Nakamichi 610 User manual
Nakamichi
610
Control
Preamplifier
Operating
Instructions
CONTENTS:
Control
Functions
...........0..08.
1,2
Connections
Microphone,
Record
Player,
Tuner
..
3
Tape
Deck,
Power
Amplifier
.......
4
Remote
Control
Unit
............
5
PrecautionS
......-0-
eee
eee
eee
eee
6
Using
the
610
as
a
Preamplifier
......
7,8,9
Using
the
610
as
a
Performance
Checker
.......
10,11,12
Using
the
610
as
a
Mixer
.....
13,14,15,16
Block
&
Level
Diagrams
............
17
Troubleshooting
Chart,
Service
Information
......-.+e.e0e-
18
Performance
Data
........+-2..0055
19
Specifications,
Accessories
..........
20
We
thank
and
congratulate
you
for
your
purchase
of
this
Nakamichi
610
Control
Preamplifier.
it
is
our
belief
that
the
610
is
an
exceptional
product
in
terms
of
both
performance
and
features.
Other
manufacturers
will
no
doubt
imitate
the
610’s
features,
but
Nakamichi’s
advanced
engineering
is
your
assurance
that
the
610
will
stand
alone
in
the
area
of
performance
for
many
years
to
come.
Since
the
Nakamichi
610
offers
a
level
of
flexibility
never
before
available
on
consumer
electronic
products,
its
incorporation
into
your
music
system
and
its
operation
will
be
quite
unlike
anything
else
you
are
likely
to
have
used
before.
We
ask,
therefore,
that
you
carefully
read
this
instruction
booklet
in
its
entirety
before
attempting
to
use
your
610.
If
you
should
have
any
questions
not
answered
in
this
manual,
please
consult
your
nearest
Nakamichi
dealer.
NAKAMICHI!
RESEARCH
INC,
Control
Functions
OUTPUT
SELECTOR
Channels
the
Monitor
Output
of
the
610
through
one
of
three
Level!
Matching
Controls
(see
below).
Also,
when
used with
the
optional
RM-610
Remote
Contro!
Unit,
selects
one
of
three
loudspeaker
pairs
or
one
of
three
stereo
power
amplifiers
(see
page
5).
FUNCTION
SELECTOR
:
Selects
Line
A
stereo
inputs,
Line
B
stereo
inputs,
Mixing
mode
or
Test
Tone
mode.
TEST
TONE
SELECTOR
Selects
one
of
seven
sine
wave
frequencies
or
pink
noise
(see
page
10).
TEST
TONE
LEVEL
CONTROL
PHASE
INVERTER
SWITCHES
Reverses
the
phase
(180
degrees)
of
the
respec-
tive
mixer
inputs.
Operates
in
the
Mixing
mode
only
(see
page
13).
MASTER
LEVEL
CONTROL
Serves
as
the
mixer
output
level
contro!
and
master
record
level
control.
STEREO
HEADPHONE
JACK
PRESET
MARKER
Serves
as
a
reminder
when
using
the
Master
Level
Control
for
fade-in/fade-out
effects.
LINE
A
LEVEL
CONTROLS
Provides
independent
left
and
right
level
setting
for
the
selected
Line
A
stereo
input.
LEVEL
MATCHING
CONTROLS
Allows
the
pre-setting
of
levels
in
order
to
match
the
efficiencies
of
three
different
loud-
speaker
pairs
(or
the
gains
of
three
different
stereo
power
amplifiers)
connected
to
the
optional
RM-610
Remote
Control
Unit
(see
page
5),
REMOTE
CONTROL
SOCKET
The
optional
RM-610
Remote
Control
Unit
is
connected
to
this
socket.
AC
OUTLETS
(SWITCHED)
AC
POWER
CORD
LINE
VOLTAGE
SELECTOR
MONITOR
OUTPUT
JACKS
PEAK
LEVEL
METERS
POWER
SWITCH
LINE
A
INPUT
SELECTOR
LINE
B
INPUT
SELECTOR
Selects
the
desired
stereo
inputs
for
Line
A
and
Line
B
respectively.
Line
A
and
Line
B
are
two
independent
stereo
lines
within
the
610
(A
and
B
do
not
refer
to
left
and
right).
If
the
same
input
is
selected
for
Line
A
and
Line
B,
only
Line
A
will
be
functional.
TAPE
MONITOR:
SELECTOR
Allows
the
monitoring
of
any
one
of
three
stereo
tape
decks
without
affecting
any
record-
ings
in
progress.
Unless
monitoring
a
tape
deck,
the
Source
button
is
normally
depressed.
PHASE
CHECK
SELECTOR
BALANCE
CONTROL
MONITOR
VOLUME
CONTROL
Both
the
Balance
and
Monitor
Volume
Controls
affect
the
headphone
and
Monitor
outputs
only.
LINE
B
LEVEL
CONTROLS
Provides
independent
left
and
right
level
setting
for
the
selected
Line
B
stereo
input.
a
es
BLEND
MIC
LEVEL
CONTROL
Controls
the
input
jevel
of
the
Blend
Micro-
phone
(functional
only
in
the
Mixing
mode
and
when
a
microphone
is
connected
to
the
Blend
Mic
input).
PHONO
INPUT
IMPEDANCE
SWITCHES
Selects
200,
50K
or
100K
ohms
for
each
stereo
i
phono
input.
=|
(Bas
‘
a7
|
ora
0-0
—
-
MIC
ATTENUATOR
SWITCHES
;
¢
smsh:
Provides
selection
of
15
dB
or
30
dB
micro-
phone
input
attenuation,
AUXILIARY
INPUT
JACKS
TUNER
INPUT
JACKS
PHONO
INPUT
JACKS
MIC
INPUT
JACKS
GROUND
TERMINAL
TAPE
PLAY-IN/REC-OUT
JACKS
LINE
OUTPUT
JACKS
AS
Connections
(1)
Microphone/
Record
Player/Tuner
1.
Microphones
The
610
accepts
up
to
5
microphones:
2
left,
2
right
and
1
Blend
(center
channel).
The
microphones
should
be
within
the
impedance
range
of
200
to
1,000
ohms
and
the
sensitivity
range
of
—74
dB
+
10
dB
(0
dB
=
1
wbar/M).
The
microphone
cables
should
terminate
in
standard
1/4-inch
phone
plugs
(2-con-
ductor).
When
using
high
output
electret
or
con-
denser
microphones
with
high
sound
pres-
sure
level
sources,
it
may
be
necessary
to
utilize
the
mic
input
attenuators
to
avoid
clipping
the
mic
preamps.
Either
15
dB
or
30
dB
attenuation
may
be
selected.
Mic
attenuators
1
and
2
are
stereo
attenuators
in
that
both
left
and
right
channels
are
switched
simultaneously.
The
Blend
Mic
Attenuator
affects
only
that
microphone
input.
The
Mic
Attenuator
for
any
microphone
RM-610
(Optional)
input
not
in
use
should
be
left
in
the
30
dB
position
to
guard
against
unwanted
noise.
2.
Record
Players
Connect
the
output
cables
of
the
turn-
table/tonearm
to
the
610’s
phono
inputs
observing
the
left/right
indications.
Connect
the
ground
wire
from
the
turn-
table
to
the
Ground
Terminal.
Select
the
appropriate
input
impedance
with
the
Phono
Input
Impedance
Switch
as
recommended
by
the
manufacturer
of
the
phono
cartridge
(most
magnetic
car-
tridges
require
a
50K
ohm
input
im-
pedance).
Certain
low-impedance/low-output
mov-
ing
coil
cartridges
may
be
connected
directly
to
the
610's
phono
inputs
(the
impedance
selector
should
be
set
at
200
ohms).
Others
will
require
a
“‘pre-pre-
amplifier”
or
transformer
(such
as
the
Nakamichi
MCB-100
Pickup
Booster)
bet-
ween
the
cartridge
and
the
610’s
phono
inputs.
For
the
latter
situation
the
50K
ohm
input
impedance
is
recommended.
The
input
impedance
switch
for
any
unused
phono
input
should
be
left
in
the
200
ohm
position
to
guard
against
un-
wanted
noise.
3.
Tuner
Connect
the
output
of
the
tuner
to
the
Tuner
Input
of
the
610
using
a
standard
double
phono
plug-to-phono
plug
audio
connecting
cable.
Observe
the
left/right
indications.
,
If
the
tuner
provides
output
level
con-
trols,
these
may
have
to
be
adjusted
so
that
the
signal
from
the
tuner
is
not
“too
loud”
or
‘too
soft”
in
comparison
to
the
record
player
or
other
source
for
any
given
setting
of
the
610’s
volume
con-
trols.
Mic
t-L
ees
Blend
Mic
(he
Record
Player
2
Record
Player
1
1.
Tape
Decks
The
610
provides
three
complete
tape
in/out
circuits
with
full
monitoring
capa-
bility.
The
line
inputs
of
each
deck
should
be
connected
to
the
respective
Rec
Out
jacks
of
the
610
using
a
standard
phono
plug-to-phono
plug
stereo
connec-
ting
cable
(consult
your
dealer
if
your
tape
deck
requires
special
connectors).
The
outputs
of
each
tape
deck
should
be
connected
to
the
respective
Play
In
jacks
of
the
610
in
a
similar
manner.
Observe
left/right
indications
throughout.
A
fourth
tape
deck
may
be
connected
to
the
610
by
utilizing
the
AUX
input
and
Line
output
as
shown
in
the
illustration.
Power
Amplifier
Tape
Deck
3
The
output
of
the
tape
deck
should
be
connected
to
the
Aux
input
of
the
610,
and
the
Line
output
of
the
610
should
be
connected
to
the
deck’s
tine
inputs.
A
tape
deck
connected
to
the
610
in
this
manner
cannot
be
monitored
during
re-
cord.
2.
Power
Amplifier
Connect
the
Monitor
Output
of
the
610
to
the
power
amplifier
input
using
a
standard
phono
plug-to-phono
plug
stereo
connecting
cable.
Observe
left/right
indi-
cations.
The
Line
output
of
the
610
may
be
used
for
this
purpose,
but
note
that
the
Line
VW
PMO
OO
Ce
88
biel
Tape
Deck
2
Tape
eb
1
Connections
(2)
Tape
Deck/Power
Amplifier
output
is
not
affected
by
the
Monitor
Volume
Control,
Balance
Control
nor
the
Phase
Check
Selector.
.
‘
1
I
t
L
I/O
Ean
Ces]e.
a
ett
o0000
WoO®
OQ!
Extra
Tape
Deck
Connections
(3)
Remote
Control
Unit
(optional)
Loudspeaker
Systern
1
Power
Amplifier
outputs
—
amplifier
&
speaker
1
2
3
Output
Selector
Power
Amplifier
1
Power
Amplifier
3
Loudspeaker
po
outputs
——
amplifier
&
speaker
1
2
3
Output
Selector
Power
Amp
Power
Amp
Nakamichi
610
Speaker
Nakamichi
610
Speaker
1.
Loudspeaker
Switching
Connect
the
610
to
the
RM-610
Remote
Contro!
Unit
with
the
connecting
cable
provided
with
the
latter.
Connect
the
Monitor
output
of
the
610
to
the
power
amplifier
as
usual.
Instead
of
connecting
the
power
amplifier
outputs
to
the
loud-
speakers,
however,
connect
the
power
amp
outputs
to
the
“Common”
terminals
of
the
RM-610
using
speaker
wire.
Ob-
serve
plus
and
minus
polarities.
Connect
up
to
three
loudspeaker
pairs
to
the
terminals
on
the
RM-610
marked
1,
2
and
3.
‘When
an
Output
Selector
button
on
the
610
is
depressed,
the
RM-610
will
switch
the
output
of
the
power
amplifier
to
the
selected
loudspeaker
system.
If
the
listen-
ing
levels
of
the
loudspeaker
systems
are
to
be
matched
for
A-B
comparison
pur-
poses,
the
Level
Matching
Controls
on
the
rear
of
the
610
can
be
used
to
compen-
sate
for
the
different
efficiencies
of
the
3
a
oe
i
UO
———output
level
2.
Power
Amplifier
Switching
Connect
the
Remote
Control
Unit
to
the
610
with
the
connecting
cable
as
in
the
above
case.
The
Monitor
output
of
the
610
must
be
connected
to
the
inputs
of
-
all
three
power
amplifiers
(or
both
power
amplifiers
if
only
two
are
to
be
used).
Your
dealer
can
help
you
find
or
fabric-
.
ate
the
special
connecting
cable
required
for
this
purpose.
The
outputs
of
the
power
amplifier
should
be
connected
to
the
terminals
of
the
RM-610
marked
1,
2
and
3.
Connect
the
loudspeakers
to
the
“Common”
terminals
of
the
RM-610.
When
the
Output
Selector
buttons
on
the
610
are
depressed,
the
RM-610
will
switch
the
outputs
of
the
selected
power
amplifier
to
the
loudspeaker
system.
If
the
power
amplifiers
differ
in
overall
gain,
the
Level
Matching
Controls
on
the
rear
of
the
610
should
be
used
to
match
the
listening
levels.
This
will
ensure
the
fairest
possible
A-B
(-C)
listening
com-
parison.
RM-610
Remote
Control
Unit
Precautions
In
order
to
avoid
possible
damage
to
the
various
components
of
your
music
system
it
is
strongly
advised
that
you
observe
the
following
precautions:
—
Make
sure
that
the
AC
power
to
the
610
and
al!
other
components
is
shut
off
before
altering
any
of
the
inter-
connections.
—
Always
turn
the
Master
Level
Control
to
its
fully
counter-clockwise
position
when
lowering
or
raising
the
tonearm
of
your
record
player,
removing
or
installing
a
plug-in
type
phono
car-
tridge
headshell,
turning
the
power
on
or
off
on
electret
or
condenser
micro-
phones,
or,
in
general,
doing
anything
that
may
introduce
a
suddenly
large
signal
to
the
power
amplifier
and
the
loudspeakers.
—
Never
plug
components
that
draw
more
than
a
total
of
350
VA
into
the
AC
outlets
on
the
rear
pane!
of
the
610.
—
It
is
a
good
idea
to
keep
the
Tone
Level
Control
at
minimum
whenever
test
tones
are
not
being
used.
Other-
wise,
the
push
of
a
wrong
button
may
cause
an
unwanted
test
tone
to
dam-
age
your
loudspeakers.
Although
this
is
highly
unlikely,
it
is
not
entirely
impossible.
—
Before
turning
the
power
on,
make
sure
the
Master
Level
Control
and
the
Monitor
Volume
Control
are
at
mini-
mum.
—
It
is
a
good
idea
to
wait
approximately
twenty
seconds
after
turning
the
610
on
to
allow
all
circuits
in
your
music
system
to
stabilize
before
turning
the
volume
controls
up.
Using
The
610
as
a
Preamplifier
The
following
section
deals
with
the
use
of
the
610
as
the
stereo
control
preampli-
fier
in
a
music
system,
namely
the
playing
and
recording
(dubbing)
of
the
various
sources
connected
to
the
610,
such
as
disc,
tuner,
tape,
etc.
The
operation
of
the
610
is
not
nearly
as
complicated
as
it
might
first
appear.
The
seemingly
formidable
rows
of
pushbuttons
and
knobs
are
ac-
tually
very
logically
laid
out.
Although
the
610’s
controls
differ
significantly
from
those
of
conventional
stereo
pre-
amplifiers
in
a
number
of
aspects,
the
similarities
are
sufficiently
numerous
so
that
anyone
with
a
moderate
amount
of
experience
in
using
stereo
components
will
be
able
to
quickly
master
the
opera-
tion
of
the
610.
The
controls
of
the
610
are
basically
divided
into
three
sections:
the
input
selection
and
control
section,
the
func-
tion
selection
section,
and
the
output
control
section.
The
first
section
consists
of
the
central
portion
of
the
610
front
pane!
with
the
two
rows
of
selector
buttons
(Line
A
and
Line
B),
the
five
smaller
volume
controls
(Line
A
Level
Controls,
Blend
Mic
Level
Control,
and
Line
B
Level
Controls),
and
the
Master
Level
Control
at
bottom
left.
The
thing
to
remember
is
that
‘Line
A”
and
‘‘Line
B”
do
not
refer
to
the
left
and
right
channels.
They
are
two
independent
stereo
lines
within
the
610.
The
Line
A
and
Line
B
selector
rows
correspond
to
the
input
selector
knob
on
most
preamps,
amplifiers,
or
receivers;
it
is,
however,
as
if
the
preamp
had
two
selector
knobs
instead
of
one.
The
smaller
volume
con-
trols
allow
adjustment
of
the
level
of
the
inputs
selected
for
Line
A
and
Line
B
(the
Blend
Mic
Level
contro!
in
the
middle
is
for
that
input
only).
The
Master
Level
Control
is
used
to
adjust
the
final
input
level
and
to
perform
fade-ins
and
fade-outs
for
tape
recording.
outputs
ampiiher
&
speaker
r—lape
monte:
—
source
1
Function
Selection
Section
The
function
selection
section
consists
of
the
Function
Selector
buttons
near
the
top
left
of
the
610
front
panel.
These
will
determine
whether
the
input
selected
for
Line
A
or
the
input
selected
for
Line
B
is
to
be
played
(recorded),
or
whether
both
Lines
are
to
be
mixed
(see
page
13),
or
whether
the
test
tones
are
to
be
used.
The
output
control
section
consists
of
the
controls
at
the
far
right
of
the
610’s
front
panel.
The
Tape
Monitor
Selector
is
normally
set
for
‘‘Source’’
unless
the
user
wishes
to
monitor
one
of
the
recordings
in
progress.
The
Phase
Check
buttons
are
momentary
contact
switches
and
will
be
explained
in
later
sections
of
this
manual.
—
The
Balance
Control
is
the
same
as
in
any
preamplifier,
amplifier
or
receiver.
It
is
normally
used
in
the
center
position
and
is
adjusted
only
when
an
imbalance
exists
between
the
left
and
right
channels.
The
Monitor
Volume
Control
corresponds
to
Input
Selection
and
Control
Section
Output
Control
Section
the
“Volume”
control
on
most
other
preamps,
amplifiers
or
receivers.
It
con-
trols
the
output
level
to
the
power
amplifier
and,
therefore,
controls
the
overall
listening
volume.
The
following
examples
will
illustrate
typical
usage
of
the
controls
described
above.
EXAMPLE
1:
Playing
(and
tape
re-
10.
11.
cording)
a
Phonograph
Disc
After
making
sure
that
all
the
volume
controls
are
fully
counter-clockwise,
turn
the
power
to
the
610
and
other
components
on.
If
using
multiple
speakers
or
power
amplifiers
(with
the
RM-610,
see
page
5),
select
the
desired
system
by
depressing
the
appropriate
Output
Selector
button
(depressing
more
than
one
Output
button
will
cause
the
610
to
default
to
the
lowest
numbered
output).
!f
only
one
power
amplifier
and
one
loudspeaker
pair
is
in
use,
make
sure
at
least
one
of
the
Output
buttons
are
depressed.
Otherwise,
there
will
be
no
output
to
the
power
amplifier.
Also
make
sure
that
the
Level
Matching
Control!
on
the
rear
panel
for
the
selected
output
is
at
maximum.
Depress
the
‘‘Source”
button
on
the
Tape
Monitor
Selector.
.
Depress
the
Phono
1
button
on
the
Line
A
selector
row
(or
Phono
2
if
the
record
to
be
played
is
on
a
turntable
plugged
into
the
Phono
2
input
jacks
of
the
610).
.
Depress
the
Line
A
button
on
the
Function
Selector
row.
.
Turn
both
left
and
right
Line
A
Level
Controls
to
about
2
o'clock.
.
Lower
the
tonearm
onto
the
record.
.
Turn
the
Master
Level
Control
to
about
—10.
.
Slowly
turn
the
Monitor
Volume
Control
up.
The
record
should
now
be
heard
through
the
loudspeakers.
Fine
adjustments
in
volume
and
bal-
ance
may
be
made
with
the
Line
A
Leve!
Controls
and
the
Master
Level
Control.
Use
the
Peak
Level
Meters
as
a
guide
(average
levels
should
read
between
—10
to
0
dB).
Always
turn
the
Master
Level
Con-
trol
fully
counter-clockwise
before
lifting
the
tonearm
from
the
record.
ine
A
line
@
mung
test
tone
r——
test
tone
——,
te
356k
10k
pink
Note:
A)
The
procedure
for
listening
to
a
tuner
or
any
other
source
connected
to
the
610’s
input
jacks
is
exactly
the
same
as
outlined
above
except
that
the
appropriate
button
on
the
Line
A
Selector
row
should
be
depressed
in-
stead
of
Phono
1
(or
2).
B)
It
is
possible
to
obtain
identical
results
by
utilizing
the
Line
B
selector
row,
the
Line
B
button
on
the
Function
Selector
row
and
the
Line
B
Level
Controls.
If,
however,
the
same
input
is
selected
for
both
Line
A
and
Line
B
(e.g.,
pushing
the
Phono
1
buttons
on
both
Line
A
and
Line
B
selector
rows),
only
Line
A
will
be
operational.
C)
A
tape
recording
of
the
source
being
played
may
be
made
on
any
or
all
of
the
tape
decks
connected
to
the
Play-
In/Rec-Out
jacks
of
the
610.
Use
the
Master
Level
Control
as
a
record
level
master
for
fade-in
and
fade-out
effects.
Any
recording
in
progress
may
be
monitored
by
depressing
the
appro-
priate
Tape
Monitor
Selector.
button.
The
Phase
Check
buttons,
Balance
Control
and
Monitor
Volume
Control
will
affect
neither
the
outputs
to
any
rh...
610
x
o
of
the
tape
decks
nor
the
Peak
Level
Meters
on
the
610.
The
Tape
Monitor
selector
buttons
will
not
affect
the
outputs
to
any
of
the
tape
decks,
but
they
will
cause
the
Peak
Level
Meters
to
read
either
‘Source’
or
one
of
the
tape
deck
outputs,
whichever
is
se-
lected.
EXAMPLE
2:
Playing
(and
dub-
bing)
a
Previously
Recorded
Tape
Method
(1)
1.
Repeat
steps
one
and
two
of
Example
1.
2.
Depress
the
appropriate
button
on
the
Tape
Monitor
Selector.
3.
Put
the
tape
deck
into
the
PLAY
mode.
4.
Slowly
turn
the
Monitor
Volume
Con-
trol
up.
The
tape
should
now
be
heard
©
through
the
loudspeakers.
The
Peak
Level
Meters
on
the
610
will
read
the
output
from
the
tape
deck.
Method
(2)
An
alternate
method
is
as
follows:
1.
Repeat
steps
one,
two
and
three
of
Example
1.
2.
Depress
the
appropriate
Tape
button
on
the
Line
A
(or
Line
B)
selector
row.
3.
Depress
the
Line
A
(or
Line
B,
if
this
was
selected
in
step
2
above)
button
on
the
Function
Selector
row.
4.
Turn
both
left
and
right
Line
A
{or
Line
B,
if
this
was
selected
in
step
2
above)
Level
Controls
to
about
2
o'clock.
5.
Start
the
tape
deck.
6.
Turn
the
Master
Level
Control
to
an
appropriate
level
using
the
Peak
Level
Meters
as
a
guide
(average
levels
should
read
between
—10
and
0
dB).
7.
Turn
the
Monitor
Volume
Control
to
the
desired
listening
level.
Note:
A)
When
dubbing
from
one
tape
deck
to
another,
employ
the
latter
method
above.
The
playback
tape
deck
should
be
treated
as
the
‘’Source”
deck
in
example
2
above.
The
record
tape
deck,
then,
is
either
or
both
of
the
two
remaining
tape
decks.
When
dubbing
from
deck
1
to
deck
2,
for
example,
outputs
ade
&
speaker
¥
2
3
p——
lucien
ne
A
line
B
ming
teat
tone
r—
test
tone
——,
Yk
316k
10k
pink
O
fin
pc
ince
O
ce
B
8
8
O88
OF
one
————
ine
0.09000
C3)
hws
B——
Method
(1)
-
unc
Won,
fine
A
hng
B
miming
test
tone
r—
Hest
tone
——_,
Uk
316K
10k
prnk
follow
steps
1
through
7
above
noting
that
the
appropriate
button
to
depress
in
step
2
is
“Tape
1’’
on
the
Line
A
(or
B)
selector
row.
Step
8
would
be
to
begin
recording
on
deck
2,
having
set
the
proper
record
levels
with
the
input
level
controls
on
deck
2
and/or
the
Master
and
Line
A
(or
B)
Level
Con-
trols
on
the
610.
Method
(2)
B)
When
a
tape
button
is
depressed
on
either
the
Line
A
or
Line
B
selector
row,
the
input
to
that
tape
deck
is
blocked
to
avoid
feedback
“howl.”
Using
The
610
as
a
Performance
Checker
The
610
incorporates
a
low
distortion
sine
wave
oscillator,
pink
noise
generator,
two
precision
peak
level
dB
meters
and
input/output
comparison
switching
fea-
tures
that
can
be
used
ina
variety
of
ways
to
verify
the
performance
as
well
as
aid
in
the
adjustment
and
calibration
of
stereo
system
components.
The
following
are
examples
of
the
610’s
capabilities
as
a
performance
checker
and
analyzer.
Frequency
Response
Testing
1.
Playback
frequency
response
of
tape
decks
or
frequency
response
of
phono
cartridges
may
be
verified
by
playing
standard
test
tapes
or
test
records
that
contain
a
series
of
tones.
The
levels
of
these
tones
can
be
monitored
on
the
Peak
Level
Meters
of
the
610.
Set
the
controls
on
the
610
as
you
would
to
listen
to
the
tape
deck
or
record
player.
Adjust
the
Line
A
(or
B)
Level
Controls
and
the
Master
Level
Control
to
convenient
points
on
the
Peak
Level
Meters.
2.
Record/Playback
frequency
response
of
tape
decks
may
be
checked
by
recording
the
Test
Tones
generated
by
the
610
and
then
observing
the
play-
back
levels
on
the
Peak
Level
Meters.
a)
Depress
the
Test
Tone
button
on
the
Function
Selector
row.
b)
Depress
the
1K
button
on
the
Test
Tone
Selector
row.
c)
Turn
the
Tone
Level
Control
to
approximately
12
o'clock.
Make
sure
the
Monitor
Volume
Control
is
at
minimum,
then
turn
the
Master
Level
Control
to
its
maximum
position
(0").
If
de-
sired,
the
Monitor
Volume
may
be
slightly
raised
so
that
the
tone
can
be
heard
softly
through
the
loud-
speakers.
If
the
Peak
Level
Meters
do
not,
give
any
indication
of
the
tone
and
there
is
no
tone
through
the
loudspeakers
when
the
Monitor
Volume
is
raised,
check
to
make
d
=
sure
that
the
Tape
Monitor
Selector
is
at
“Source’’,
and
that
the
Tape
button
on
either
the
Line
A
or
Line
B
Selector
is
not
set
for
the
tape
deck
under
test.
Put the
tape
deck
under
test
into
the
Record
mode,
and
adjust
the
input
level
controls
on
the
deck
so
that
the
1K
tone
is
being
recorded
at
—10
dB
or
—10
VU
for
open
reel
and
—20
dB
or
—20
VU
for
cassette
on
the
tape
deck’s
record
level
meters.
Re-adjust
the
Tone
Level
control
on
the
610
if
necessary.
If
the
deck
is
a
three-head
machine,
put
the
Monitor
switch
on
the
deck
to
the
‘‘Tape”
position.
If
it
is
a
two-head
device
record
the
tone
for
a
while,
then
rewind
and
replay
the
tone.
Push
the
Tape
Monitor
button
on
the
610
for
the
tape
deck
under
test.
h)
Adjust
the
output
level
controls
on
the
tape
deck
so
that
the
Peak
Level
Meters
on
the
610
read
at
convenient
points.
i)
On
the
two-head
machine,
return
to
the
Record
mode.
j)
For
three-head
decks
the
frequency
response
may now
be
checked
by
switching
through
the
seven
fre-
quencies
available
on
the
610
(1K,
3.16K,
4.16K,
10K,
11K,
13.16K,
14.16K
Hz)
in
ascending
order.
This
is
done
by
using
the
three
Test
Tone
buttons
on
the
left
in
an
additive
fashion.
Pushing
the
1K
button
and
the
10K
button
simulta-
neously,
for
example,
will
yield
an
11K
tone.
The
playback
level
for
each
frequency
and
each
channel
can
be
observed
on
the
610’s
peak
level
meters.
For
two-head
decks,
it
will
be
necessary
to
first
record
the
seven
tones
in
sequence
(five
to
ten
sec-
onds
for
each
tone).
The
frequency
response
can
then
be
checked
dur-
~~
€
f
—
—
g
k
~~
ing
playback
of
the
recorded
tones.
A
tape
deck with
uniform
frequency
response
will
give
approximately
equal
readings
on
the
Peak
Level
Meters
of
the
610
for
all
frequencies.
Note:
Record
levels
other
than
those
specified
in
step
e)
may
be
selected
to
test
the
tape
deck’s
headroom
response.
.
Frequency
response
(and
certain
other
parameters)
may
be
checked
aurally
using
pink
noise.
Follow
the
procedure
above
substituting
pink
noise
for
the
individual
sine
wave
tones.
During
playback
of
the
recorded
pink
noise,
switch
between
‘‘Source”’
and
the
deck
using
the
Tape
Monitor
Selector
but-
tons
on
the
610.
Listen
to
the
pink
noise
over
the
loudspeakers
to
deter-
mine
if
there
is
any
change
in
the
“character”
of
the
pink
noise.
The
levels
for
“Source”
and
the
deck
should
be
matched
using
the
output
level
controls
on
the
tape
deck
and
the
Peak
Level
Meters
on
the
610.
This
is
an
extremely
difficult
test
for
any
tape
deck.
!f
a
tape
deck
cannot
satisfac-
torily
reproduce
the
pink
noise
for
any
given
record
level,
repeat
the
test
at
a
lower
record
level.
1C
11
Tape
Deck
Adjustment
and
Calibra-
tion
If
the
frequency
response
of
the
tape
deck
as
tested
in
the
above
manner
is
not
uniform,
it
may
be
an
indication
that
the
deck
is
out
of
adjustment
or
alignment
for
the
particular
tape
in
use.
First,
check
to
make
sure
that
the
tape
used
for
the
test
is
the
one
for
which
the
deck
was
factory
adjusted.
If
it
is
determined
that
the
deck
is
in
need
of
adjustment,
the
instruction
manual
and/or
service
manual
for
that unit
should
be
consulted.
Adjust-
ments
that
affect
frequency
response,
such
as
bias
current,
record/playback
equalization,
head
alignment,
etc.,
are,
generally
speaking,
not
user
adjustable.
Many
of
these
adjustments
are
not
readily
accessible
and
may
require
the
use
of
special
tools,
test
tapes
and
test
instru-
ments
not
incorporated
in
the
610.
If
the
tape
deck’s
instruction
manual
does
not
explain
the
procedure
for
any
given
ad-
justment,
it
is
best
to
leave
such
adjust-
ment
in
the
hands
of
qualified
service
personnel.
Pink
Noise
Testing
of
Loudspeakers
Pink
noise
testing
can
be
very
revealing
of
the
different
colorations
that
many
loud-
speakers
exhibit.
Although
it
takes
a
trained
ear
to
detect
the
exact
nature
of
a
loudspeaker’s
inaccuracies
by
listening
to
pink
noise,
it
is
not
difficult
to
hear
the
difference
in
“character”
between
two
loudspeakers
reproducing
pink
noise.
In
order
to
perform
this
test,
it
is
necessary
to
utilize
the
RM-610
optional
Remote
Control
Unit
as
described
on
page
5.
1.
Make
sure
the
Monitor
Volume
Con-
trol
is
at
minimum.
2.
Depress
the
‘‘Source”
button
on
the
Tape
Monitor
Selector
row.
3.
Depress
the
Test
Tone
button
on
the
Function
Selector
row.
4.
Depress
the
“Pink”
button
on
the
Test
Tone
Selector
row.
5.
Turn
the
Tone
Level
Control
to
ap-
proximately
12
o'clock.
6.
Turn
the
Master
Level
Control
to
—10.
7.
Select
one
of
the
loudspeakers
to
be
tested
with
the
Output
Selector.
8.
Turn
the
Monitor
Volume
Control
to
the
desired
listening
level.
9.
Switch
loudspeakers
using
the
Output
Selector
buttons.
The
listening
levels
of
the
different
loudspeakers
should
be
equalized
using
the
Level
Matching
Controls
on
the
rear
panel
of
the
610.
Utilizing
the
Peak
Level
Meters
The
“VU”
level
meters
on
many
open
reel
and
cassette
tape
decks
are
not
“’fast”’
enough
to
give
accurate
indications
of
musical
peaks.
The
illustration
points
to
the
fact
that
there
can
be
as
much
as
8
dB
difference
between
a
Peak
reading
meter
and
a
VU
meter
on
an
instantaneous
signal
even
though
the
two
meters
give
the
same
reading
on
a
continuous
signal.
The
Peak
Level
Meters
on
the
610
can
be
used
to
determine
the
ability
of
a
tape
deck’s
meters
to
accurately
indicate
in-
stantaneous
peaks.
Continuous
Signal!
25
|
=
+
Peak
Level
Meter
VU
Level
Meter
1.
Make
sure
the
Monitor
Volume
Con-
trol
is
at
minimum.
2.
Depress
the
“‘Source’’
button
on
the
Tape
Monitor
Selector.
3.
Depress
the
Test
Tone
Button
on
the
Function
Selector.
4.
Depress
the
1K
button
on
the
Test
Tone
Selector.
5.
Turn
the
Master
Level
Controi
to
maximum
(“0”).
6.
Adjust
the
Tone
Level
Control
for
a
—10
dB
reading
on
the
Peak
Level
Meters.
7.
Adjust
the
input
level
controls
on
the
tape
deck
for
a
—10
dB
(or
—10
VU)
reading
—
it
may
be
necessary
to
put
the
deck
into
the
record
mode
in
order
to
activate
the
level
meters.
8.
Switch
the
Function
Selector
from
Test
Tone
to
either
Line
A
or
Line
B.
9.
Select
a
source
(phono,
tuner,
etc.)
on
the
appropriate
Selector
row
and
begin
recording
the
source
material
on
the
tape
deck.
10.
Do
not
adjust
the
recording
level
with
the
controls
on
the
tape
deck.
Adjust
only
with
the
Master
Level
or
the
appropriate
Line
Level
Controls
on
the
610.
This
will
assure
that
the
610’s
Peak
Level
Meters
will
be
in
calibration
with
the
tape
deck’s
level
meters.
If
the
deck’s
meters
are
not
of
the
Peak
indicating
type,
the
difference
between
the
readings
on
the
deck’s
meters
and
the
610’s
meters
will
be
immediately
obvious.
Phase
Checking
Components
in
a
stereo
system
with
the
left
and
right
channels
wired
out
of
phase
can
cause
cancellation
(and
therefore
thinness)
of
the
bass
frequencies
and
poor
stereo
imaging.
The
four
Phase
Check
buttons
on
the
610
are
momentary
con-
tact
switches
(they
will
return
to
the
off
position
unless
held
down)
that
operate
in
five
modes
to
permit
the
verification
of
phase
as
well
as
other
parameters,
such
as
-
channel
balance
and
left-right
identifica-
tion.
—
phase
check——4
tL
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R
Phase
Check
Selector
1.
Depressing
the
‘‘L"”
button
will
cause
the
left
channel
program
material
to
appear
at
both
channels.
2.
Depressing
the
‘’L-R”
button
will
cause
a
signal
that
is
the
arithmetic
difference
between
the
left
and
right
inputs
to
appear
at
both
channels.
3.
Depressing
the
“L+R”
button
will
cause
the
sum
of
the
left
and
right
inputs
to
appear
at
both
channels.
4.
Depressing
the
‘“R’’
button
will
cause
the
right
channel
program
material
to
appear
at
both
channels.
5.
Depressing
both
the
“L”
and
the
“R”
buttons
simultaneously
wil!
cause
the
left
and
right
channels
to
become
reversed.
The
phase
check
buttons,
it
should
be
noted,
affect
only
the
Monitor
and
Head-
phone
Outputs.
They
will
not
affect
the
Rec
Out
or
Line
Out.
Phono
Phasing
In
order
to
check
whether
a
phono
cartridge
or
tonearm
is
correctly
wired
with
respect
to
phase,
for
example,
the
following
procedure
may
be
followed:
1.
Play
a
test
record
containing
pink
or
white
noise
or
single
tones.
!f
such
a
test
record
is
not
available,
any
monaural
record
will
suffice.
2.
Assuming
all
controls
on
the
610
are
properly
set
for
the
playing
of
a
phonograph
record
(see
page
8)
and
that
the
Balance
Control
is
at
its
center
position,
depress
the
“L-R”
phase
check
button.
3.
If
the
cartridge
and
tonearm
are
pro-
perly
wired,
the
sound
from
the
loud-
speakers
should
become
extremely
faint.
If
not,
try
adjusting
the
Balance
Control
until
the
output
from
the
loudspeakers
is
minimal.
If
the
point
of
minimum
output
is
far
removed
from
the
Balance
Control’s
center
po-
sition,
this
means
that
the
cartridge/
tonearm
is
correctly
wired
but
that
the
outputs
from
the
turntable
are
not
equal
in
intensity.
If
it
is
not
possible
to
obtain
a
minimum
sound
output,
this
is
an
indication
that
the
cartridge
or
tonearm
is
wired
out
of
phase.
Consult
the
user’s
instructions
for
the
respective
components.
Loudspeaker
Phasing
The
phasing
of
the
stereo
loudspeakers
can
easily
be
checked
in
the
following
manner:
1.
Using
the
built-in
pink
noise
generator,
reproduce
the
pink
noise
through
the
loudspeakers
at
a
moderate
level.
2.
With
the
Balance
Control
at
its
center
position
listen
at
a
point
halfway
between
the
two
loudspeakers.
3.
Assuming
there
are
no
problems
with
channel
balance,
the
pink
noise
should
be
coming
from
a
point
between
the
two
speakers
if
they
are
connected
in
phase.
if
the
pink
noise
appears
to
be
coming
from
all
directions
(or
from
no
direction
in
particular),
chances
are
that
the
loudspeakers
are
connected
out
of
phase.
4.
\f
it is
determined
that
the
loudspeak-
ers
are
out
of
phase
with
each
other,
reverse
the
connections
at
the
ampli-
fier
or
at
the
loudspeaker
for
one
channel
only.
Then,
repeat
the
above
test.
Note:
This
test
will
be
extremely
dif-
ficult
to
perform
with
loudspeak-
ers
that
do
not
produce
a
fairly
precise
stereo
image
(such
as
re-
flecting
type
loudspeakers).
A-B
Comparison
Testing
One
of
the
most
useful
features
of
the
610
is
the
ability
to
perform
A-B
listening
comparisons
of
various
components
con-
nected
to
it.
By
using
the
RM-610,
for
example,
the
A-B
comparison
of
loud-
speakers
with
preamp
level
output
match-
ing
becomes
a
simple
matter
of
pushing
the
appropriate
Output
Selector
buttons
on
the
610
(see
page
5).
Other
examples,
that
do
not
require
the
optional
Remote
Control
Unit,
are
described
below:
1.
Phono
Cartridge
comparison
Two
phono
cartridges
playing
two
identi-
cal
records
(or
playing
the
same
record
if
a
turntable
with
two
tonearms
is
availa-
ble)
can
be
compared
by
utilizing
both
phono
inputs
on
the
610.
Program
phono
1
through
Line
A,
and
phono
2
through
Line
B
(depress
the
Phono
1
button
on
the
Line
A
selector
row
and
the
Phono
2
button
on
the
Line
B
selector
row)..
Make
sure
the
proper
impedance
is
selected
for
each
cartridge.
The
levels
should
be
set
using
the
Line
A
and
Line
B
Level
Controls
so
that
the
outputs
of
both
cartridges
are
matched.
The
A-B
compari-
son
can
be
performed
by
alternately
pushing
the
Line
A
and
Line
B
buttons
on
the
Function
Selection
row.
2.
Tape-Source
Comparison
A
good
test
of
a
tape
deck’s
performance
is
to
compare
a
recording
made
on
that
deck
to
the
original
source
material,
which
may
have
been
a
phonograph
disc
or
another
tape.
For
example,
in
order
to
evaluate
a
recording
made
on
Tape
Deck
1
of
a
disc
played
on
Phono
1,
the
following
procedure
would
be
applied:
—
Program
Phono
1
on
the
610
as
you
would
to
play
a
record.
—
Depress
Tape
Monitor
1
and
start
Tape
Deck
1.
—
Stop
the
deck
(use
the
Pause
feature
if
provided)
as
soon
as
the
music
begins.
—
Switch
to
“Source”
on
the
610
and
begin
playing
the
disc
that
was
re-
corded.
—
As
soon
as
the
music
begins,
re-start
the
tape
deck.
The
Tape-Source
comparison
can
now
be
made
by
alternately
depressing
the
“Source”
and
Tape
Monitor
1
buttons
on
the
610.
Levels
between
Tape
and
Source
may
be
matched
with
the
Master
Level
Control
or
the
tape
deck’s
output
con-
trol.
in
similar
ways
it
is
possible
to
conduct
the
A-B
comparison
of
power
amplifiers,
tape
decks,
tuners,
etc.
Using
The
610
as
a
Mixer
The
610
is
an
extremely
low-noise/low-
distortion
mixer.
It
allows
the
stereo
mixing
of
any
five
of
the
19
inputs
to
the
610
(the
center
channel!
is
always
the
Blend
Mic).
Using
the
610,
therefore,
it
is
possible
to
perform
live
or
pre-recorded
source
mixing
in
a
variety
of
combina-
tions.
Some
examples
are
given
below.
1.
5
Microphone
Live
Recording
Connect
the
microphones
to
the
input
jacks
on
the
rear
panel
of
the
610.
Make
sure
all
Mic
Input
Attenuators
are
at
the
“0
dB”
position.
Also
make
sure
micro-
phone
switches,
if
any,
are
on.
1)
Depress
the
‘“Source’’
button
on
the
Tape
Monitor
Selector
row.
2)
Depress
‘“‘Mic
1°’
on
the
Line
A
selec-
tor
row.
3)
Depress
‘‘Mic
2’'
on
the
Line
B
selec-
tor
row.
4)
Depress
the
‘Mixing’
button
on
the
Function
Selector.
5)
Turn
the
Master
Level
Control
to
approximately
—10.
6)
The
individual
microphone
input
levels
should
be
adjusted
using
the
Line
A,
Line
B
and
Blend
Mic
Level
Controls.
If
necessary,
activate
the
Mic
Attenuators
with
the
appropriate
switches
on
the
rear
panel
of
the
610.
Note:
If
all
five
microphones
are
not
of
the
same
manufacturer,
there
is
a
remote
possibility
that
their
phase
may
not
be
uniform.
!n
order
to
check
the
phase
uniformity
bet-
ween
two
microphones,
place
Phase Check
Microphones
Under
Test
Sound
Source
touts,
amphher
&
speaker
ON
LUT
ey,
te
316k
10k
nk
them
next
to
each
other
and
near
a_
relatively
directional
sound
source,
such
as
a
person
speaking
(see
illustration).
If
the
two
microphones
are
out
of
phase,
there
should
be
cancellation
when
the
“A+B”
Phase
Check
button
is
depressed
(this
can
be
heard
over
stereo
headphones
plugged
into
the
610).
If
there
is
cancellation
ss
2-R
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610
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610
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when
the
’‘A-B’’
Phase
Check
but-
ton
is
depressed,
the
two
micro-
phones
are
in
phase.
The
phase
for
any
of
the
five
microphones
may
be
inverted
by
depressing
the
Phase
Invert
button
on
the
610
for
that
input.
The
Phase
Invert
buttons
are
active
only
in
the
“Mixing”
function.
Effect
of
Phase
Inverter
Switch
Phase
Inverter
Switches
“Bo
Se
2.
Mixing
3
Microphones
and
1
Stereo
Tape
Deck
Plug
the
microphones
into
the
two
Mic
1
inputs
and
the
Blend
Mic
Input.
1)
Depress
the
“Source”
button
on
the
Tape
Monitor
Selector.
2)
Depress
‘Mic
1°’
on
the
Line
A
selec-
tor.
3)
Depress
the
appropriate
Tape
button
on
the
Line
B
selector.
4)
Depress
the
“Mixing”
button
on
the
Function
Selector.
5)
Turn
the
Master
Level
Control
to
approximately
—10.
6)
The
individual
input
levels
should
be
adjusted
using
the
Line
A,
Blend
Mic
and
Line
B
Level
Controls.
if
necessary,
activate
the
Mic
Attenuators
for
the
three
microphones
with
the
ap-
propriate
switches
on
the
rear
panel
of
the
610.
Also
check
the
mic
phasing
as
described
in
Example
1.
3.
Mixing
3
Microphones
and
1
Record
Player
The
procedure
is
identical
to
that
for
Example
2
above
except
that
the
appro-
priate
Phono
(rather
than
Tape)
button
should
be
depressed
on
the
Line
B
selec-
tor
row,
2°.
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Mic
Mic
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tone
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blend
mic
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Nakamichi
610
Record
Player
1é
15
4,
Mixing
2
Tape
Decks
and
Blend
Mic
The
single
microphone
should
be
plugged
into
the
610’s
Blend
Mic
Input.
1)
Depress
the
‘‘Source’’
button
on
the
Tape
Monitor
Selector.
2)
Depress
the
appropriate
Tape
button
for
the
first
tape
deck
on
the
Line
A
selector
row.
3)
Depress
the
appropriate
Tape
button
for
the
second
tape
deck
on
the
Line
B
selector
row.
4)
Depress
the
‘‘Mixing’’
button
on
the
Function
Selector.
5)
Turn
the
Master
Level
Contro!
to
approximately
—10.
6)
Adjust
the
tape
deck
levels
using
the
Line
A
and
Line
B
Level
Controls.
7)
Adjust
the
microphone
level
with
the
Blend
Mic
Level
control.
Note:
In
the
example
illustrated,
Tape
Decks
1
and
2
are
used
as
sources.
Tape
Deck
3,
therefore,
would
be
used
to
record
the
mix.
5.
Mixing
1
Record
Player,
1
Tape
Deck
and
Blend
Mic
1)
Depress
the
‘‘Source’’
button
on
the
Tape
Monitor
Selector.
2)
Depress
the
appropriate
Phono
button
on
the
Line
A
selector
row.
3)
Depress
the
appropriate
Tape
button
on
the
Line
B
selector
row.
4)
Depress
the
“‘Mixing’”
button
on
the
Function
Selector.
5)
Turn
the
Master
Level
approximately
—10.
6)
Adjust
the
individual
input
levels
with
the
Line
A,
Blend
Mic
and
Line
B
Level
Controls.
If
necessary,
activate
the
Mic
Attenuator
for
the
Blend
Mic.
Control
to
Nakamichi
610
power
5
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610
6.
Mixing
2
Tape
Decks
The
procedure
is
basically
the
same
as
that
for
example
4
except
that
the
Blend
Mic
Level
Control
is
not
used
in
this
case.
The
illustration
shows
Tape
Decks
1
and
2
as
the
sources
for
a
recording
to
be
made
on
Tape
Deck
3.
Note:
A)
If,
when
using
the
610
as
a
mixer,
it
is
B)
desired
to
record
or
test
Line
A
without
Line
B,
or
vice
versa,
such
as
for
level
setting
or
cueing,
the
Func-
tion
Selector
should
be
utilized.
Note,
however,
that
selecting
Line
A
or
Line
B
will
cut
off
the
Blend
Mic and
render
the
Phase
Invert
buttons
in-
operative.
It
is
a
good
idea,
when
making
a
live
recording
or
any
tape
recording
that
is
likely
to
be
played
back
on
a
deck
other
than
the
one
on
which
it
was
recorded,
to
record
a
1K
tone
at
0
dB
and
a
high
frequency
tone
(10K
—
14K)
at
—10
or
—20
dB
onto
the
tape
before
proceeding
with
the
recording.
These
reference
tones
can,
of
course,
be
generated
by
the
610,
and
they
will
come
in
handy
when
dubbing
or
re-
playing
the
tape
on
a
different
tape
deck
at
some
future
date.
Nakamichi
610
une
A
ane
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omiung
testione
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tone
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Nakamichi
610
Tape
Deck
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Deck
2
(Playback)
Tape
Deck
2
{Recording}
16
Block
&
Level
Diagrams
Block
Diagram
input
selector
peak
level
meter
meter
amp
output
level
monitor
VR
L
monitor
out
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phase
check
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phase
inverter
mixing
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levels
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2608
#
if
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PB
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