13-15
02-547 Warsaw
Poland
PORTUGAL
Corel
Av. da Liberdade 211-2 Esq.
1200 Lisboa
Portugal
REUNION
Interface SARL
65, Rue Felix Guyon
Galéries Leclerc :
97400 St. Denis
Reunion
SAUDI ARABIA
alAlamiah Electronics Co.
Alamiah Building
University Street
P.O. Box 5954
11432 Riyadh
Saudi Arabia
SPAIN
Marantz Iberica
Martinez Villergas 2
Apartado 2065
Madrid 28027
Spain
Attencion al cliente:
91.5288020.
SWEDEN
Marantz Sweden
Albygatan 113
Box 1324
171 25 Solna
Sweden
SWITZERLAND
Marantz Switzerland
Postfach 8010
Zurich-Mulligen
Switzerland
U.A.E.
V.V. & Sons
P.O. Box 105
Dubai
U.A.E.
U.K.
Marantz HiFi U.K. Ltd.
Kingsbridge House
Padbury Oaks
575-583 Bath Road
Long Ford Middlesex UB7 OEH
U.K.
HX Pro headroom extension originated by Bang & Olufsen and manufactured under license from Dolby Laboratories
Licensing Corporation.
“DOLBY”, the double-D symbol LX, and “HX PRO” are trademarks of Dolby Laboratories Licensing Corporation.
dbx’ is a Registered Trademark, and is licensed by dbx Technology Licensing.
HEReR Been ERE 2’ is a registered trademark.
058VV851310