NAD 7220PE 7020e User guide

| 7020e
~ STEREO RECEIVER
RECEPTEUR STEREO :
STEREO
MW/UKW
RECEIVER
>
INSTRUCTIONS
FOR
INSTALLATION
AND
OPERATION
MANUEL
D’INSTALLATION
ET
D’UTILISATION
BEDIENUNGSANLEITUNG

_ENGLISH - PAGE 2-9.
FRANCAIS — PAGE 10-16
DEUTSCH - SEITE 17-23
WARNING:
TO
PREVENT
FIRE
ORELECTRIC
SHOCK,
DO
NOT
EXPOSE
THIS
APPLIANCE
TO
RAIN
OR
MOISTURE.
NOTE to CATV system installer: This reminder is provided a
to call the CATV system installer’s attention to Article
820-22 of the NEC that provides guidelines for proper
grounding and, in particular, specifies that the cable
ground shall be connected to the grounding system of the
building, as close to the point of cable entry as practical.
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.
ATTENTION: Quelques piéces NAD sont munies
de transformateurs a double ou a multi-voltage (indiqué
au panneau arriére). Si vous voulez changer le voltage,
veuillez apporter votre appareil au fournisseur de NAD
pour le transformer. re
ZUR BEACHTUNG: Einige NAD Gerate sind mit Um-
schaitern fiir unterschiedliche Eingangsspannungen aus-
geriistet (Ein Vermerk auf der Riickseite weist darauf hin).
Aptierung, wenn notewendig, muB von einem qualifi-
zierten Techniker in einer NAD Servicestation vorgenom-
men werden.
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.
ATTENTION:
POUR
PREVENIR
LES
CHOCS
ELECTRIQUES
NE
PAS
UTILISER
CETTE
FICHE
POLARISEE
AVEC
UN
PROLONGATEUR,
UNE
PRISE
DE
COURANT
OU
UNE
AUTRE
SORTIE
DE
COURANT,
SAUF
SILES
LAMES
PEUVENT
ETRE
INSEREES
A
FOND
SANS
EN
LAISSER
AUCUNE
PARTIE
A
DECOUVERT.

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
positive
(red)
terminal
on.the
amplifier
is
to
be
connected
to
the
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
red
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.
4. SPEAKERS B
A
second
pair
of
loudspeakers
may
be
connected
to
the
amplifier,
using
the
“B”
group
of
terminals,
in
the
same
manner
as
the
connections
made
to
the
SPEAKERS
A
terminals.
If the second pair of speakers is located near the first
pair
and
will
be
played
simultaneously,
then
they
must
be
correctly
phased
with
respect
to
the
first
pair as
well
as
with
each
other.
But
if
the
second
pair
of
speakers
is
located
away
from
the
first
pair
(in
another
room,
for
example)
or
will
not
be
played
at
the
same
time
as
the
first
pair,
then
their
phasing
need
not
match
that
of
the
first
pair.
Of
course,
as
with
any
stereo
speakers,
the
second
pair
still
must
be
in
phase with each other.
Another
useful
option
for
the
SPEAKERS
B
terminals
is
to
connect
a
second
pair
of
speakers
wired
for
“ambience
recovery,”
enhancing
the
apparent
spaciousness
of
stereo
recordings.
Locate
a
pair
of
small
loudspeakers
along
the
side
walls
of
the
listening
area,
slightly
behind
the
main
listening
area
and
as
far
as
possible
to
the
left
and
right.
(Often
it
useful
to
aim
such
speakers
upward
or
toward
the
rear,
so
that
their
sound
reflects
randomly
off
the
walls
before
reaching
you.)
Connect
a
wire
from
the
(L+)
terminal
to
the
positive
terminal
of
the
left-rear
speaker,
and
a
second
‘wire
from
the
(R+)
terminal
to
the
positive
terminal
of
the
right-rear
speaker.
Make
no
connection
to
the
(L—)
and
(R—)
terminals
on
the
amplifier;
instead,
connect
a
wire
from
the
negative
terminal
of
the
left-rear
speaker
to
the
negative
terminal
of
the
right-rear
speaker.
Thus
wired,
these
rear
speakers
receive
the
left-minus-right
“difference”
portion
of
the
composite
stereo
signal.
_5, ANTENNA TERMINALS
In order to make connections to the four antenna
terminals,
remove
any
connectors
that
may
be
fitted
on
the
antenna
wires.
Strip
off
1
cm
of
insulation
from
each
wire, and in each conductor twist together the exposed
wire strands.
Depress
the
plastic
tab
below
the
appropriate
terminal.
Insert
the
bared
wire
into
the
small
hole
in
the
terminal,
and
release
the
tab.
The
terminal
will
grasp
the
wire
and
hold
it
in
place.
AM.
Some
form
of
external
antenna
will
be
needed
for
satisfactory
reception,
since
this
receiver
does
not
have
a
built-in
AM
antenna.
For
most
loca!
broadcasting
stations
a
simple
wire
up
to
one
meter
(three
feet)
in
length
will
provide
ample
signal
strength,
and
such
a
single-wire
antenna
is
included
with
the
receiver.
Connect
one
end
of
the
wire
to
the
AM
terminal.
The
remainder
of
the
antenna
may
be
allowed
to
hang
down
behind
the
receiver
or
may
be
tacked
in
place
horizontally
along
the
rear
of
a
wooden-——not
metai—shelf.
(A
metal
shelf
may
interfere
with
reception.
In
that
case
the
wire should be stretched out along the wall away from the
shelving and tacked in place.) You may wish to experiment
with the orientation of the AM antenna, in order to find the
position that provides the best reception of the stations you
listen to most often.
The short-wire antenna usually will provide satisfactory
reception of local AM broadcast stations. But if you wish to
improve reception of distant AM stations, attach a long-wire
outdoor antenna to the AM terminal. As its name implies, a ~
“long-wire” antenna is a simple, straight wire whose length
may be anything from a few feet up to about 100 feet (30
meters), mounted parallel to the earth and as high as is
convenient. In some cases the effectiveness of a long-wire
antenna will be improved by connecting a second wire from
the Ground (G) terminal to a true earth-ground, i.e. a
copper-plated rod driven several feet into the earth. A
substitute electrical ground may also prove effective: a
cold-water pipe, a steam radiator, or the third hole of a
modern electrical wall socket.
FM Antennas. An antenna must be connected to the
tuner for effective reception of stereo FM broadcasts. A
ribbon-wire “folded dipole” antenna is included to get you
started. When you stretch out the ribbon-wire antenna you
will note that it is in the form of a T. The “crossbar” portion
of the T should be stretched out horizontally and tacked in
place—on a wall, on the back of a cabinet, or on the floor.
The “vertical” section of the T goes to the tuner’s antenna
terminals. Connect its two wires to the two 300Q
input terminals.
In view of the exceptional sensitivity of NAD tuner
circuits, you may find that the ribbon-wire dipole antenna is
all you need for reception of strong local stations. But it is
not very efficient at rejecting “multipath” and other forms of
FM interference, and it cannot easily be rotated to optimize
its pickup pattern for best reception of stations in different
directions. Therefore, in most cases you should use a better
antenna. The recommended options, in order of increasing
cost, are as follows:
(1) A basic “rabbit-ears” indoor TV antenna without
auxiliary coils or tuning switches. Electrically, such an
antenna is just another dipole (similar to the ribbon-wire
antenna) with its tuned elements made of solid metal, but
with the advantage that it can be rotated. Stretch out each
of its two arms to a length of 307nches (75 cm), and orient
them horizontally or at a shallow angle less than 45 degrees
upward. The ribbon wire emegging from the antenna’s base
should be connected to the-funer’s two 300 terminals in
place of the supplied ribbon-wire antenna. Now, for each
station in turn, after you tune the station you can rotate the
antenna for best reception.
(2) A more elaborate rabbit-ears indoor TV antenna
with a tuning switch. This type of antenna does NOT have
greater sensitivity than the simpler rabbit-ears unit, so if your
problem is that the signals you want to receive are weak,
then an outdoor antenna is the only effective solution. But in
cities and in large buildings where signals are strong but are
contaminated by reflected “multipath” signals that interfere
with good reception, the tuning switch on an elaborate indoor
antenna may improve reception by reducing the interference.
(3) An electrically tuned indoor antenna. Again, such
antennas usually do not provide any advantage over the
simplest type of “rabbit-ears” unit for receiving weak signals.
But where strong signals are contaminated with interference,
the antenna’s aiming and tuning controls can reject the
interference and yield cleaner reception.
(4) An outdoor antenna. Even the finest indoor antenna,
no matter how elaborate, cannot fully exploit the capabilities
of a good FM tuner. For the lowest noise, minimum distor-

tion,
and
largest
choice
of
well-received
broadcasts,
an
outdoor
antenna
is
the
best
complement
to
a
fine
tuner.
A roof-mounted antenna has three fundamental ad-
vantages.
First,
its
large
size
yields
better
sensitivity
(pulling
in
a
stronger
signal
from
the
desired
station)
and
a
narrower
directional
pattern
for
more
effective
rejection
of
multipath
reflections
arriving
from
other
directions.
Second,
its
loca-
tion
on
a
roof
or
tall
mast
places
it
above
many
sources
of
interference—passing
cars
and
buses,
other
buildings,
etc.
Third,
the
strength
of
received
FM
signals
is
directly
pro-
portional
to
the
height.of
any
antenna
above
the
ground.
If
you
already
have
an
outdoor
television
antenna,
using
a
splitter
to
extract
FM
signals
from
it
may
produce
excellent
results.
However,
many
TV
antennas
are
deliberately
de-
signed
to
be
relatively
weak
at
FM
frequencies
in
order
to
minimize
potential
interference
with
TV
signals
at
nearby
frequencies
(Channel
6
in
the
U.S.).
You
may
be
able
to
use
a
splitter
to
extract
FM
signals
from
an
apartment
building’s
master
TV
antenna
system,
but
usually
this
yields
poor
results
because
many
master
antenna
systems
have
“traps”
to
stop
FM
signals.
The best choice is a directional FM-only antenna,
mounted
as
high
above
ground
as
is
practical,
and
sepa-
rated by at least two meters (7 feet) from other antennas,
vertically
and
horizontally.
If
desired
stations
are
located
in
different
directions
(more
than
90
degrees
apart),
the
antenna
should
be
mounted.on
a
rotor
for
aiming.
Brand
names
of
good
FM
antennas
in
the
U.S.
include
Jerrold,
Finco,
Wineguard,
Antennacraft,
and
Archer
(Radio
Shack).
Use
shielded
lead-in
cable
rather
than
plain
“twin-lead”
wire,
both
to
minimize
interference
and
to
preserve
strong
signals
during
years
of
weathering.
The
cable
may
be
either
75-ohm
coaxial
or
a
shielded
300-ohm
type.
Disconnect
any
indoor
antenna
before
connecting
the
cable
from
the
outdoor
antenna.
if you are using a 75-ohm coaxial antenna cable that
lacks
a
connector,
you
may
attach
its
center
conductor
to
either
300Q
antenna
terminal
and
connect
the
cable
shield
to
the
ground
(G)
antenna
terminal.
This
unbalanced
connec-
tion
provides
the
required
75Q
impedance
for
the
cable.
But
the
300Q
antenna
terminals
are
connected
to
the
FM
tuner
circuit
through
an
internal
“balun”
transformer.
The
75Q
coaxial
socket
is
wired
directly
to
the
tuner
circuit,
bypassing
the
balun
transformer,
so
to
obtain
the
best
possible
sensitiv-
ity,
the
coaxial
cable
should
be
connected
to
the
75Q
socket.
If you install an outdoor antenna yourself, observe these
important
CAUTIONS:
;
1. Do not mount the antenna close to electric power
lines.
Plan
the
installation
so
that
the
antenna
mast
cannot
accidentally
touch
power
lines,
either
while
you
are
installing
it or later.
2. Include a lightning arrestor in the installation, to
protect
both
yourself
and
the
tuner
circuit
from
potential
danger during electrical storms.
6.
PHONO
GROUND
:
if
your
turntable
is
equipped
with
a
grounding
wire
(usually
a
green
wire
terminating
in
a
U-shaped
spade
lug),
connect
it
to
this
terminal.
Turn
the
thumb-nut
counter-
clockwise,
place
the
spade
lug
under
the
nut,
and
tighten
the
thumb-nut
clockwise
to
secure
the
lug.
If
the
grounding
wire
has
no
spade
lug,
strip
off
1
cm
of
insulation
to
expose
the
bare
wire,
twist
the
wire
strands
tightly
together,
insert
the
wire
though
the
small
hole
in
the
shaft
of
the
Ground
terminal,
and
tighten
the
thumb-nut
to
fasten
the
wire.
in
place.
If
you
encounter
a
persistent
low-level
hum
or
buzz
in
the
sound,
connect
a
wire
from
the
Ground
terminal
to
a
true
earth-ground,
i.e.
a
copper-plated
rod
driven
several
feet
into the earth. A substitute electrical ground may also prove
effective: a cold water pipe, a steam radiator, or the third
hole of a modern electrical wall socket.
7. PHONO INPUT
Plug the signal cables from your turntable into these
jacks. If the cables or plugs are color-coded, refer to your
turntable’s instruction manual to learn which cable or plug
is for the Left channel (upper jack) and which for the Right
(lower jack). Be careful to. insert each plug fully into the
socket so that the plug’s metal skirt fits tightly over the
exterior of the socket. If necessary, crimp the plug’s metal "
skirt slightly so as to obtain a tight fit with the socket.
8. VIDEO SOUND INPUT
Connect a video-related audio signal here, such as
the audio output from a video cassette recorder, video disc
player, TV monitor/receiver, or stereo television decoder.
Alternatively, any “line-level” audio signal may be con-
nected here, such as the playback from a spare tape deck.
9. CD INPUT
Connect the audio signal cables from a digital Compact
Disc player to these jacks. The input signal will be fed to the
Volume control before reaching any active circuitry, so the
amplifier’s circuits cannot be overloaded by high-level sig-
nals from the digital player.
If you don’t have a CD player, any other line-level signal
source (such as a spare tape deck) may be connected to the
CD input.
10. TAPE INPUT/OUTPUT
The tape connections may be used with recorders of all
types: cassette, open-reel, digital, HiFi VCR, etc. To make
recordings, connect a stereo patch cord from the amplifier’s
TAPE OUT jacks to the recorder’s audio LINE IN sockets
(not to its video or microphone inputs). To play back tapes,
connect a stereo patch cord from the recorder’s audio LINE
QUT jacks to the amplifier’s TAPE IN jacks.
The TAPE IN/OUT jacks may be used to connect a
signal processing accessory instead of a tape recorder. Ex-
amples of such accessories include a graphic equalizer, a
dynamic range processor, or an audio/video contro! center.
Connect a patch cord from the TAPE OUT jacks to the
processor’s inputs, and another patch cord from the proces-
sor’s outputs to the TAPE IN jacks.
Your tape deck may then be connected to the proces-
sor’s own TAPE jacks.
11. 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
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. ;
12. 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 in “4Q” speakers the minimum is
typically 3 ohms. If you connect two sets of speakers to the
amplifier, their combined impedance is approximately half
the impedance of either.
For these reasons, all NAD amplifiers and receivers are
designed to produce maximum power output into imped-

ances
of
2
to
6
ohms
at
the
40
(NORMAL)
setting
of
the
Impedance
selector.
If
you
are
not
sure
of
the
true
imped-
ance
of
your
speakers,
or
if
you
are
connecting
two
pairs
of
speakers,
leave
the
Impedance
switch
at
4Q
(NORMAL).
if
you
are
using
a
single
pair
of
loudspeakers
whose
true
impedance
is
above
6
ohms
at
all
frequencies,
you
can
optimise
the
amplifier
for
maximum
power
delivery
at
this
higher
impedance
by
re-setting
the
switch
to
8Q
(HIGH).
To
prevent
accidental
re-setting,
the
Impedance
switch
~
is
held
by
a
slotted
bracket
which
is
fastened
by
a
screw
next
to
the
switch.
Use
a
small
screwdriver
to
loosen
the
bracket
screw,
turning
it
about
a
half-turn
counter-clockwise,
and
then
slide
the
switch
to
the
8Q
(HIGH)
position.
The
bracket
will
move
with
the
switch.
Tighten
the
screw
to
secure
the
switch
in
its
new
position.
CAUTION:
If
the
impedance
switch
is
set
to
8O
(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.
lf
this
occurs,
return
the
amplifier
to
your
dealer
for
service.
FRONT PANEL CONTROLS
1.
POWER
_
Depress
this
button
to
switch
on
the
receiver
and
any
other
equipment
plugged
into
the
SWITCHED
convenience
outlet
on
the
rear
panel:
The
frequency
display
will
illuminate
when
the
power
is
on.
To
switch
the
power
off,
depress
the
button
again
and
release
it.
,
if
you
prefer,
you
may
leave
the
POWER
switch
perma-
nently
engaged
and
use
an
external
switch
(such
as
a
clock
timer)
to turn
the
power
on
and-off.
2. PHONES
Plug
stereo
headphones
in
here.
The
circuit
will
provide
proper
drive
signals
for
all
conventional
stereo
headphones
regardless
of
their
impedance,
with
just
one
exception:
electrostatic
headphones
usually
are
supplied
with
an
adapter
unit
which
must
be
connected
directly
to
the
speaker
terminals
on
the
rear
panel.
When
a
headphone
plug
is
inserted
into
the
PHONES
socket
the
loudspeakers
are
automatically
shut
off.
If
you
want
to
listen
to
speakers,
you
must
remove
any
plug
from
the
socket.
Before plugging any headphones in, turn down the
VOLUME
control
for
safety.
And
when
you
are
not
listening
to
the
headphones
it
is
wise
to
unplug
them
from
the
socket.
Otherwise,
when
not
wearing
the
phones
you
might
inadver-
tently
turn
up
the
volume
to.a
high
level
and
feed
a
danger-
ously strong signal to the headphones.
You
may
freely
use
headphone
extension
cables.
If
you
want
to
use
a
headphone
Y-connector
to
drive
two
headsets
simultaneously,
they
should
be
identical
models.
Connecting
together
two
headphones
which
differ
widely
in
impedance
usually
will
produce
a
substantial
loss
of
volume
in
the
headset
having
the
higher
impedance
(or
in
both).
3. EXTRA SPEAKERS
Press
this
button
to
switch
on
the
extension
speakers
connected
to
the
SPEAKERS
B
terminals
on
the
rear
panel.
Press
and
release
the
button
to
switch
off
the
exten-
sion
speakers.
If you have nothing connected to the SPEAKERS B
terminals, pressing this button will have no effect.
If you have connected speakers wired for “ambience
recovery,”
use
this
button
to
select
ordinary
stereo
(with
the
button
out)
or
spatially
enhanced
ambient
stereo
(with
the
button in).
4. BASS
The Bass control adjusts the relative level of the low
frequencies in the sound. The electrical response of the
amplifier
is
flattest
when
the
control
is
set
in
the
detent
at
the
12
o'clock
position.
Rotation
of
the
knob
to
the
right
(clock-
wise) increases the level of low-frequency sounds, and
rotation
counter-clockwise
decreases
their
level.
Adjust
the
Bass
control
to
achieve
the
tonal
balance
that
sounds
most
natural to you.
At
moderate
rotations
away
from
center
the
effect
of
the
Bass
control
is
subtle,
because
its
action
is
confined
to
the
lowest
audible
frequencies
where
significant
energy
is
sel-
dom
found
in
recordings.
Only
at
large
rotations
away
from
center
is
there
a
substantial
boost
or
cut
at
the
mid-bass
frequencies
that
are
common
in music.
5. TREBLE
The Treble control adjusts the relative level of the high
frequencies
in
the
sound.
The
response
of
the
amplifier
is
flattest
when
the
control
is
set
in
the
detent
at
the
12
o'clock
position.
Rotation
of
the
Treble
control
to
the
right
(clockwise)
increases
the
level
of
high-frequency
sounds,
and
rotation
counter-clockwise
decreases
their
level.
Adjust
the
Treble

control
to
achieve
the
tonal
balance
that
sounds
most
natural
to
you.
‘
Boosting
the
Treble
increases
the
brilliance
and
clarity
of
details
in
the
sound,
but
also
makes
any
noise
more
promi-
nent.
Turning
down
the
Treble
makes
the
sound
mellower
while
suppressing
hiss
and
record
surface
noise;
but
too
much
Treble
roll-off
will
make
the
sound
dull.
6. BALANCE : ig Se mae Shas gk gd Pe Re
The
Balance
control
adjusts
the
relative
levels
of
the
left
and
right
channels.
It
has
no
effect
on
recordings
being
made.
A
detent
at
the
12
o’clock
position
marks
the
point
of
equal
balance.
Rotation
of
the
Balance
control
to
the
right
(clockwise)
decreases
the
level
of
the
left
channel
so
that
only
the
right
channel
is
heard,
thus
shifting
the
sonic
image
to
the
right.
Rotation
of
the
control
to
the
left
shifts
the
sonic
image
toward
the
left
speaker.
ideally
the
detented
center
position
of
the
Balance
control
will
be
the
normal
setting.
But
several
common
circumstances
may
cause
unequal
balance,
requiring
an
off-center
setting
of
the
Balance
control
to
restore
the
most
uniform
spread
of
stereo
sound
between
the
speakers.
These
include
unequal
output
from
the
two
channels
of
the
phono
cartridge,
different
acoustical
environments
around
the
two
loudspeakers,
or
simply
a
listening
position
that
is
closer
to
one
speaker
than
to
the
other.
Adjust
the
Balance
control
to
produce
a
natural
spread
of
sound
across
the
space
between
the
speakers,
with
any
monophonic
sound
(such
as
a
radio
announcer’s
voice)
appearing
as
a
phantom
image
centered
midway
between
them.
7. TAPE MONITOR
When
this
button
is
pressed
it
over-rides
the
Input
Selector
buttons
and
lets
you
hear
the
playback
signal
from
your
tape
recorder
(or
any
other
device
connected
to
the
TAPE
IN
jacks
on
the
rear
panel).
If
you
have
a
signal-
processing
accessory
(such
as
a
graphic
equalizer
or
dy-
namic
expander)
connected
to
the
TAPE
IN/OUT
jacks,
pressing
TAPE
allows
you
to
hear
the
processed
signal.
CAUTION:
If
you
have
nothing
connected
to
the
TAPE
IN/OUT
jacks,
or
have
a
tape
deck
connected
but
not
"running,
when
you
press
TAPE
you
will’hear
nothing
but
silence—regardless
of
what
other
selector
buttons
you
may
press!
To
disengage
the
tape
monitor
circuit
and
restore
the
normal
signal
path,
press
the
TAPE
button
again
and
release
it.
The
standard
purpose
of
the
TAPE
monitor
is
to
allow
you
to
listen
to
recorded
tapes,
and
also
to
check
on
tape
recordings
as
they
are
being
made.
If
you
have
a
three-head
tape
deck
that
allows
off-the-tape
monitoring
during
record-
ing,
the
TAPE
monitor
switch
will
let
you
hear
the
playback
signal
from
the
tape
immediately
after
it
is
recorded,
so
that
you
can
check
on
its
quality.
(Of
course,
you
must
also
set
the
Source/Tape
switch
on
the
recorder
to
Tape.)
The
signal
to
be
recorded
on
tape
is
chosen
exclusively
by
the
Input
Selector
pushbuttons,
and
is
not
affected
by
any
other
controls
(Volume,
Balance,
tone
controls,
etc.).
COPYING
TAPES:
If
you
want
to
copy
a
recording
from
one
tape
deck
to
another,
connect
the
playback
cable
from
the
“source”
deck
(the
machine
containing
the
tape
to
be
copied)
to
the
CD
input.
Connect
the
“copying”
or
“dubbing”
recorder
to
the
TAPE
IN/OUT
jacks.
Press
the
CD
button
to
hear
the
source
tape
and
feed
its
signal
to
the
copying
recorder.
If
you
then
press
the
TAPE
MONITOR
button
you
will
hear
the
signal
after
it
has
passed
through
the
copying
recorder’s
electronics.
if
you
need
greater
flexibility
in
connecting
and
copying
among
multiple
tape
decks,
the
best
method
is
to
purchase
an
external
switch-box,
connect
it
to
the.
TAPE
IN/OUT
jacks,
and connect the tape decks to the switch-box. (Example: the
Radio Shack #42-2105 switch-bdx contains facilities for
monitoring and copying among three tape decks.)
8. INPUT SELECTOR (CD, Video, Phono, AM, FM)
These interlocked buttons select the input signal for
listening and for recording. This is the signal that you will
hear, assuming that the TAPE MONITOR is disengaged.
Regardless of the setting of the TAPE MONITOR switch,
the selected input signal will also be fed to the TAPE OUT ~
jacks for recording or signal-processing.
9. MONO
This button blends the two stereo channels together to
produce monophonic sound. This blend minimizes rumble
and surface noise in old monophonic records. The button
must be OUT for normal stereo listening.
The MONO button also disables the stereo FM circuits
in the tuner. Normally the tuner receives monophonic trans-
missions in mono and automatically switches on its multiplex
decoding circuits when a stereo FM broadcast. is received
(as shown by the FM STEREO indicator). But when a very
weak FM stereo signal is received, it may be excessively
noisy because of the multiplex encoding technique used for
stereo broadcasting. In that case, depress the MONO button
to lock the tuner in the mono mode, in order to obtain
consistently quieter and cleaner sound.
Remember to disengage the MONO button when you
re-tune to a stronger signal. As long as the MONO button
is engaged, no broadcasts can be received in stereo.
If you record a broadcast with the MONO button en-
gaged, the recording will be in mono. If you record the signal
from any other input (Phono, CD, et al), the effect of the
MONO button depends on whether the TAPE MONITOR
button is engaged. If the TAPE MONITOR is not engaged,
then pressing MONO will blend the input signal into mono,
and the monophonic signal will be recorded. If the TAPE
MONITOR is engaged, then pressing MONO will affect only
the sound that you hear as it returns from the recorder; the
signal going to the tape will be recorded in stereo.
10. LOUDNESS
This button engages a “loudness compensation” circuit
which, at low-to-medium settings of the Volume control,
boosts the bass response of the amplifier in order to com-
pensate for the human ear’s diminished sensitivity to low-
frequency sounds at low loudness levels. The circuit also
provides a slight treble boost to overcome the “masking”
of subtle high-frequency details by background noise.
Instead of using this button, you may prefer to use the
tone controls to obtain the tonal balance that sounds most
natural to you, at any volume level.
11. VOLUME
The Volume control adjusts the overall loudness level of
the sound. It has no effect on the level of the signals fed to
the TAPE OUT jacks for tape recording. The Volume control
is designed for accurate tracking of its two channels, so that
the stereo balance will not shift noticeably as the loudness of
the sound is varied.
12. TUNING DISPLAY
The display shows the broadcast frequency to which the
receiver is tuned. On the FM band the last digit will be either
0 or 5, since tuning occurs in increments of 0.05 MHz.
13. CENTER-TUNE INDICATOR
This light glows when the tuner is accurately tuned to
the center of an FM station’s broadcasting channel.
14. FM STEREO INDICATOR
This LED illuminates when a stereo FM broadcast is
being received and decoded by the tuner’s multiplex decoder

circuit.
Note
that
if
the
MONO
button
is
engaged,
all
broad-
casts
will
be
received
in
mono.
If
an
EM
station
is
broadcasting
only
in
mono,
or
if
a
stereo
broadcast
signal
is
too
weak
for
reasonably
noise-free
reception
in
stereo,
then
the
tuner
will
automatically
switch
into
the
mono
mode,
and
this
light
will
not
illuminate.
Also,
if
you
have
mis-tuned
away
from
the
center
of
a
station’s
broadcast
channel,
the
stereo
decoding
circuits
may
not
lock
~-onto
the
signal
and
it
may
be
received
only
in-mono.
-
15.
TUNING
PRE-SETS
You
can
store
the
frequencies
of
ten
favorite
stations
(5
FM
and
5
AM)
in
these
pre-sets,
using
the
ENTER
button.
Then,
to
tune
those
stations
from
day
to
day,
just
press
the
appropriate
pre-set
button.
The
pre-sets
preserve
their
frequency
assignments
when
the
power
is
switched
off,
or
when
the
AC
line
cord
is
unplugged,
for
a
period
of
at
least
two
weeks.
Thus
you
can
re-arrange
your
stereo
system,
or
move
the
equipment
from
room
to
room,
without
losing
the
pre-set
frequencies.
But
if
you
leave
the
power
off
for
a
month
or
more,
you
may
have
to
re-program
the
tuning
pre-sets.
16. MEMORY ENTER
This
button
engages
the
Memory
Enter
mode.
Use
this
mode
to
enter
the
frequencies
of
your
favorite
stations
in
the
ten
pre-sets
(five
pre-sets
on
the
FM
band
and
another
group
of
five
pre-sets
on
AM).
The
procedure
is
as
follows.
1.
Decide
which
station
you
want
to
assign
to
each
pre-set.
On
each
band
you
may
arrange
the
stations
in
any
order
that
you
find
convenient
(or
easy
to
remember):
alphabetical
(1=
WABC,
2=WCBS,
3=WNYC
..
.),
nu-
merical
(1=BBC1,
2=BBC2
...),
or
in
order
of
increas-
ing
frequency
(1=
89.7,
2=90.9,
3=
95.3,
etc.).
If
you
are
not
certain
of
the
frequencies
of
the
stations,
check
the
station/frequency
directory
in
a
local
newspaper
or
broadcasting
guide.
2.
Select
the
FM
or
AM
band,
as
appropriate.
Using
the
Up/Down
Tuning
control,
manually
tune
to
the
first
station
on
your
list.
Press
the
ENTER
button,
then
press
Pre-set
#1
to
store
the
first
station
in
the
tuner’s
memory.
NOTE:
After
you
press
ENTER,
you
will
have
ap-
proximately
ten
seconds
to
store
a
station
in
one
of
the
pre-sets.
After
that
interval,
the
ENTER
mode
will
auto-
matically
de-activate.
3.
Tune
to
the
second
station
on
your
list.
Press
the
ENTER
button
and,
within
ten
seconds,
press
Pre-set
#2
to
store
the
second
station.
4.
Tune
to
the
third
station
on
your
list,
press
ENTER,
and
press
Pre-set
#3
to
store
the
station.
Continue
in
this
manner
with
any
other
stations
that
you
want
to
store
in
the
remaining
pre-sets.
Then
switch
to
the
other
tuning
band
(FM
or
AM)
and
repeat
the
process
for
the
second
set
of
five
pre-sets.
Incidentally,
if
you
make
a
mistake
or
change
your
mind,
it
is
not
necessary
to
re-program
ail
five
pre-sets
in
sequence.
You
can
re-program
any
pre-set
simply
by
tuning
to
the
desired
frequency,
pressing
ENTER,
and
pressing
the
pre-set
that
you
want
to
re-program.
After
you
finish
programming
the
pre-sets,
you
may
wish
to
post
your
list
of
stations
and
associated
pre-set
numbers
nearby
for
reference.
CAUTION:
In
day-to-day
operation,
be
careful
not
to
press
the
ENTER
button
by
accident.
Doing
so
will
activate
the
ENTER
mode,
and
if
you
then
press
any
of
the
pre-set
buttons
you
will
unintentionally
re-program
that
pre-set.
You
would
then
have
to
manually
re-tune
to
the
station
you
wanted,
and
re-ENTER
it
into
the
pre-set.
If
you
acciden-
tally press ENTER, you can force the circuit to back out of
the ENTER mode by briefly switching to the other tuning
band (e.g., from FM to AM and back), or by tapping the
Tuning rocker.
17. SEARCH MODE
When the SEARCH button is engaged, the tuner scans
in a station-by-station mode rather than in small frequency
increments. When the Up/Down Tuning rocker is tapped,
“the tuner scans up or down in frequency and automatically
stops at the next station whose signal is strong enough for
good reception. ;
If you want to tune to a weak station, or if you want to
fine-tune the tuner manually, disengage the SEARCH mode
(button OUT), allowing the Up/Down Tuning rocker to tune
in small increments.
18. UP/DOWN TUNING
The Up/Down Tuning control is a “rocker” switch
that allows you to tune up and down the AM or FM radio
spectrum. Depress the right-hand section of the rocker in
order to tune to higher frequencies, or the left-hand section
to tune to lower frequencies.
When the Tuning rocker is pressed momentarily, the
tuned frequency shifts up or down by one step, unless
SEARCH has been engaged. (If SEARCH is engaged,
the tuner will scan in a station-by-station mode rather than
in fixed tuning steps.)
In North America the size of this tuning step is 10 kHz on
the AM band. In Europe and elsewhere the tuning step is 9
kHz on AM. In either case the tuning step for the FM band is
0.05 MHz. Each time the Tuning rocker is tapped, the tuned
frequency will shift up or down by this minimum tuning -
increment, as shown on the digital frequency display.
If the Tuning rocker is held down with continuous
pressure rather than just tapped, the tuning pauses briefly
and then scans rapidly up or down in frequency.
Thus, to manually tune a station, the procedure is to
press continuously on either side of the Tuning rocker until
the tuned frequency is close to the desired broadcast fre-
quency, and then fine-tune by tapping the Tuning rocker
until the digital frequency display exactly matches the sta-
tion’s broadcast frequency as listed in a local newspaper
or broadcasting guide. If you know the exact broadcast
frequency, simply set the tuner to that frequency. If you
know only the approximate frequency, tune to the vicinity
of the station and then fine-tune for best sound. On FM,
fine-tune until the center-tune indicator is illuminated.
A NOTE ON OVERLOAD PROTECTION
Because NAD amplifiers sound so clean and musical
when driven beyond their nominal power ratings and when
used to drive low-impedance loudspeakers, you may be
tempted to stress this amplifier beyond its design capacity.
it can safely and cleanly drive impedances as low as 2 ohms
with wide-range musical signals whose peak level is 50 watts
or more, but it may overheat if called upon to deliver high
power continuously into a low impedance.
Thus you may play music-at volume levels which cause
the brief transient peaks and climaxes in music to exceed the
amplifier's rated power by a considerable margin (and with
Soft Clipping the music will continue to sound good at those
high peak levels). But if you overdrive the amplifier continu-
ously, rather than only on brief musical peaks, the output.
transistors may overheat.
This is particularly likely if you set the SPEAKER
IMPEDANCE switch to 8 OHMS and then try to drive very
low impedances at high volume levels. Severe abuse of this
type
could
cause
internal
fuses
to
blow
in
order
to
protect

the amplifier. These fuses are not intended to be replaced
by the user; if the amplifier shuts down you should return
it for service.
\
If this occurs, you should examine whether a pattern
of unintended abuse may have contributed to the failure.
For example you may have a loose strand of speaker wire
causing a partial short-circuit either at the speakers or at the
amplifier’s speaker terminals. The impedance of your speak-
ers may be lower than you think; if you are not sure, set the
SPEAKER IMPEDANCE switch to 4 OHMS. You may be com-
bining maximum bass boost with high volume settings. Or
you may simply be playing the music at continuously high
power levels that demand a larger amplifier with high-power
transistors and bigger heat-sinks.
cise ware shear = 3 8 eb Oe yy eh ete 3 Bocas, _
IN CASE OF DIFFICULTY:
A TROUBLE-SHOOTING GUIDE
SYMPTOM
No sound.
No sound in
one channel.
POSSIBLE CAUSE
Power not on.
Line cord unplugged.
Tuner selected but tuned to a blank
frequency between stations.
CD input selected with no CD playing.
‘Tape Monitor engaged with no
tape playing.
Headphone plug inserted in PHONES
jack.
Internal fuses blown to protect the
amplifier from short-circuited speaker
wires or from overheating caused by
overdriving the amplifier into a low im-
pedance with the Impedance Selector
at 8 ohms. —
Balance control turned full-left
or full-right.
Loudspeaker connecting wire pulled
loose (check all connections, both at
speakers and at the amplifier).
Connecting cable pulled loose or
making poor contact in socket. Rotate
plugs in sockets to restore contact.
Short-circuit in a defective con-
necting cable. Wiggle all cables,
especially where they enter plugs.
Dirty contact in a switch. Exercise all
front-panel switches to restore clean
wiping contact.
Low-frequency
hum in phono.
Turntable grounding wire not connected.
Ground-loop hum. Install polarized
AC plugs properly in polarized wall
sockets (in which one slot is longer
than the other). Try reversing any non-
polarized plugs in their sockets, to find
the orientation that yields the least hum.
SYMPTOM
Low-frequency
hum in phono.
(continued)
Hum in tape
playback.
Distorted
reception of
FM stations.
POSSIBLE CAUSE
Turntable located too close to the am-
plifier (especially to its left). Locate the
turntable to the right of the amplifier.
Phono cables routed too close to
the amplifer’s power transformer
(at left-rear).
Phono plugs making poor contact in
socket. (Also check any phono plugs
in the turntable base.)
Tape deck located too close to
amplifier (directly above or below).
Tape deck located too close to
television set.
Plugs making poor contact in sockets.
“Multipath” reception. Rotate antenna
to find the orientation that provides
best reception. (The best orienta-
tion may vary from station to station.)
Raise the height of the antenna. If
your building has steel-frame or steel-
reinforced concrete construction, move
your FM antenna outside, and use a
shielded 75-ohm coaxial lead-in cable.
if all else fails, switch to Mono reception.
Whistle
or buzz in
AM or FM.
Weak bass;
diffuse stereo
imaging.
Video game, computer, or computerized
game operating nearby.
AM only: static due to electric motors
or fluorescent lights. Minimize by tun-
ing to a strong station, or install an
external antenna.
Speakers wired out of phase.
Swap connections at the back of
ONE speaker.

FRANCAIS
INSTALLATION
Placez
cet
appareil
sur
une
surface
plate
et
stable.
Le
transformateur
de
cet
appareil
émet
un
champ
magnétique
modeste.
Nous
vous
conseillons
donc
de
ne
pas
y
superpo-
ser
ou
d’y
placer
&
cété
une
platine
munie
d’un
phonolecteur
&
bobine
mobile.
_
De
plus,
cet
appareil
émet
une
certaine
chaleur;
il
requiert
conséquemment
un
certain
degré
de
ventilation.
Ainsi
prenez
soin
de
ne
pas
en
obstruer
les
bouches
d’aération
se
trouvant
sur
les
parties
supérieure
et
inférieure
du
chassis.
ATTENTION:
Afin
d’éviter
tout
risque
d’incendie
ou
de
choc
électrique,
ne
jamais
renverser
sur
cet
appareil
un
liquide
quelconque.
Au
cas
ou
cela
se
serait
produit
acciden-
tellement,
mettez
immédiatement
l’appareil
hors-circuit
et
débranchez
le
cordon
d’alimentation.
De
maniére
générale,
attendez
que
le
liquide
s’évapore
avant
de
remetire
l’appareil
en
marche.
Toutefois,
dans
certains
cas
(par
exemple,
si
vous
avez
renversé
une
solution
autre
que
de
l’eau
ou
de
l'alcool
dénaturé),
il
vous
est
conseillé
de
contacter
au
plus
‘vite
votre
concessionnaire.
Ne
jamais
essayer
de
modifier
ou
de
réparer
cet
appareil
personnellement.
En
cas
de
panne,
contactez
votre
concessionnaire.
«
10
LE PANNEAU ARRIERE
1. AC LINE CORD (Cordon d’alimentation)
Branchez le cordon d’alimentation a une prise
CA murale.
2. AC OUTLETS (Prises CA)
Vous pouvez y brancher les cordons d’alimentation
d’autres composantes hifi. Utilisez la prise active (switched)
pour le raccordage des produits exclusivement électroniques
(par exemple un-tuner, donc mis sous tension par I’enclen-
chement de la touche d’alimentation). Utilisez l’autre prise
(unswitched) pour le raccordage d’appareils requérant des
opérations mécaniques (par exemple, une platine ou un
magnétophone). Ces produits doivent étre activés par
leurs touches d’alimentation respectives.
3. SPEAKERS A (Enceintes A)
Si la distance entre votre amplificateur.et vos enceintes
acoustiques n’excéde pas six métres, nous vous conseillons
l'utilisation d’un cable semblable a un cordon de lampe
électrique. Toutefois, si elle excéde six métres, nous vous
conseillons l’utilisation d’un cable plus épais—surtout si vous
utilisez des enceintes a impédance basse ou deux paires
d’enceintes acoustiques branchées en paralléle.
Séparez les deux fils du cable; enlevez-en environ un
centimetre d’isolant. Torsadez soigneusement les fils ainsi
dénudés. Enfoncez ensuite la touche au-dessus de chaque
borne d’enceinte afin de découvrir l’encoche y correspon-
dant. Insérez les fils dans l’encoche et libérez la touche. La
borne gardera le cable en place.
Répétez ce procédé afin de raccorder le deuxiéme fil
Al’autre borne. Ayant ainsi raccordé la paire d’enceintes,
vérifiez que vous n’avez causé aucun court-circuit entre
les fils de chaque cable. La paire d’enceintes A doit étre rac-
cordée aux bornes supérieures de l’amplificateur et la paire B
aux bornes inférieures.
Mise en phase. Lorsque vous utilisez deux enceintes
en mode stéréophonique, elles devraient opérer en phase
mutuellement afin de produire un relief acoustique maximal
et se renforcer mutuellement au lieu d’affecter de maniére
défavorable leur rendement global lors des passages a basse
fréquence. Vous pouvez ainsi vérifier la mise en phase de vos
enceintes: Raccordez les deux enceintes. Placez-les face
contre face a quelques centimétres |’une de l’autre. Jouez
une piéce musicale et écoutez attentivement. Inversez
ensuite les connexions d’une enceinte. Ecoutez une fois
encore. La connexion produisant le meilleur rendement
grave est la bonne; l’autre enceinte devrait étre branchée de
maniére identique. Ayant raccordé les enceintes aux bornes
appropriées, assurez-vous que vous n’avez Causé aucun
court-circuit entre les differents fils et bornes. Placez ensuite
les enceintes aux endroits vous convenant le mieux.
Si vous ne pouvez déplacer vos enceintes, vous pouvez
néanmoins en vérifier la mise en phase en vous basant sur
la polarité des cables de raccordage. Vous observez, a
larriére de l’amplificateur, que chaque canal stéréophonique
se compose de deux bornes: une rouge, l’autre noire. La
borne
rouge
représente
la
polarité
positive,
la
borne
noire,
la négative. Vous remarquerez également une composition
similaire
des
bornes
al’arriére
de
chaque
enceinte
acous-
tique. De maniére générale, raccordez la borne positive
[rouge] de |’amplificateur a la borne positive de l’enceinte de
chaque canal.
Afin de faciliter le raccordage des enceintes, les deux fils
du cable de connexion de chaque canal sont généralement
différents; par exemple, vous pouvez distinguer les fils l’un
de l’autre en vous basant sur leurs couleurs respectives. En
vous référant a ces couleurs, ou a toute autre indication, rac-
cordez les deux enceintes de maniére identique. En d’autres
mots, si vous raccordez le cordon rouge du cable a la borne

rouge
(positive)
du
canal
droit
de
l’amplificateur,
vous
devriez
raccorder
la
borne
rouge
(positive)
du
canal
gauche
de
~~
maniére
identique.
Raccordez
l’autre
extrémité
du
cordon
rouge
a
la
borne
positive
de
l’enceinte
dans
chaque
cas.
4.
SPEAKERS
B
(Enceintes
B)
Vous
pouvez
raccorder
une
deuxiéme
paire
d’enceintes
acet
amplificateur
en
utilisant
les
bornes
d’enceintes
B.
Effectuez
les
connexions
comme
indiqué
sous
la
rubrique
«Enceintes.A».
plus
haut.
Jee
at
ate
ooh
Fore
Ane
ws
Si la deuxiéme paire d’enceintes se trouve tout prés
de
la
premiére
et
vous
désirez
les
activer
simultanément,
assurez-vous que la mise en phase des deux paires soit iden-
tique.
Toutefois,
si
la
deuxiéme
paire
se
trouve
dans
une
autre
salle
et
vous
ne
désirez
pas
activer
les
deux
paires
simultanément, nul n’est besoin de vérifier que la mise en
phase des deux paires soit identique-Toutefois, vous devriez
au
préalable
vous
assurer
de
la
mise
en
phase
effective
de
la
deuxiéme paire d’enceintes indépendemment de la premiére.
Alternativement, vous pouvez utiliser les bornes pour
enceintes
B
afin
d’ameéliorer
le
relief
acoustique
de
votre
salle d’écoute. Placez une paire d’enceintes compactes des
deux
cétés
de
la
salle
d’écoute
(souvent
il
est
utile
d’agencer
ces
enceintes
de
telle
maniére
que
le
son
qu’elles
produisent
soit
réfléchi
par
les
divers
objets
se
trouvant
dans
la
salle
d’écoute
avant
de
vous
parvenir).
Branchez
la
borne
positive
du
canal
gauche
de
|’amplificateur
a
la
borne
positive
de
'enceinte
de
gauche,
et
la
borne
positive
de
l’enceinte
de
droite ala borne positive du canal droit de l’amplificateur.
Raccordez
ensuite
les
bornes
négatives
de
chaque
enceinte.
Un
tel
raccordage
de
la
deuxiéme
paire
d’enceintes
vous
permettra de percevoirla difference entre les deux canaux
du
signal
stéréophonique.
5,
ANTENNA
TERMINALS
Avant de procéder a tout raccordement d’un antenne
aux
quatre
bornes
de
raccordement
il
y
a
lieu
d’enlever
tout
dispositif
de
raccordement
des
fils
de
l’'antenne.
Dénuder
ensuite
les
fils
d’antenne
sur
environ
1
cm
et
torsader
les
brins ainsi exposés.
Enfoncer la. touche en plastique au-dessous de chaque
borne et introduire le fil correspondant dans l’encoche prévu
acet
effet.
Ensuite
lacher
la
touche.
Le
dispositif
de
la
borne
maintiendra le fil en place.
ANTENNES AM
AM.: Le tuner n’est pas muni d’une antenne AM incor-
porée.
Il
ya
donc
lieu
de
raccorder
une
antenne
extérieure
pour
obtenir
une
réception
satisfaisante.
Dans
le
cas
de
la
plupart
des
stations
de
radio
il
suffit
de
se
servir
d’un
simple
fil d’environ un métre de long pour obtenir un signal de puis-
sance convenable. Le tuner est livré avec une antenne de ce
type. Raccorder un bout de ce fil a la borne AM. II n’est pas
nécessaire
de
fixer
le
fil
mais,
pour
le
cacher,
on
peut
le
fixer
sur le rebord arriére d’une étagére en bois, de fagon horizon-
tale. (Les étagéres en métal sont strictement a éviter parce
qu’elles peuvent diminuer la puissance du signal ala
réception. Dans le cas ou I’étagére est en meétal, ’antenne
doit étre fixée au mur defacon solide et éloignée de |’étage-
re.) ll y a lieu d’essayer plusieures orientations du fil pour
trouver la meilleure orientation qui produit la meilleure récep-
tion de vos stations de préférence.
Dans la plupart de cas, !’antenne a fil court produira une
réception satisfaisante des stations AM locales; mais dans !e
cas des stations AM plus éloignées, il y a lieu d’utiliser une
antenne AM a fil long». Tout comme son nom |’indique, cette
antenne est composée d’un simple fil droit dont la longueur
peut aller de quelques métres jusqu’a 30 métres. Elle doit
tre disposée de fagon horizontale, paralléle au sol et a une
hauteur convenable. On peut parfois augmenter l’efficacité
de |’antenne en attachant un fil a la borne de masse du tuner
qui sera ensuite relier a la terre, c’est-a-dire, a une barre
11
métallique plaquée en cuivre et enfoncée a environ un métre
dans la terre. A défaut de cette possibilité on peut lé fixer a
un tuyau d’eau d’alimentation en eau froide, un radiateur a
vapeur ou bien la masse prévu dans une prise électrique
a trois fils.
ANTENNES FM
La réception de programmes FM exige l'utilisation d’une
forme d’antenne extérieure quelconque. Le fabricant vous a
fourni une antenne de 300 ohms en forme de T. Etendez la
partie supérieure de l’antenne horizontalement en la fixant au
mur, par exemple, et branchez-en la partie verticale aux bor-
nes de 300 ohms.
Vu ’extréme sensibilité des tuners NAD, vous pourriez
trouver ce type d’antenne plus que satisfaisante pour une
bonne réception des stations locales. Elle ne sera toutefois
pas idéale dans toutes les circonstances, n’étant pas en
mesure de rejeter les distortions diversifiées et d’autres
formes d’interférence en modulation de fréquence. De plus,
vous ne pourrez pas la pivoter pour vous obtenir une récep-
tion optimale des stations situées dans différentes directions.
Donc, dans la plupart des cas, nous vous conseillons
d’utiliser une antenne d’une qualité supérieure. Nous vous
proposons les options suivantes:
(1) Une antenne TV intérieure dépourvue de centréle de
syntonisation. Techniquement, une telle antenne ne differe
aucunement de celle fournie par le fabriquant. Elje a toutefois
cet avantage: vous pouvez la pivoter. Etendez les deux bras
de |l’antenne et orientez-les horizontalement ou a un angle.
Ce type d’antenne doit 6tre branché aux bornes d’antennes
de 300 ohms. Vous pouvez ensuite faire pivoter l’antenne
pour une réception optimale des signaux.
(2) Une antenne TV intérieure comprenant un bouton de
syntonisation. Ce type d’antenne n’est aucunement plus sen-
sible que celle décrite précédemment. Donc, si les si gnaux
que vous recevez sont trop faibles, la seule solution réside
dans installation d’une antenne extérieure. Joutefois, dans
de grands immeubles ou dans de grandes villes ou les
signaux sont puissants mais contaminés par des distortions
diversifiées, la touche de syntonisation pourrait bien amé-
liorer la réception de vos programmes en rejetant certaines
formes d’interférences. a“
(8) Une antenne intérieure a syntonisation électrique.
Une fois encore, ce type d’antenne ne vous sera d’aucune
utilité si les signaux que vous recevez sont trop faibles. Tou-
tefois, elle vous aidera a améliorer la reception de votre tuner
dans des situations ou les signaux régus quoique puissants,
sont contaminés par des distortions.
(4) Une antenne extérieure. Elle vous permettra d’ex-
ploiter au maximum les qualités de votre tuner, vous garantis-
sant un bruit de fond minimal, un minimum de distortion et un
choix de stations plus vaste.
Une antenne extérieure comporte trois avantages fon-
damentaux: premiérement, la sensibilité d’une antenne
augmente par rapport a ses dimensions, vous permettant
d’attirer un signal plus puissant et de rejeter de maniére
effective les distortions diversifiées provenant d’autres direc-
tions grace a un diagramme directionnel étroit; deuxiéme-
ment, son emplacement sur un toit la met au-dessus de
plusieurs sources d’interférences — voitures, autobus, et
d’autres batiments avoisinants. Et troisiemement, !a puis-
sance des signaux captés augmente par rapport a la hauteur
de l’antenne.
Si vous possédez déja une antenne TV extérieure, utili-
sez un démodulateur pour en extraire les signaux FM. Ceci
pourrait produire d’excellents résultats. Toutefois, de telles
antennes sont congues délibérément afin d’éviter les distor-
tions possibles provenant des signaux en modulation de
fréquence en les maintenant a leur plus faible.