Nad 2600 User manual

Table of contents

Popular Amplifier manuals by other brands

Magnat Audio

Magnat Audio EDITION FOUR Owner's manual/warranty document

Inter-m

Inter-m PA-2000A Operation manual

Yamaha

Yamaha TX6n owner's manual

Peavey

Peavey TNT 150 user guide

Bosch

Bosch LBB 1903/10 Installation and user instructions

Avocent

Avocent Emerge DA1200D Installer/user guide

Redgum

Redgum RGi35 operating instructions

Cambridge Audio

Cambridge Audio AXA25 user manual

Alpine

Alpine MRP-M200 owner's manual

Technical Pro

Technical Pro H1502UrBT user manual

FMS

FMS EMGZ307 operating manual

Racal Instruments

Racal Instruments 5601 user manual

Valcom

Valcom V-1094A Technical specifications

Cambridge Audio

Cambridge Audio 851D user manual

QSC

QSC 3800 Specifications

Rotel

Rotel RMB-1077 owner's manual

Peavey

Peavey Monitor 300 Series operating guide

Crown

Crown XTi 1002 Specifications

NAD)

2600

POWER

AMPLIFIER

MONITOR

SERIES

INSTRUCTIONS

FOR

INSTALLATION

AND

OPERATION

A

NOTE

ON

INSTALLATION

This

unit

may

be

installed

on

any

sturdy,

level

surface.

Since

its

power

transformer

generates

a

magnetic

hum

field

of

moderate

strength,

a

turntable

(especially

one

with

a

moving-coil

pickup

cartridge)

should

not

be

located

directly

to

the

left

of

the

amplifier

nor

directly

above

it.

The

amplifier

generates

a

modest

amount

of

heat

and

thus

requires

some

ventilation.

Do

not

place

it

on

a

rug

or

other

soft

surface

that

it

could

sink

into,

obstructing

the

air

inlets

on

its

bottom.

And

be

careful

not

to

obstruct

the

air

outlet

grille

on

the

top

cover.

CAUTION:

To

prevent

a

fire

or

shock

hazard,

do

not

permit

liquid

or

moisture

to

enter

the

amplifier.

If

liquid

is

accidentally

spilled

on

it,

immediately

shut

off

its

power

and

unplug

its

AC

power

cord.

Allow

sufficient

time

for

complete

evaporation

to

occur

before

operating

the

amplifier

again.

(If

the

liquid

is

anything

but

water

and/or

alcohol,

the

amplifier

should

be

examined

by

a

service

technician

before

power

is

applied

to

it.)

Do

not

open

the

amplifier,

or

attempt

to

modify

or

repair

it

yourself.

Refer

all

servicing

to

a

qualified

technician.

REAR

PANEL

CONNECTIONS

1.

AC

LINE

CORD

Plug

the

AC

line

cord

into

a

nearby

wall

outlet

that

provides

the

correct

AC

power

line

voltage.

If

you

must

use

an

AC

extension

cord,

it

should

be

a

heavy-duty

(14

or

16

gauge)

cord.

You

may

plug

the

power

amplifier

into

a

“switched”

AC

outlet

on

your

preamplifier,

and

use

the

preamp’s

Power

switch

to

turn

the

entire

system

on

and

off.

But

this

is

recommended

ONLY

IF

the

preamp’s

AC

switching

is

rated

to

handle

this

amplifier’s

maximum

power

consumption

(700

watts).

The

preamplifier’s

power

switch

should

be

rated

to

handle

a

turn-on

surge

current

of

at

least

10

amperes.

If

your

preamplifier

was

not

designed

for

high-current

power

switching,

the

practical

alternative

is

to

connect

the

preamp

and

power

amp

to

a

“power

strip”

containing

several

AC

outlets,

and

use

its

heavy-duty

switch

to

turn

your

system

on

and

off.

2.

AC

LINE

FUSE

(Only

in

220V,

240V

Models)

Prolonged

operation

at

excessively

high

power

levels

could

cause

this

line

fuse

to

blow.

If

this

occurs,

the

amplifier

will

not

operate,

and

the

Power

LED

on

the

front

panel

will

remain

dark.

In

this

case,

unscrew

the

fuse

holder

and

install

anew

5-ampere

fuse.

If

the

second

fuse

blows,

return

the

amplifier

for

service.

3.

SPEAKER

IMPEDANCE

The

impedance

of

a

loudspeaker

varies

with

frequency,

and

in

many

loudspeakers

the

impedance

is

lowest

at

the

frequencies

where

the

highest

power

demands

occur

in

music.

In

many

“8Q”

loudspeakers

this

minimum

impedance

is

from

4

to

6

ohms.

And

if

you

connect

two

pairs

of

8-ohm

speakers

to

the

amplifier

the

nominal

impedance

of

the

combination

is

4

ohms.

For

these

reasons,

all

NAD

amplifiers

and

receivers

are

designed

to

produce

maximum

power

output

into

a

4-ohm

impedance,

and

4Q

is

the

Normal

setting

of

the

Impedance

selector.

If

you

are

not

sure

of

the

true

impedance

of

your

speakers,

leave

the

Impedance

switch

at

40

(NORMAL).

If

you

are

using

a

single

pair

of

loudspeakers

whose

impedance

is

8

ohms

or

higher,

you

can

optimise

the

amplifier

for

maximum

power

delivery

at

this

higher

imped-

ance

by

re-setting

the

switch

to

8Q

(HIGH).

NOTE:

The

power

must

be

switched

off

whenever

the

Impedance

switch

is

operated

(reset

from

8

to

4

or

vice

versa).

To

prevent

accidental

re-setting,

the

impedance

switch

is

recessed

within

a

slot

in

the

rear

panel.

Use

the

tip

of

a

small

screwdriver

to

slide

the

switch

down

to

the

8Q

(HIGH)

position.

CAUTION:

If

the

impedance

switch

is

set

to

8Q

(HIGH)

with

loudspeakers

whose

true

impedance

is

lower

than

6

ohms,

or

with

two

pairs

of

speakers

connected

in

parallel,

the

amplifier

will

tend

to

overheat

and

shut

down when

operated

at

high

output

levels.

The

amplifier

will

resume

normal

operation

after

it

cools;

but

such

abuse

could

also

cause

internal

fuses

to

blow

in

order

to

protect

the

amplifier.

if

this

occurs,

return

the

amplifier

to

your

dealer

for

service.

4.

SOFT

CLIPPING

When

an

amplifier

is

overdriven

beyond

its

specified

.

power

output

it

normally

produces

“hard

clipping”

of

the

signal

with

harsh

distortion

and

power-supply

buzz

as

the

output

transistors

saturate.

The

NAD

Soft

Clipping

circuit

gently

limits

the

output

waveform

and

minimizes

audible

distortion

when

the

amplifier

is

overdriven.

If

your

listening

involves

moderate

peak

power

levels,

the

Soft

Clipping

may

REAR

PANEL

CAUTION

RUS

1.

AC

Line

Cord.

5.

Speaker

terminals.

2.

AC

Line

Fuse

(220V,

240V

Models

Only).

6.

Inputs

(Normal

and

Lab).

CAUTION:

TO

REDUCE

3.

Speaker

Impedance.

7.

Bridging.

SHOGR

HO

NOT

REMOVE

4.

Soft

Clipping.

NO

OSER

SERVIGEABLE

PARTS

INSIDE.

REFER

SERVICING

TO

QUALIFIED

SERVICE

PERSONNEL

LEFT

(MONO)

SOFT

CLIPPING

8~

16M

(HIGH)

EEE)

ce

RISQUE

DE

CHOC

IMPEDANCE

(-)

RIGHT

+

+

verri—|

ELECTRIQUE-

4~80

(NORMAL)

NE

PAS

OUVRIR

NOTE:

use

THE

4~8n

POSITION

WHEN

OPERATING

THIS

AMPLIFIER

IN

BRIDGED

MODE.

_

GAUTION

|

iN

Se

ee

RISK

OF

ELECTRIC

SHOCK

POSITION

4~8n

{-}

MONO

+

DO

NOT

OPEN

EST

OBLIGATOIRE.

FRONT

PANEL

1.

Power.

4.

Protection

Indicator.

2.

Input

Level.

5.

Overload

Indicator.

3.

Soft

Clipping

Indicator.

Monitor

Series

Power

Amplifier

2600

POWER

ENVELOPE

PROTECTION

eae

OVERLOAD

LEFT

INPUT

RIGHT

NOTE:

Some

NAD

components

are

equipped

with

dual

or

multi-voltage

transformers

(which

is

indicated

on

the

back

panel).

If

you

wish

to

change

the

voltage,

please

bring

your

unit

to

an

authorized

NAD

service

technician

for

in-

ternal

conversion.

CAUTION:

TO

PREVENT

ELECTRIC

SHOCK

DO

NOT

USE

THIS

(POLARIZED)

PLUG WITH

AN

EXTENSION

CORD,

RECEPTACLE

OR

OTHER

OUTLET

UNLESS

THE

BLADES

CAN

BE

FULLY

INSERTED

TO

PREVENT

BLADE

EXPOSURE.

The

lightning

flash

with

arrowhead,

within

an

equilateral

The

exclamation

point

within

an

equilateral

triangle

is

intended

triangle,

is

intended

to

alert

the

user

of

the

presence

of

to

alert

the

user

of

the

presence

of

important

operating

and

uninsulated

“dangerous

voitage”

within

the

product's

encio-

maintenance

(servicing)

instructions

in

the

literature

sure;

that

may

be

of

sufficient

magnitude

to

constitute

a

accompanying

the

appliance.

risk

of

electric

shock

to

persons.

be

left

OFF.

But

we

recommend

that

it

be

switched

ON

when

playing

music

at

very

high

levels

that

might

exceed

the

amplifier’s

power

capacity.

5.

SPEAKER

TERMINALS

The

amplifier

is

equipped

with

special

high-current

binding-post

speaker

terminals

to

handle

the

highest

peak

power

levels

that

may

occur

in

the

“bridged”

mode

or

with

low-impedance

speakers.

Connect

the

loudspeakers

with

heavy-duty

(16-gauge

or

thicker)

stranded

wire.

Heavy-duty

wiring

is

especially

desirable

if

you

are

using

speakers

of

low

impedance

or

two

pairs

of

speakers

wired

in

parallel.

Each

binding

post

consists

of

a

threaded

metal

shaft

and

a

plastic

screw-on

bushing.

Connections

may

be

made

in

either

of

two

ways:

(1)

A

lateral

opening

in

the

base

of

each

terminal

accepts

bared

wires

up

to

14

gauge

in

thickness.

Separate

the

two

conductors

of

the

cord,

and

strip

off

about

a

half-inch

(1

cm)

of

insulation

from

each.

In

each

conductor,

twist

together

the

exposed

wire

strands.

Unscrew

the

colored

plastic

bushing

a

few

turns,

insert

the

wire

into

the

hole

in

the

base

of

the

terminal,

and

screw

the

bushing

down

tight

until

it

grasps

the

wire

and

holds

it

securely.

Connect

the

wires

from

the

left-channel

speaker

to

the

(L+)

and

(L—)

terminals

and

the

wires

from

the

right-

channel

speaker

to

the

(R+)

and

(R—)

terminals.’Check

to

be

sure

that

no

loose

strand

of

wire

is

touching

any

ad-

jacent

terminal

or

the

amplifier

chassis.

(2)

A

spring-type

banana

plug

may

be

inserted

axially

into

the

end

of

each

binding

post.

The

binding

posts

have

the

¥4-inch

(19

mm)

spacing

required

to

accept

standard

dual-

banana

plugs.

Purchase

dual-banana

plugs

and

install

them

on

your

speaker

cables

(or

purchase

speaker

wires

with

dual-banana

plugs

already

installed),

and

plug

them

into

the

binding-post

terminals.

If

you

want

to

connect

two

pairs

of

loudspeakers

in

parallel,

you

may

use

both

methods.

Connect

your

main

speakers

permanently

via

the

opening

at

the

base

of

each

binding

post,

and

use

dual-banana

plugs

for

the

second

pair

of

speakers.

Then

the

second

pair

of

speakers

can

be

con-

nected

and

disconnected

easily

when

desired.

CAUTION:

TO

AVOID

THE

RISK

OF

SHOCK,

MAKE

SURE

THAT

WHEN

CONNECTING

SPEAKERS

THERE

IS

NO

EXPOSED

BARE

WIRE

WHICH

MIGHT

BE

CONTACTED.

Phasing.

Stereo

speakers

must

operate

in

phase

with

each

other

in

order

to

yield

a

good

stereo

image

and

to

reinforce

rather

than

cancel

each

other’s

output

at

low

frequencies.

If

your

speakers

are

easily

moved,

their

phasing

can

easily

be

checked.

Make

the

connections

to

both

speak-

ers,

place

the

speakers

face-to-face

only

a

few

inches

apart,

play

some

music,

and

listen.

Then

swap

the

connection

of

the

two

wires

at

the

back

of

ONE

of

the

speakers,

and

listen

again.

The

connection

which

produces

the

fullest,

boomiest

bass

output

is

the

correct

one.

Connect

the

wires

securely

to

the

speaker

terminals,

being

careful

not

to

leave

any

loose

strands

of

wire

that

might

touch

the

wrong

terminal

and

create

a

partial

short-circuit;

then

move

the

speakers

to

their

intended

locations.

Ifthe

speakers

cannot

easily

be

set

face-to-face,

then

phasing

must

rely

on

the

“polarity”

of

the

connecting

wires.

The

speaker

terminals

on

the

amplifier

are

labeled

(+)

and

(-)

in

each

channel.

The

terminals

at

the

rear

of

the

speakers

are

also

marked

for

polarity,

either

via

red

and

black

connectors

or

by

labels:

“+”,

“1”,

or

“8”

ohms

for

positive,

“-”,

“0”,

or

“G”

for

negative.

As

a

general

rule

the

red

(+)

terminal

on

the

amplifier

is

to

be

connected

to

the

red

(positive)

terminal

of

the

speaker,

in

each

channel.

To

facilitate

this,

the

two

conductors

comprising

the

speaker

wire

in

each

channel

are

different,

either

in

the

color

of

the

wire

itself

(copper

vs.

silver)

or

in

the

presence

of

a

small

ridge

or

rib

pattern

on

the

insulation

of

one

conductor.

Use

this

pattern

to

establish

consistent

wiring

to

both

speak-

ers

of

a

stereo

pair.

Thus

if

you

connect

the

copper

colored

wire

(or

ribbed

insulation)

to

the

(+)

amplifier

terminal

in

the

Left

channel,

do

the

same

in

the

Right

channel.

At

the

other

end

of

the

wire,

if

you

connect

the

copper

colored

wire

(or

the

ribbed

insulation)

to

the

red

or

positive

terminal

on

the

left-channel

speaker,

do

the

same

at

the

right-

channel

speaker.

6.

INPUTS

(Normal

and

Lab)

Before

making

or

changing

input

connections

to

the

power

amplifier,

make

certain

that

its

Power

is

switched

OFF.

Connect

the

signal

cable

from

your

preamplifier

either

to

the

NORMAL

input

jacks

or

to

the

LAB

input

jacks.

The

NORMAL

inputs

contain

minimum-phase

infra-

sonic

and

ultrasonic

filters,

whose

purpose

is

to

remove

non-musical

signals

at

frequencies

below

10

Hz

and

above

40

kHz

(due

to

turntable

rumble,

disc

warps,

radio-frequency

interference,

tracing

distortion,

etc).

These

inputs

should

be

used,

especially

if

your

preamplifier

lacks

such

filtering.

The

LAB

inputs

bypass

these

filters,

providing

extended

response

at

infrasonic

and

ultrasonic

frequencies.

7.

BRIDGING

This

switch

“bridges”

the

two

power

amplifier

channels

to

form

a

monophonic

amplifier

with

more

than

double

the

output

power.

To

convert

to

bridged

operation,

the

following

procedure

should

be

followed.

(1)

Switch

OFF

the

POWER.

(2)

Be

sure

that

the

IMPEDANCE

switch

is

set

to

40

(NORMAL).

If

it

is

at

8Q

(HIGH),

re-set

it

to

4Q

(NORMAL).

NOTE:

In

the

bridged

mode

the

loudspeaker’s

imped-

ance

is

effectively

halved

as

“seen”

by

the

amplifier.

An

8-ohm

load

looks

like

4

ohms,

a

4-ohm

load

looks

like

2

ohms,and

pairs

of

4-ohm

speakers

operated

in

parallel

will

look

like

a

1-ohm

load.

Driving

paralleled

low-impedance

speakers

to

high

levels

will

cause

the

amplifier

to

overheat

and

shut

down,

or

may

cause

internal

fuses

to

blow

in

order

to

protect

the

amplifier.

For

best

results

the

bridging

mode

should

be

used

with

a

single

8-ohm

or

higher

impedance

speaker

in

each

channel.

In

either

case,

the

Impedance

switch

should

be

set

to

4

ohms.

(3)

Disconnect

any

signal

cables

from

the

input

jacks.

Decide

whether

this

amplifier

will

be

driving

the

Left

or

Right

speaker.

Connect

the

corresponding

(left

or

right)

signal

cable

from

your

preamplifier

to

one

of

the

L

input

jacks

of

this

amplifier

(either

LAB

or

NORMAL,

as

you

prefer).

In

the

bridged

mode

the

amplifier

is

driven

only

through

its

L

(Left)

input,

and

the

volume

is

adjusted

with

the

Left

input

control,

even

though

it

may

be

connected

to

the

“Right”

speaker.

If

another

NAD

2600

amplifier

in

bridged

mode

is

used

for

the

second

stereophonic

channel,

it

also

will

be

driven

through

an

L

input,

regardless

of

whether

it

is

used

to

drive

the

Left

or

Right

loudspeaker.

(4)

Disconnect

any

wires

from

the

SPEAKERS

termi-

nals.

Select

the

wire

from

the

speaker

that

will

be

driven

by

this

bridged

amplifier.

Connect

its

“positive”

conductor

to

the

L+

terminal

and

its

“negative”

conductor

to

the

R+

terminal

(i.e.

the

two

red

terminals).

DO

NOT

connect

any

wires

to

the

black

terminals

(L—

and

R—).

CAUTION:

In

the

bridged

mode

the

speaker

wires

must

be

“floating”

with

respect

to

the

circuit

ground.

Do

NOT

connect

the

speaker

wires

to

anything

that

shares

a

common

ground

between

stereo

channels

(such

as

some

speaker

switches

or

adapters

for

electrostatic

headphones),

nor

to

any-

thing

which

shares

a

common

ground

with

the

amplifier's

inputs

You

can

use

the

input-level

controls

to

correct

these

fixed

(such

as

a

switching

comparator

or

a

distortion

analyzer).

(5)

After

the

preceding

conditions

have

been

satisfied,

re-set

the

Bridging

switch.

It

is

held

in

place

by

a

plastic

bracket

fastened

by

two

screws.

Use

a

small

screwdriver

to

loosen

the

bracket

screws,

turning

each

about

a

half-

turn

counterclockwise;

then

slide

the

switch

to

ON

(MONO).

The

bracket

will

move

with

the

switch.

Re-tighten

the

screws

to

secure

the

switch

in

its

new

position.

Finally,

turn

the

power

on.

(6)

To

return

the

amplifier

to

normal

stereo

operation

at

a

later

date,

first

turn

off

the

power.

Loosen

the

bracket

screws,

re-set

the

Bridging

switch

to

OFF

(STEREO),

and

tighten

the

bracket

screws

to

prevent

the

switch

from

being

moved

acci-

dentally.

Restore

normal

Left

and

Right

input

connections,

and

re-connect

loudspeaker

wires

to

the

speaker

terminals

as

described

above

under

SPEAKERS.

FRONT

PANEL

CONTROLS

1.

POWER

Press

the

Power

button

to

turn

on

the

amplifier.

The

green

LED

glows

when

the

power

is

on.

Press

the

Power

button

again

to

switch

the

amplifier

off.

2.

INPUT

LEVEL

The

amplifier

is

equipped

with

separate

input

level

controls

for

the

two

channels.

Normally

both

controls

should

be

turned

to

maximum.

But

there

are

several

circumstances

in

which

reduced

settings

may

be

useful:

(1)

Level-Matching.

!n

a

multi-amplifier

system,

use

these

controls

to

match

the

output

of

this

amplifier

to

others

in

the

system.

(2)

Extended

Volume-Control

Range.

Many

stereo

sys-

tems

have

so

much

voltage

gain

that

the

speakers

(or

your

ears)

are

over-driven

at

any

preamplifier

Volume-control

setting

higher

than

11

or

12

o’clock.

As

a

result

you

are

confined

to

using

only

the

lower

half

of

the

Volume

control's

range,

where

adjustments

are

imprecise

and

where

most

Volume

controls

produce

channel-balance

errors.

The

solution

is

to

turn

the

power

amplifier’s input-level

controls

down

part-way

(to

about

1

o'clock,

for

example)

in

each

channel.

Now

you

can

turn

up

your

preamplifier’s

Volume

control

further,

making

effective

use

of

most

of

its

range.

(Suggestion:

adjust

the

power

amplifier’s

input

level

controls

so

that

your

preferred

maximum

sound

levels

usu-

ally

occur

at

about

2

or

3

o’clock

on

your

Volume

control.)

As

an

added

benefit,

this

procedure

suppresses

any

noise

produced

by

the

preamp’s

high-level

circuitry

(e.g.

any

residual

hum

or

hiss

that

does

not

go

away

when

the

Volume

is

turned

down).

(3)

Balance

Correction.

Small

errors

in

channel

balance

can

dramatically

degrade

the

apparent

“depth”

and

“air”

of

the

stereo

image.

Such

balance

errors

may

be

due

to

normal

production-line

differences

in

speaker

sensitivity,

differences

in

the

acoustic

environment

around

the

two

speakers,

and

slightly

different

distances

from

your

chair

to

each

speaker.

balance

errors,

freeing

your

preamplifier’s

balance

control

to

correct

balance

errors

in

recordings.

Switch

the

preamp

to

mono

and

sit

in

your

normal

listening

location.

Ideally

the

“phantom”

central

image

should

seem

to

be

floating

in

mid-air

halfway

between

the

left

and

right

speakers.

If

it

is

located

off-center,

closer

to

one

speaker,

turn

down

the

input-level

control

for

that

chan-

nel

slightly

in

order

to

center

the

phantom

mono

image.

Then

restore

the

preamp

to

normal

stereo

operation.

If

you

have

turned

the

input-level

controls

down

part-way

to

adjust

the

overall

volume

level,

do

this

balance

correction

as

the

final

step.

NOTE:

In

bridged

mode,

the

volume

is

adjusted

with

the

Left

input

level

contro!

only.

3.

SOFT

CLIPPING

INDICATOR

This

amber

LED

glows

when

the

Soft

Clipping

switch

(on

the

rear

panel)

is

ON.

4.

PROTECTION

INDICATOR

The

amplifier

can

safely

and

cleanly

drive

impedances

as

low

as

2

ohms

with

wide-range

musical

signals

whose

peak

level

is

500

watts

or

more.

But

if

called

upon

to

de-

liver

high

power

continuously

into

a

low

impedance,

the

output

transistors

may

overheat.

In

this

case,

protection

relays

will

automatically

disconnect

the

speakers

and

the

PROTECTION

light

will

illuminate.

If

this

occurs,

switch

off

the

Power.

When

the

output

stage

cools,

the

relays

will

automatically

re-connect

the

speakers,

and

normal

operation

can

be

resumed.

In

most

cases

a

very

slight

reduction

in

volume

level

will

prevent

further

interruptions

in

the

sound.

If

the

protection

relays

interrupt

the

sound

frequently,

several

possible

causes

should

be

considered:

a

loose

strand

of

wire

causing

a

partial

short-circuit

between

speaker

terminals,

or

continuous

high-power

operation

into

a

very

low

impedance

in

the

Bridged

mode,

or

any

obstruction

of

the

free

flow

of

air

needed

to

ventilate

the

amplifier

and

dissipate

its

heat.

If

the

protection

relay

interrupts

the

sound

even

when

the

amplifier

is

cool,

return

the

amplifier

to

your

NAD

dealer

for

service.

The

protection

circuit

may

be

responding

to

protect

the

speakers

from

an

internal

fault,

such

as

an

improper

DC

voltage

at

the

speaker

terminals.

5.

OVERLOAD

INDICATOR

This

is

an

“audible

clipping”

indicator.

It

flashes

on

when

the

amplifier

is

over-driven

into

audible

distortion.

An

input/output

comparator

continually

compares

the

ampli-

fier’s

output

signal

in

each

channel

with

the

corresponding

input

waveform;

any

difference

that

lasts

long

enough

to

be

audible

(longer

than

a

few

thousandths

of

a

second)

triggers

the

LED

on.

If

this

indicator

illuminates

frequently,

you

should

reduce

your

volume

levels

slightly

(or

purchase

a

second

Model

2600

and

use

both

amplifiers

in

the

bridged

mode

for

greater

power).

NAD

ELECTRONICS

BOSTON/LONDON

©1900

BY

NAD

41

PRINTED

ON

JAPAN

OM-674A

8703