Nakamichi 500 User manual

Nakamichi
500°
2 Head Cassette system
Operating Instructions

We
thank
you
for
your
purchase
of
our
WARNING
—
TO
PREVENT
FIRE
OR
ices
SHOCK
HAZARD,
DO
NOT
EXPOSE
Model
Nakamichi
500,
THIS
APPLIANCE
TO
RAIN
OR
This
Model
is
incorporated
with
the
MOISTURE.
: .
technical
know-how
developed
in
our
Please
record
the
Model
Number
and
3-Head
Stereo
Cassette
Systems.
Serial
Number
in
the
space
provided
below
and
retain
these
numbers.
Model
Number
and
Serial
Number
are
located
on
the
rear
panel
of
the
unit.
Mode! Number: __ 500
Serial Number:
L
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———
— =
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————
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We do know you wish to play your Nakamichi Contents Control Functions.............- 2
500 immediately. First, however, we must Connections... .......0.02 eres 4
urge you to spend a few minutes to read Playback Procedures ............ 5
this Instruction Manual. The short time will Recording Procedures ........... 6
familiarize yourself with many unique Additional Recording and
features, and the proper operating Playback Techniques............ 7
techniques of this outstanding Cassette Deck Dolby NR Level Calibration....... 8
will result in a more professional-sounding Bias and Equalization ........... 9
recording and wil! assure you of many year Peak Level dB Meter............ 10
uninterrupted enjoyment. : The Dolby Noise Reduction System . 11
Maintenance ...........+...-. 11
Trouble Shooting Chart.......... 12
Specifications ......0..00e5 eee 13
Optional Accessories............ 13 >
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Control Functions
NAKAMICHI
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1. Tape Counter Reset Button
Push the reset button, the counter will
show “000” automatically.
2. Tape Counter
Confirms the positions of the start and
stop of program.
3. Memory On/Off Switch
Prior to recording or playback, set the
switch to “’On’' and the counter to
“000’, then the tape will stop at the
“999” when rewound.
4, Cassette Lid
Push the Stop/Eject Button, then the
lid will open,
5. Record Button
Recording will be commenced when
pushed simultaneously with the Play
Button.
6. Rewind Button
Causes tape to move rapidly from right
to left reel.
Depress the STOP button or allow
auto-stop to function.
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Nakamichi 500
Dual-Tracer
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7. Stop/Eject Button
The Stop Button shall be securely
pushed from any of the modes. When
the button is further depressed, the
Cassette Lid will be opened and the
Cassette ejected.
8. Play Button
Tape runs at the standard speed and
when the button is depressed, playback
of the pre-recorded tapes will commence.
Also engaged in conjunction with
the Record Button for recording.
9. Fast Forward Button
Causes tape to move rapidly from left
to right reel. When tape reaches the
end, depress the STOP button or
allow auto-stop to function.
10. Pause Button
Used to momentarily stop the tape in
recording or playback modes. When
depressed during recording, the
recording circuits remain operative,
and capstan remains in motion but
pinch roller is retracted.
on
us)
11. Bias Switch
Varies the bias for the correct level
according to the type of tape to be
used, such as Normal, EX and SX
(Refer to Page 9.)
12. EQ (Equalization) Switch
According to the tape to be used,
select one of the types of Normal, EX,
or SX (Refer to page 9.)
13. Dolby NR Switch/Test Tone
When placed in the IN position,
activates the Dolby circuits for
recording or playback. In case of not
Dolbyized tape, place to the OUT
position for normal record and
playback. Further, when set to TONE
position, you can obtain OdB reference
level signal. (Refer to page 8.)
14. Limiter Switch
When set to ON, activates only when
there comes in a sudden strong peak
input, and prevents distortion, in
Recording mode.

15. Power Switch
Apply AC power, then the level meter
lamps will illuminate.
16. Blend Mic Level
Serves as the Level Control of the
Blend Mic Input, by which you can do
mixing equally with Mic L and R, and
Line L and R Inputs.
17.
Mic
Level
Input
Controls
Being
the
Level
Controls
of
the
Mic
L
and
R,
which
enable
the
Mic
L
and
R
Inputs
can
be
subjected
to
mixing
with
the
Blend
Mic
Input
and
Line
Input.
18.
Line
Level
Input
Controls
Being
the
Level
Controls
for
Line
L
and
R,
by
which
the
Line
L
and
R
can
be
subjected
to
mixing
with
all
Mic
Inputs.
19. Output Level Control
Possible to simultaneously vary the
Output Levels of L and R regardless
of the indications of the meters.
20. Dolby Lamp
Illuminates when set to ON.
Nakamichi 500
‘Tracer
00.117.220.240voKs +
YY 50/760 Hz
23 watts
ICHI HESEARCH INC.
ROH ING
21. Record Lamp
lluminates while recording.
22, Peak Level Meters
The Meters indicate a wide range from
-40 dB to +5 dB, the 0 dB of which
conforms to the Dolby NR Standard
Level.
23. Headphone Jack
Provides source monitor during
recording, allows private listening
during playback.
Will accept standard stereo headphone
of 8 ohms impedance.
24. Mic L and R Jnput Jacks
Low impedance microphone of 600
ohms will work satisfactorily.
25. Blend Mic Input Jack
Low impedance microphone of 600
ohms will work satisfactorily.
26. AC Power Supply Cord
27. Voltage Selector Plug
You can change over to either 100V,
117V, 220V or 240V.
28. MPX Filter Switch
29. Record Calibration Controls
Enable you-to set L and R, and the
Dolby Standard Level! to Normal, EX
and CrO2 tapes to be recorded. (Refer
to page 8 for Level Calibration).
30. Output L and R Jacks
Connect to the amplifier with a
standard pin jack.
31. DIN In/Out Socket
To be connected with a DIN Cord,
32. Line Input L and R Jacks
Input jacks for the desired source
(i.e. tape deck or stereo receiver), with
a Standard Pin Jack.
33. Ground Terminal

Connections
9 © ©
(9) 0}
Connecting the Line Output: Connecting the Line Input: Connecting the DIN Connector
Connect to the Tape Monitor of your Connect to the Tape Rec Jacks of your Socket:
Stereo Amp or AUX Jacks from the Stereo Amp from the Input Jacks If your Stereo Amp is equipped with a
Output Jacks through pin cords. through pin cords. DIN Connector Socket, connect with a
DIN cord. In this case, please do not use
pin cords simultaneously.
PD Mifeetirie
Microphones and Headphone Please use the microphones having Please use the headphone having
As shown in the above Fig., both of the impedance of 600 ohm. impedance of 8 ohm.
right and left Stereo Microphones and Insert the Stereo Headphones into the
the Blend Microphone can be connected. Phone Jack as shown in the above Fig.
4

Playback Procedures
1. Set the Power Switch to ON, then the
Level Meters will illuminate.
5. Set the EQ to the suitable position
according to the cassette tape in use.
6. When you playback a tape recorded
with Dolby NR In, please set Dolby NR
Switch to IN.
2. Depress the Stop/Eject Button all the
way down to open the Cassette Lid.
fwd = | pause
iQi@
3. Place a cassette in the Cassette 7. Push the Play Button.
Compartment.
juperHead
cep Peary
eS te be Z
8. Adjust the output volume to obtain
suitable volume.
LINTON LS =~ ox
4, Depress the Lid till the cassette is
securely placed.
9. When you pushed the Pause Button, the
tape will stop temporarily, and when you
again push, the running will be commenced.
10. The tape will stop when the STOP
Button is pushed, and the cassette in
the compartment will be ejected when
further depressed.
11. At the tape end, tape run will
automatically stop and the button will
be released.
12. Insert the Stereo Headphones into
the Headphone Jack, you now Can listen
to your own recording. Volume can be
adjusted by the output volume.

Record Procedures
1. Open the Cassette Lid upon depressing
the Stop/Eject Button.
2. Put the cassette in the compartment,
full reel of tape on your left.
3: Set the EQ and Bias to those of the
tape (Refer to Fig. 9).
4, Limiter Switch
Prevents distortion particularly while
live recording.
5
ng
Sen Eas 2
5. Set the Switch to IN while recordi
with Dolby NR IN.
(Refer to page 8 for Test Tone.)
6
ine filter Nakamichi 500
Dual-Tracer
vokage AC 100:17220,240voies
e 50/60 He
23 worts
ARCH INC.
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Nhat
6. When recording from FM Stereo
Broadcasting, set the MPX Filter at the
rear panel to ON.
7. Push the reset button to set the
Counter to ‘000’. Then set the
Memory Switch to ON at the starting
point of recording.
9. Depress the Play Button while the
record button is being pushed.
The Record Lamp will then illuminate
showing recording is ready.
10. Adjust the Line Input Level. (Refer
to page 10 Level Adjustment.)
OOMOOG
11. When level setting is completed,
start the tape upon pushing the Pause
Button. ;
))
Coane Co
d
fa
12. When recording is finished, stop the
tape by pushing the Stop Button.
13. When the tape comes to an end, tape
run will automatically stop and the
push button will also be released.
A cassette has ‘tabs’ as illustrated below,
on the side opposite to that exposing the
bare tape. If you break them off with a
screwdriver or the like of it, the cassette
will prevent the depression of the RECORD
Button, thus eliminating the possibility of
erasing a valuable recorded cassette by
mistake. Take advantage of this feature
when you want to preserve a cassette into
which you've made important recordings.
If you want to preserve the recording in
only one side, break only one of the tabs,
referring to the illustration below.
Note:
Should you ever want to make a recording
into a cassette with such tabs already
broken, seal the tab openings with masking
tape or plug it with eraser rubber, etc.

Additional Recording and Playback Techniques
Direct Copying from Tape to Tape: close to those of the Nakamichi 3-Head quality cassette decks, alike the original
The
Nakamichi
500
is
a
Cassette
Systems
1000
and
700.
source,
2-Head
Cassette
Deck,
however
it
is
also
Accordingly,
you
can
perform
HI
FI
true that the Model has the characteristics recording from open reels and high
Record
Mixing
Inputs
Left
and
Right,
Microphone
microphones,
and
also
microphones
L,
R
Nakamichi
“500”
serves
also
as
Inputs
Left
and
Right,
and
the
Blend
with
Blend
(L
+R)
microphone,
can
be
asmall
type
mixer
through
5
different
Microphones.
As
shown
in
the
Fig.
below,
conducted.
individual
volume
controls,
namely
Line
the
mixing
of
a
disc
record
with

Dolby NR Level Calibration
Dolby NR Level Calibration
The Dolby NR standard level
(200 nW/m) of the Nakamichi
500 is set to 0 dB.
Particularly, when you record with Dolby
NR IN, adjust the 0 dB signal of the
built-in 400 Hz Test Tone to 0 dB
according to each of the tapes to be used,
2, Place the tape to be recorded in the
cassette compartment, push the Pause
Button, then depress the Play Button while
the Record Button is being pushed down.
3. The record lamp will illuminate and the
dB meter will indicate 0 dB.
4. Set the position of the Tape Selector
Switch according to the type of tape in
use. (Refer to page 9)
5. Release the pause button and record the
test tone for approximately 10 seconds.
Stop the tape, rewind and play back the
tone. If the meters indicate within 1 dB of
“0 dB", no calibration is necessary. If not,
proceed with the following steps.
8
Nakamichi 500
Dual-Tracer
voltage AC 100.17.220,240volts
frequency 50/60 Hz
23 watts
6. Stop the tape. If the level during playback
was too low, adjust the appropriate level
calibration contro! (Left or Right, SX, EX,
or Normal) clockwise. If too high, adjust
counter-clockwise.
7. Then, record the 400Hz test tone again
rewind and play it back. Stop the tape and
repeat the adjustment if necessary. Repeat
this procedure until the meters indicate
within 1 dB of “0 dB”.
Note:
The RECORD LEVEL CALIBRATION
controls affect the record sensitivity. Do
not expect the meter indications to change
while you are adjusting the RECORD
LEVEL CALIBRATION control, either
in record or playback. It is only after you
have adjusted the controls, re-recorded the
tone and played it back: (in that order) that
you will for the first time notice any
change in the meter readings.

Bias and Equalization
The
various
cassette
tapes
available
on
the
market
represent
a
wide
range
of
tape
characteristics.
For
optimum
results
with
any
tape
the
bias
and
equalization
of
the
cassette
deck
must
be
properly
selected
to
match
the
characteristics
of
that
tape.
Position of ’ | Position of
Bias
Switch
Eq.
Switch
Nakamichi
TDK
Sx: ba Maxell
Ex
normal
Nakamichi
Nakamichi
Fuji
EX @ 120 & Maxell
Maxell
TDK
ex 70
normal 120
NORMAL
Shown above are the recommended
cassette tapes and the proper bias and
equalization settings for each (tapes other
than Nakamichi are listed in alphabetical
order).
Type or Mode!
SX
SA
UDXL-H
C-60, C-90
C-60, C-90
C-60, C-90
C-60, C-90
C-60, C-90
C-60, C-90
C-60, C-90
C-60, C-90
C-60, C-90
C-60, C-90
C-60, C-90
C-60, C-90
Bias Switch
Bias is an inaudible high frequency signal
applied to the tape during the recording
process. It reduces distortions and
non-linearities inherent in magnetic
recording. For many years there was
basically one type of tape so that only
engineers needed to concern themselves
with bias. Today there are a multitude of
tape formulations, and almost as many
differing biasing requirements. Nakamichi
EX tape and other low-noise/high-output/
high-density type tapes require some 10%
greater bias than normal ferric oxide tapes
for optimum results. High-coercivity
tapes, such as Nakamichi SX, require
approximately 45% greater bias. The
three-position bias switch on the Nakamichi
500, therefore, allows the selection of the
proper bias for the various types of
cassette tapes.
Equalization Switch
Equalization (EQ) is the method by which
optimum signal-to-noise ratios and
frequency responses are obtained for the
various tape formulations. Like bias, the
proper EQ must be selected for each kind
of cassette tape. Unlike bias, EQ concerns
not only the recording process but the
playback process as well. The EQ switch,
therefore, must be properly set for both
playback and record.
There are two equalization ‘curves’ now
recognized as standards throughout the
cassette industry. All conventional ferric
oxide tapes and the newer low-noise/
high-output formulations (including
Nakamichi EX and EX If) utilize the 120
microsecond equalization time constant.
High-coercivity tapes, such as Nakamichi
SX, utilize the more recently established
70 microsecond time constant. Select the
proper time constant with the EQ switch
for record and playback by referring to
the table of recommended cassette tapes.

Peak
Level
dB
Meter
)
VLE HITT 7 dete
ou
oB
peak level
The
Nakamichi
500
incorporates
a
genuine
Peak
Level
Meter
which
covers
a
wide
range
of
-40dB
to
+5dB.
While
the
power
switch
is
off,
the
indicators
are
in
the
state
of
OFF.
But
when
the
power
switch
is
set
to
ON,
the
Meters
illuminate
and
the
indicators
As
can
be
noted
from
the
above
Fig,
there
Provided
at
-8dB
is
a
red
mark,
to
which
please
position
OdB
of
the
15
ips
2
track
open
reel
tape
recorder
when
you
wish
to
perform
direct
copying
therefrom,
and
by
doing
so,
you
can
conduct
desirable
recording
without
saturation
even
though
there
comes
in
a
sudden
strong
peak
input.
The
saturation
Point
of
15
ips
2
track
open
reel
tape
recorder
is
generally
said
to
be
at
about
+
15dB,
however
the
saturation
point
of
the
cassette
is
tower
10
record
VU
Tits
dee
aT
peak levet
» 2
30
BONN \
record
farelayt
thereof
will
flutter
to
the
Position
of
co,
Being
different
from
other
indicators
used
in
the
conventional
type
meters,
the
indicators
of
Nakamichi
500
Can
also
correspond
to
a
sudden
peak
input.
i
than
that
of
15
ips
2
track,
Accordingly,
if
you
set
to
the
value
in
the
neighbourhood
of
—8aB,
it
will
become
about
+7dB
while
15
ips
shows
+
15dB.
This
prevents
increase
of
distortion.
Depending
upon
a
level
of
signal
source,
there
may
be
a
case
in
which
S/N
becomes
towered
because
of
too
low
levels
of
signal
source,
and
therefore
please
make
selection
of
a
feve}
referring
to
the
said
mark,
The
level
of
pianissimo
while
a
classical
music
performance
is
said
to
be
around
—35dB.
Thus
it
is
impossible
for
~20dB
Meters
to
detect
such
a
small
level,
Nakamichi
500
Peak
Level
Meter
can
accurately
indicates
that
level
and
even
smaller,
together
with
a
big
Jevel
of
forte,
Please
therefore
set
your
recording
level
according
to
each
case.

The Dolby Noise
System
Your Nakamichi 500 incorporates the
Dolby Noise Reduction System (Under
license from Dolby Laboratories, Inc.),
originally developed to produce a master
tape from which to cut records with a
high signal-to-noise ratio.
Noise heard from a recorded cassette
primarily comprises tape noise and the
noise produced by the playback equalizer
amplifier of the cassette tape deck, and is
largely distributed over a 2KHz to 10KHz
range. Such noise can be effectively
reduced by amplifying signals within this
range at the time of recording, then
attenuating them in playback, through a
process as illustrated in Fig. 1.
INPUT — PREAMP. —| DOLBY |— REC.AMP.
= cS me oe Eo _, PLAYBACK _-
EQ. AMP.
DOLBY | — PREAMP, — OUTPUT
Fig.1 Record/Playback Process
If this treatment is given to such signals
regardless of their strengths, however,
strong high-frequency signals cannot be
recorded. So it is necessary to change the
gain of this special circuit with respect to
the strength of the high-frequency signals.
The Dolby circuit makes this possible.
For instance, if high-frequency signals of
—30dB enter the Dolby circuit from input
terminals, it delivers signals of —20dB
for recording on to the tape. Conversely,
if high-frequency signals of -20dB enter
SH= Dolby NRin
sats
™
= we ue 30 Co
“arsine Many Frewaney Seale Teele
the same circuit from the playback head
(Fig.
2),
it
delivers
signals
of
—30dB
for
reproduction from the stereo amplifier.
Thus input/output signals are attenuated
by 10dB, with equivalent reduction in _
the level of tape noise and equalizer amplifier
noise. The circuit is designed so that it
does not affect signals of —5dB or greater.
Reduction
Input Signals
—20 —5 (dB)
i
a
°
cS
5
a)
¢
7
2
=]
]
2.
a
Amplification & Attenuation at 4KHz
Fig.2 Working Principle of Dolby Circuit
As is clear from the foregoing explanation,
the signal-to-noise ratio of sound improves
by about 10dB if it is recorded and
reproduced through the Dolby circuit,
enabling you to enjoy clean, transparent
hi-fi stereo sound. This system is
international, and recordings made under
it can be reproduced by any cassette or
reel-to-reel tape decks equipped with the
same system, regardless of their makes.
Maintenance
Cleaning
All parts that come into contact with the
tape must be frequently cleaned. Even the
best tape formulations leave a deposit of
oxide sheddings on the heads, pinch roller
and capstan. Failure to perform a periodic
cleaning of these parts can result in signal
dropouts, loss of high frequencies and wow
and flutter. A cleaning kit is supplied with
the Nakamichi 500, but some Q-tips and
isopropyl alcohol (preferrably undiluted)
will perform quite adequately.
Maintenance
Demagnetizing
All metal parts that come into contact
with the tape must be occasionally
demagnetized to prevent the build-up of
residual magnetism that can add hiss to and
partially erase the high frequencies on a
tape being played. Although the heads and
capstan of Nakamichi cassette decks require
demagnetization much less frequently than
most other tape decks, it should
nevertheless be performed once every 50
hours of use to be on the safe side. A
Nakamichi Demagnetizer is recommended
for this purpose since it is specially designec
for ease of use with cassette decks, but any
properly designed demagnetizer will do.
Remove all tapes from the vicinity of the
tape deck before proceeding. Make sure
the tape deck is “OFF.” Turn the
demagnetizer on and slowly bring the tip
as close as possible to the record/play
head (it is not necessary to demagnetize the
erase head). Do not make contact with the
head unless the tip of the demagnetizer is
covered with thin vinyl or rubber to avoid
scratching the surface of the head (a piece
of vinyl tape may be used to cover the tip
if it is not already covered). Move the
demagnetizer tip slowly in a random
pattern about the surface of the head for
at least 10 seconds and then slowly move
it toward the capstan. Repeat with the
capstan, and then slowly withdraw the
demagnetizer. Turn it off after it is at least
2 feet from the deck. Never turn the
demagnetizer off while it is close to the
head or capstan as this may
semi-permanently magnetize the metal part.
Lubrication
The moving parts of the Nakamichi 500
transport are fitted with oil-fess bearings. It
is not necessary for the user to provide
lubrication.
11

Trouble Shooting Chart
Condition Probable Cause Remedy
- Tape does not run. 1. Power cord is unplugged. Plug in power cord firmly,
2. Tape is loose inside cassette. Wind tape up.
3. Cassette lid is not firmly closed. Eject cassette and reset it carefully.
RECORD Lamp does not light. 1. Cassette is not loaded. Load cassette.
2. Cassette tabs are broken off. Place a piece of adhesive tape over
the tab opening.
Hissing sound is heard in playback. 1. Head is magnetized. Demagnetize head with head demangetizer.
Tape travel is unsteady. , 1. Capstan shaft and/or pinch roller Clean those parts.
are dirty.
2.. Tape winding inside cassette or Replace cassette.
tape guides are faulty.
Previously recorded sound remains. 1, Erase head is contaminated. -Clean erase head and pinch roller.
Reproduced sound is distorted. 1. Program material itself is distorted. Examine program material.
2. Recording volume levels are too Adjust appropriate recording level
high. controls.
In case it is distorted at transient peaks,
turn on the Peak Limiter Switch. -
Cannot record. 1. Connection to each part is incorrect. Check connections.
2. Record head is contaminated. Clean head. -
a a te
Cannot reproduce. 1. Connection to each part is incorrect. Check connections.
2. Playback Record head is Clean head.
contaminated.
Large hum noise is heard in recording. 1. Disturbing induction field exists Keep away from amplifier, transformer,
nearby the deck. fluorescent lamp, etc.
‘2, Connector cord grounding is Use the perfect connector cord.
defective.

Specifications
Power
Supply
.......-0
0022
e
reece
100,
117,
220,
240V
50/60Hz
Power-Consumption
........-0
eee
eee
40W
Max.
Tape-Speed
....-..
22.
eee
eee
ees
1-7/8
ips.
Wow
&
Flutter...
2.6.2.
cece
eee
eee
0.13%
WTD
peak
40Hz - 17KHz + 3dB (SX or EXII tape)
40Hz - 15KHz + 3dB (Low noise tape)
Better than 63dB
(Dolby NR In, Wrms CCITT 400Hz 3%
Frequency Response .........22--++5
Signal to Noise Ratio
Distortion)
Total
Harmonic
Distortion.
.........-5
Less
than
1.5%
(at
400Hz,
OdB
SX
or
EX
II
tape)
Erasure
oo
ce
ee
es
Better
than
60dB
(at
1KHz
OdB
Saturation
Level)
Channel
Separation
......
be
dive
Sete
tes
Better
than
35dB
(at
1KHz
OdB)
Cross
Talk
.
oc.
eee
eee
eee
Better
than
60dB
(at
1KHz
OdB)
Bias
Frequency
......--++6%
its
tee
105KHz
Input:
Mic
.....
:
eee
da
eedess
See
ahs
0.2mV
600
ohm
Blend
Mic...
0.0200
ee
eee
ee
eee
0.2mV
600
ohm
LING.
celeb
ae
alee
s,
06
Soihged
Pace
Stal
eee
ae
WS
70mV
150
Kohm
DIN
©
ones
eee
ara
og:
B4
se
Rape
..
138mV
25
Kohm
Output:
ARG:
hed
ale
eae
Ao
awe
a
ee
See
ee
1.0V
(Max.)
Variable
Headphones
...
2...
ee
ee
eee
teens
1mW
8
ohm
(0dB)
Dimensions
(Approx)
...-.--.8e0e00e>
15”
(W)
x
4-1/2’"(H)
x
10(D)
Weight
(Approx)
2.0...
0.00
e
eras
15-1/2
Ibs.
@
Specifications
and
appearance
design
are
subject
to
change
for
further
improvement
without
notice.
®
Dolby
system
under
license
from
Dolby
Laboratories
Inc.
©
The
word
“DOLBY
”
and
the
Double-D-Symbol
are
trademarks
of
Dolby
Laboratories
Inc.
Condenser Microphone CM-1000
CP-101
capsule
CP-102
capsule
option
Optional
Accessories
Nakamichi SX
ons)
thas encCrO2)
EX-I1 Tape C-60, C-90
Secs
Demagnetizer
DM-10 HEAD
BCU 5 Ea
Electret Condenser Microphone
CM-300
CP-1 capsule
CP-2 capsule
CP-3 capsule option
CP-4 capsule option
13