Philips N 4450 User manual

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PHILIPS
Operating
instructions
Instrucciones
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33

INTRODUCTION
Your
new
Hi-Fi
Stereo
tape
recorder/amplifier
N
4450
has
been
designed
with
great
care
and
precision
to
ensure
that
it
meets
the
highest
standards
of
quality
and
versatility.
This
allows
the
recorder
to
be
used
for
recording
purposes
where
superior
fidelity
is
required.
The
built-in
powerful
Hi-Fi
stereo
amplifier
assures
a
perfect
reproduction
of
these
recordings
and
may
also
form
the
basis
of
a
complete
stereo
system.
In
addition
to
quality
N
4450
also
offers
versatility:
the:
reverse
system
(recording
and
playback
in
either
direction)
and
several
special
effects
such
as
multiplay,
echo,
reverbe-
ration
and
sound
mixing.
Moreover,
the
recorder
incorporates
an
electric
timer
which
permits
the
recorder
to
be
started
and
stopped
in
the
recording
and
the
playback
mode
at
preset
times.
These
and
many
other
possibilities
are
described
in
these
Operating
Instructions,
which
we
recommend
you
to
read
very
attentively.
Part
I
of
the
Operating
Instructions
explains
to
the
more
interested
reader
how
sound
is
recorded
on
magnetic
tape:
magnetic
registration
of
sound.
It
provides
a
better
insight
into
the
operation
of
the
recorder
and
it
also
contains
inter-
esting
details
which
might
open
up
new
application
possi-
bilities.
Part
II
contains
the
actual
Instructions
for
Use
and
describes
the
operating
procedure.
If
you
are
anxious
to
try
out
your
new
recorder,
it
will
suffice
to
read
this
part
only.
We
wish
you
many
hours
of
listening
pleasure
with
your
new
Hi-Fi
Stereo
tape
recorder/amplifier
N
4450.
INDEX
Page
PART
I
“What
you
should
know”
.
56-60
1.
Magnetic
soundrecording
.
. .
.
.
...
.
56
1.
From
sound
to
electrical
vibrations
.
56
2.
From
electrical
vibrations
to
magnetic
field
strength
alternations
.
.
a)
ch.
Ge)
Ar
aed
Lot
She
ges
2
OG.
3.
Magnetising
of
the
tape
ae)
os
-.
.
56
4..From
magnetic
recording
back
to
electrical
vibrations
.
.
-..
56
5.
From
electrical
vibrations
back
to
sound
.
56-57
2.
Some
more
tape
recording
theory
.
. .
. . .
57
1.
Erasing
.
.
.
Beh
he Se
a
ea
OT
2.
Four-track
system
fa
GB
Soe
a
ek
a
oT
De
OtCTeOs
2s
ak
“ies
te Be ye
ows
Se
we
4.
Multiplay
.
. .
ate
So
Race
GP
ae eo
DOF
5.
Echo
and
reverberation
|
fod
Bivens
oe om
22 ey
sO
3.
Technicalfeatures
. .
.
.
2...
....
58
1.
HiFiQualiy
.
2.
2.0.
2.
2...
58
2.
Automaticreverse
.
.
.
.......
=.
58
3.
Sixheads
.
. . .
ni
&
“esas
358
4.
Before
and
after
tape
monitoring
ne
oo
ae
258
9.
Cueing
2 3
8
Se
ee
ee ee
a
SB
6.
Threemotors.
.
..........
=.
~
«58
7.
26.5-cmreels
.
.
.
.
i
ae oe
el
de
358
8.
Tape
tension
comparators
.
—
oe
a
&
58
9.
Programme
indicator
with
pre-selector
Se
ews
358
BO
TG
MEr
ox
ok se
A
cai
es
a
he
ee
a
BY
ASB
11.
Tip-touchkeys
.
.
.
2...
.
1.)
(CSO
12.
Hi-Fiamplifier
.
2.
2.
2...
.
2...)
(59
13.
Splicingjig
. . .
2.
«2
2...
es.)
59
14.Remotecontrol.
.
.........
=.
59
15.
Continuous
tapereel
.
. .
2.
.
1.
1...)
(SY
16.
Slide‘synchroniser
.
.
.
2.
2
2...
ee)
OSD
17.
Telephone
coil
.
.
.
2.
2.
2...
1.)
SD
Controls
and
connection
sockets...
...
=.
60
PART
II
’What
you
must
know”
61-68
1.
Preparing
the
recorderforuse
.
...
.
..
..
61
1.
Carryinghandle
. .
......
2.2...
~
«61
2.
Connectiontothe
mains
.
........~
464i
3.
Openingand
removingthe
cover.
.
. .
..
=.
61
4.
Switchingonandoff
.........
=.
«6421
5.
Reel
selector
switch(1)
.
........
4642
6.
Threadingthe
tape
. .
.
.......
61
7.
Function
selector
(12)
.
:
Déle
62
8.
Speed
selector(13)
.
.
. .
.......~
62
9.
Track
selector(11)
.
.
2...
..
..
.
-)
62
10.
Automatic
stop
.
.
bon
at ee ge ee
Moe
162:
11.
Normal/Reverse
switch
(14).
an
od
fae*
@.
“62
12.
Programme
indicator
with
pre-
selector
@)
.
2.
62
13.
Tip-touch
keys(16...22).
.
.
. .
.
2.
62
14.
Cueing
buttons
(5).
.
.
beta
«
663
15.
Speed
control
for
fast
winding
a
5)
be
Sap
Seta,
OS
16.
Timer
(39).
Sei:
Aira
Uv,
See
2.
Connection
sockets
.
BGG
ae ay
wee
ce Oe
ta
es,
168
1.
Inputselector(9)
2.
2.
2. 2.
2...
ew.
6B
2.
Connection
oe
Re
Bom
&
we
ky
wy
e064
3.
Recording
.
2. 2. 2.
2.
2.
2
ee
we
4
1.
Using
microphones
.
woe
eee
we
64-65
2.
Recordinglevel
.
.
.
65
3.
Selector
for
before/after
tape
monitoring
(10)
.
.
65
4.
Monitoring
during
ee
Bri
Sd
nes
2%
65
5.
Recording
.
oe
toe
ee
ew
«65-66
6.
Erasing
without
recording
.
: -
.
.
66
4.
Playing
back
and
using
the
amplifier
section
-.
.
66
1.
The
amplifier.
.
.
.
SR
ow AY Be
iow,
-
$66
2.
Playing
back
a
tape
programme
of
Byer
Ut
cies
2
66
3.
Using
N
4450
as
an
Sa
:
-
1.
«+»
66-67
5.
Special
facilities
.
.
.
RE
AS
ue
he
tt.
Beat
“67.
1.
Mixingsounds.
.
.
.
....
..
~~)
67
2.
Multiplay
. . . .
ey
ge
ae
Ge
a
Pa
ee
67
3.
Echo
and
reverberation
.
bie
Or
ee
ty
ke
hes
OR
6.
Splicing
jig
eS
eR
a
ee
4
ee
22
69-68
7.
Remotecontrol
.
.
.
2.
2...
2.
2.
«68
8
Continuous
tapereel
.
2.
2. 2.
2. 2.
2
2...)
(68
9.
Slide
synchroniser
.
.
. . .
......
68
10.Maintenance.
. .
.
2...
2.
2...
.
(88
PART
III
General
information
.
.
.
>.
69-70
1.
Optional
accessories.
.
. . .
.
2...
. .
69
2.
Inputsandoutputs
.
. .
.
..
...
..
«69
3.
Technical
data
.
. . . .
2.
.
2...)
OO
“65

PART
I
“WHAT
YOU
SHOULD
KNOW”
1.
MAGNETIC
SOUND
RECORDING
A
tape
recorder
serves
to
record
sound
on
an
audio
tape
and
to
reproduce
the
sound
thus
recorded
in
due
time,
preferably
with
the
greatest
possible
fidelity.
However,
before
the
sound
can
be
recorded
on
the
tape,
it
should
be
processed
to
suit
this
purpose.
The
following
Chapters
describe
in
a
concise
but
compre-
hensible
manner
the
process
of
recording
sound
on
magnetic
tape.
Each
Chapter
deals
with
part
of
this
process,
thus
following
the
sound
through
the
various
steps,
from
the
air
vibrations
which
are
recorded
on
the
tape
via
the
microphone
and
tape
recorder,
to
reproduction
via
the
loudspeaker.
1.1.
FROM
SOUND
TO
ELECTRICAL
VIBRATIONS
Sounds
that
can
be
percepted
by
the
ear
are
caused
by
alter-
nations
in
air
pressure;
these
are
changes
in
air
density
which
propagate
in
space
as
waves.
A
normal
air
flow
at
constant
pressure
(e.g.
wind)
is
not
yet
perceived
as
sound.
The
number
of
air-pressure
vibrations
per
second
determines
the
pitch
of
a
tone.
The
higher
the
number
of
vibrations,
the
higher
the
pitch
(frequency).
The
human
ear
can
perceive
approximately
20
to
16,000
vibrations
per
second.
One
vibration
per
second
is
called
“Hertz”
(after
the
well-known
physicist),
which
is
the
unit
of
frequency.
The
above-mentioned
sound
waves
may
be
reflected,
for
instance
by
bare
walls,
or
absorbed
for
example
by
curtains,
and
they
can
also
cause
an
object
to
vibrate
(e.g.
the
eardrum).
The
latter
property
is
employed
in
a
microphone.
A
microphone
is
a
device
which
converts
sound
into
an
electric
current
which
can
be
further
processed
by
the
tape
recorder.
This
principle
is
based
on
a
physical
law
which,
in
simplified
form,
states:
“Moving
a
magnet
inside
a
coil
(i.e.
a
change
in
magnetic
field),
causes
a
current
in
this
coil.”
The
intensity
of
the
current
changes
with
the
movement
of
the
magnet.
It
is
evident
that
a
similar
effect
is
obtained
when
the
coil
is
moved
around
the
magnet.
Modern
microphones
are
usually
based
on
this
principle:
A
coil
is
attached
to
a
diaphragm.
The
sound
causes
the
diaphragm
to
vibrate.
As
a
result,
the
coil
is
moved
in
the
magnetic
field
of
a
permanent
magnet
(the
so-called
electro-
dynamic
microphone).
When
the
diaphragm
and
coil
move
in
the
rhythm
of
the
alternations
in
air
pressure,
a
current
is
induced
in
the
coil
whose
intensity
and
frequency
vary
in
accordance
with
the
intensity
and
frequency
of
the
sound
vibrations.
This
“‘alternating
current”
is
a
faithful
representation
of
the
sound
and
can
now
be
applied
to
the
tape
recorder.
1.2.
FROM
ELECTRICAL
VIBRATIONS
TO
MAGNETIC
FIELD
STRENGTH
ALTERNATIONS
The
alternating
current
produced
by
the
microphone
is
,
amplified
several
times
in
the
tape
recorder.
The
degree
of
amplification
can
be
adjusted
with
the
recording
level
control
and
can
be
checked
with
the
recording
level
indicator.
This
is
necessary,
since
with
a
fixed
amplification
the
loudest
passages
could
be
distorted
and
during
the
soft
passages
too
much
noise
could
be
audible.
During
each
recording
the
re-
cording
amplifier
should
be
adjusted
so
that
at
the
loudest
passages
the
recording
level
indicator
deflects
to
100
%o;
this
is
the
limit
at
which
just
no
audible
distortion
will
occur.
When
the
recording
level
has
thus
been
set,
the
soft
passages
will
be
reproduced
clearly,
doing
full
justice
to
the
dynamic
56
properties
of
both
the
recorder
and
the
tape.
The
alternating
current
thus
amplified
now
reaches
the
recording
head
along
which
the
magnetic
audio
tape
is
fed.
The
actual
recording
process
is,
in
fact,
the
reverse
of
what
happens
in
the
microphone:
A
current
through
a
coil
causes
a
magnetic
field
to
develop
in
the
core
of
that
coil,
which
varies
in
accordance
with
the
current
intensity.
So,
if
the
current
is
an
alternating
current,
the
resultant
magnetic
field
will
be
a
so-called
alternating
field.
To
boost
the
magnetic
action
of
the
recording
head,
the
coil
is
wound
round
a
ring-shaped
iron
core,
which
contains
a
microscopically
small
slit,
the
so-called
air
gap.
Because
the
iron
coie
presents
only
a
very
low
resistance,
the
magnetic
lines
of
force
propagate
in
the
core
and
close
across
the
above-mentioned
air
gap,
which
they
bridge
in
the
form
of
an
arc.
These
lines
of
force
which
due
to
their
alternating
direction
and
strength
are
a
faithful
reproduction
of
the
alternating
current
and
thus
of
the
sound
to
be
recorded,
are
used
to
“write”
the
sound
onto
the
tape.
1.3.
MAGNETISING
OF
THE
TAPE
Modern
audio
tape
consists
of
a
base
of
a
synthetic
material
on
which
a
highly
uniform
layer
of
iron
oxide
is
coated.
This
coating
consists
of
many
microscopic
particles
of
iron
oxide
which
can
be
magnetised
individually.
When
the
tape
passes
the
air
gap
of
the
recording
head,
the
iron
oxide
particles
located
in
front
of
the
gap
are
magnetised
by
the
instantaneous
magnetic
field
strength.
When
the
whole
tape
has
passed,
it
contains
a
pattern
of
adjacent
iron-oxide
particles
that
are
differently
magnetised
and
have
the
same
or
opposite
polarity,
depending
on
the
strength
and
direction
of
the
magnetic
lines
of
force
by
which
they
have
been
magnetised
when
passing
the
re-
cording
head.
Since
the
magnetic
lines
of
force,
in
turn,
were
a
faithful
representation
of
the
sound
to’
be
recorded,
the
magnetisation
on
the
tape
is
also
representative
of
this
sound.
Audio
tapes
retain
the
information
once
recorded,
even
after
numerous
reproductions,
unless
they
are
exposed
to
another
strong
magnetic
field
(see
“ERASING”,
I.2.1.).
1.4.
FROM
MAGNETIC
RECORDING
BACK
TO
ELECTRICAL
VIBRATIONS
When
playing
back
a
magnetic
recording
on
a
tape,
the
tape
is
fed
past
the
playback
head
and
the
process
described
in
the
previous
Chapter
is
reversed.
When
passing
the
air
gap,
the
magnetised
particles
of
different
polarity
and
degree
of
magnetisation
induce
a
magnetic
field
in
the
iron
core
of
the
head
which
results
in
an
alternating
current
in
the
coil.
This
alternating
current,
which
is
still
representative
of
the
recorded
sound,
is
amplified
by
the
playback
amplifier
and
is
applied
to
the
loudspeaker.
‘
1.5.
FROM
ELECT
RICAL
VIBRATIONS
BACK
TO
SOUND
The
electrical
alternations
of
the
alternating
current
are
converted
into
sound
by
the
loudspeaker
which
is
in
fact
the
opposite
of
a
microphone.
The
alternating
current
from
the
playback
amplifier
is
fed
through
a
coil
attached
to
a
diaphragm,
which
is
located
in
a
strong
and
uniform
magnetic
field.
The
alternating
current
in
the
core
of
the
coil
produces
an
alternating
magnetic
field.

The
forces
of
this
magnetic
field
now
counteract
the
uniform
force
of
the
magnetic
field
of
the
loudspeaker
magnet,
so
that
the
coil
together
with
the
diaphragm
start
moving
in
the
rhythm
of
the
alternating
current.
The
diaphragm,
in
turn,
causes
the
air
to
vibrate,
thus
producing
the
sound
that
was
previously
recorded
via
the
microphone.
According
to
this
method,
sounds
can
be
recorded
on
magnetic
tape
at
any
desired
moment
and
reproduced
un-
modified
at
any
moment
afterwards.
2.
SOME
MORE
TAPE
RECORDING
THEORY
2.1.
ERASING
As
already
stated
in
Chapter
1.3,
the
tape
retains
the
re-
corded
information
until
it
is
exposed
to
another
strong
magnetic
field.
This
property
is
used
in
erasing.
An
existing
recording
is
erased
from
the
tape,
when
a
new
recording
is
made
on
the
same
part
of
the
tape.
This
can
be
repeated
indefinitely,
without
a
deterioration
in
quality
of
the
new
recording.
(However,
erasing
is
also
possible
without
making
a
new
recording,
by
not
applying
a
new
signal
to
be
recorded,
Chapter
IJ.3.6).
For
this
purpose,
the
recorder
is
fitted
with
a
so-called
erase
head,
past
which
the
tape
is
fed
before
it
reaches
the
recording
head.
This
erase
head
operates
as
follows:
Through
a
coil
wound
on
a
ring-shaped
iron
core,
an
alternating
current
is
fed
of
a
frequency
far
beyond
the
limit
of
audibility.
The
air
gap
in
the
iron
core
has
been
designed
so
that
the
magnetic
field
bridging
the
gap
is
dome-shaped.
When
a
magnetised
particle
of
the
tape
passes
the
erase
head,
it
is
initially
subject
to
increased
magnetisation,
after
which
the
intensity
subsequently
decreases
slowly
to
zero.
(The
increasing
and
decreasing
magnetisation
is
the
result
of
the
shape
of
the
magnetic
field;
the
magnetisation
is
caused
by
the
high
frequency
(RF)
alternating
current.)
The
relevant
particle
is
thus
initially
magnetised
with
increasing
and
then
with
decreasing
strength
and
is
magnetically
neutral
after
passing
the
air
gap:
The
recording
is
now
“erased”.
2.2.
FOUR-TRACK
SYSTEM
The
four-track
system
indicates
that
four
recordings
can
be
made
over
the
full
width
of
the
tape,
so
that
four
adjacent
“tracks”
of
recordings
are
obtained
on
the
tape.
These
can
be
four
mono
recordings
or
two
stereo
recordings,
since
in
the
case
of
stereo
we
have
essentially
two
separate
recordings.
Because
the
recorder
operates
in
accordance
with
the
reverse
principle,
it
incorporates
two
head:
systems
each
consisting
of
an
erase
head,
recording
head
and
play-
back
head.
One
system
is
used
when
the
tape
runs
to
the
ieft
and
the
other
when
it
runs
to
the
right.
Each
system
covers
two
tracks,
which
can
be
used
separately
(mono)
or
in
combination
(stereo)
both
for
recording
and
play-
back.
Depending
on
the
position
of
the
track
selector
you
use
track
1
and/or
3
when
the
tape
runs
to
the
right
and
track
2
and/or
4
when
the
tape
runs
to
the
left.
Recordings
made
on
another
four-track
recorder
can
be
played
back
on
your
recorder
using
the
reverse
system.
The
opposite
is
also
possible.
Stereo
recordings
made
on
a
twin-track
recorder
can
be
played
back
in
one
direction
only
and
mono
recordings
in
both
directions.
Recordings
made
on
your
recorder
can
be
played
back
on
a
twin-track
recorder,
if
only
tracks
1
and
3
are
used
and
tracks
4
and
2
are
empty
or
the
other
way
round.
2.3.
STEREO
When
listening
to,
for
example,
an
orchestra,
your
left
ear
perceives
the
sound
coming
from
the
left
slightly
sooner
and
louder
than
your
right
ear,
and
for
sound
coming
from
the
right
this
is
the
other
way
round.
The
sounds
from
the
middle
are
heard
simultaneously
and
equally
loud.
This
makes
it
possible
for
you
even
with
your
eyes
closed,
to
determine
the
direction
in
which
the
various
instruments
lie:
you
can
still
“see”
the
orchestra
in
front
of
you!
When
making
a
stereo
recording
of
an
orchestra,
two
micro-
phones
are
used
which
pick
up
the
sound
in
a
similar
way
as
your
ears.
The
sound
is
then
recorded
on
two
separate
tracks,
one
for
the
sound
picked
up
by
the
left
microphone
(left
channel)
and
one
for-the
sound
from
the
right
microphone
(right
channel).
When
this
stereo
recording
is
played
back
stereophonically,
these
tracks
are
separately
reproduced
via
two
separate
loudspeaker
enclosures,
one
for
the
left
channel
and
one
for
the
right
channel.
Again,
you
can
“see”’
the
orchestra
in
front
of
you.
With
your
stereo
tape
recorder
you
can
now
make
your
own
stereo
recordings,
for
example
of
music,
songs,
speech,
stereo
broadcasts
and
stereo
records,
and
reproduce
these
also
in
stereo.
It
is
obvious,
however,
that
you
cannot
make
stereo
recordings
of
e.g.
a
mono
broadcast
or
mono
record.
2.4.
MULTIPLAY
This
is
the
recording
of
a
synchronised
programme,
consisting
of
several
recordings
on
the
same
track,
which
renders
it
possible
for
instance
to
record
a
quartet
which
is
rendered
all
by
yourself.
While
making
e.g.
the
second
recording,
you
can
listen
to
the
first
recording
via
the
headphones,
the
first
recording
being
duplicated
simultaneously
and
mixed
with
the
second
recording
on
the
same
track.
By
repeating
this
several
times
a
combination
of
separate
but
synchronous
recordings
is
obtained
which
are
reproduced
together.
2.5.
ECHO
AND
REVERBERATION
When
recording
songs
or
music
in
e.g.
a
living
room,
rever-
beration
can
be
added
to
the
recording
to
create
the
im-
pression
that
the
recording
was
made
in
a
large
hall
or
church.
By
the
addition
of
echo,
very
special
effects
can
be
achieved.
With
your
recorder
echo
and
reverberation
recordings
can
be
made
in
a
simple
manner,
as
the
recorder
is
equipped
with
separate,
recording
and
playback
heads
which
are
mounted
in
line.
The
signal
just
recorded
is
then
fed
back
from
the
playback
head
to
the
recording
head
and
re-
recorded
together
with
the
original
signal.
The
effect
is
due
to
the
distance
between
the
two
heads
and
depends
on
the
tape
speed;
at
the
relatively
low
tape
speeds
of
4.75
and
9.5
cm/sec.,
echo
effects
are
obtained
and
at
the
higher
speed
of
19
cm/sec.
a
reverberation
effect.
57

3.
TECHNICAL
FEATURES
3.1.
Hi-Fi
QUALITY
The
amplifier
section
of
N
4450
as
well
as
the
recording
section
at
the
tape
speeds
19
and
9.5
cm/sec.
amply
com-
plies
with
the
requirements
of
the
Hi-Fi
standard
DIN
45
500.
This
DIN
standard
imposes
very
strict
requirements
as
regards
tape
speed
accuracy,
frequency
range,
signal/noise
ratio,
distortion
of
the
amplifier
etc.
The
recorder
has
been
designed
for
the
use
of
Philips’
high-output
low-noise
tapes
which
also
come
up
to
the
above-mentioned
DIN-standard.
For
best
results
it
is
therefore
recommended
to
use
only
this
tape
on
your
N
4450
recorder.
3.2.
AUTOMATIC
REVERSE
The
recorder
features
an
“automatic
reverse
system”.
This
means
that,
unlike
most
other
tape
recorders,
the
tape
can
run
from
left
to
right
as
well
as
from
right
to
left.
When
the
reverse
system
is
operative,
the
tape
after
running
from
left
to
right,
is
automatically
reversed
by
a
strip
of
switching
foil
at
the
end.
When
the
tape
subsequently
reaches
the
other
end,
the
recorder
is
stopped.
Automatic
reverse
operation
is
possible
during
playback
and
recording.
The
direction
can
also
be
changed
before
the
end
of
tape
is
reached
by
pressing
one
of
the
keys
“<]
LEFT”(16)
or
“RIGHT>
”
(19).
3.3.
SIX
HEADS
The
recorder
is
provided
with
a
total
of
6
magnetic
heads.
For
each
tape
transport
direction
a
separate
head
system
is
provided,
each
comprising
an
erase
head,
a
recording
head
and
a
playback
head.
Instead
of
the
usual
combined
recording/
playback
head,
this
recorder
has
a
separate
head
for
recording
and
for
playback.
The
main
advantage
of
this
is
that
the
two
heads
can
be
specially
designed
for
their
specific
function,
giving
optimum
results
both
for
recording
and
playback.
Another
advantage
is
that
due
to
the
separate
recording
and
playback
heads
and
preamplifiers
echo
and
reverberation
recordings
can
be
made
(see
2.5.)
and
so-called
after-tape
monitoring
(see
3.4.)
is
possible.
3.4.
BEFORE
AND
AFTER
TAPE
MONITORING
During
recording,
the
signal
can
be
monitored
in
two
ways:
1.
Before-tape
monitoring.
With
switch
(10)
in
position
“B”,
the
signal
to
be
recorded
is
fed
from
the
recording
amplifiers
to
the.
recording-level
indicators,
to
the
sockets
for
connection
of
headphones
and
monitor
amplifier
and
to
the
output
amplifiers.
This
allows
monitoring
of
the
signal
to
be
recorded
before
it is
actually
recorded
on
the
tape.
2.
After-tape
monitoring.
With
switch
(10)
in
position
“A”,
the
playback
head
scans
the
signal
just
recorded
by
the
re-
cording
head
and
feeds
it
to
the
playback
preamplifiers,
the
recording
level
indicators,
the
sockets
for
connection
of
headphones
and
monitor
amplifier
and
finally
to
the
output
amplifiers.
This
permits
you
to
check
the
result
(the
recording
just
made).
3.5.
CUEING
To
prevent
unnecessary
wear
of
the
tape
and
the
heads,
the
tape
is
lifted
clear
of
the
heads
during
fast
winding,
so
that
nothing
is
heard.
However,
if
during
fast
winding
one
of
the
cueing
buttons
(5)
is
depressed
(which
one
depends
on
the
direction
of
58
recording),
the
tape
is
applied
to
the
heads
and
the
recording
becomes
audible.
Although
the
high
winding
speed
and
changed
pitch
make
it
sound
very
unusual,
you
will
however
be
able
to
recognise
characteristic
parts
of
the
recording
after
some
practising.
This
makes
it
possible
to
stop
the
tape
at
these
points.
The
possibility
of
varying
the
winding
speed
with
the
speed
control
(15)
may
also
be
convenient
in
rapidly
locating
a
certain
passage
on
the
tape
during
cueing.
3.6.
THREE
MOTORS
The
recorder
is
fitted
with
three
motors.
Two
motors
serve
for
driving
the
two
reel
discs
and
the
third
one,
a
special
so-called
“‘Hall”-motor,
drives
the
two
capstans
and
thus
the
tape
during
playback
and
recording
on
both
directions.
The
use
of
one
separate
motor
for
the
tape-transport
functions
during
recording
and
playback
ensures
a
high
accuracy
and
reliability.
The
two
motors
for
the
reel
discs
ensure
a
high
winding
speed
during
fast
winding.
In
order
to
avoid
a
complex
mechanical
drive
system,
most
of
the
functions
are
electro-magnetically
controlled
by
means
of
relays.
3.7.
26.5-cm
REELS
This
recorder
accepts
reels
with
a
diameter
up
to
26.5
cm.
The
use
of
plastic
reels
is
preferred,
as
the
recorder
has
been
designed
for
this.
Metal
reels
are
heavier
than
plastic
reels
and
may
therefore
cause
problems
when
starting
and
stopping.
Due
to
the
difference
in
tractive
power
required
between
large
and
small
reels
the
recorder
is
provided
with
a
reel
selector
switch.
3.8.
TAPE
TENSION
COMPARATORS
To
the
left
and
right
of
the
tape
slot
(6),
two
tape
tension
comparators
(4)
and
two
guide
rollers
are
fitted.
Through
a
special
mechanism
the
tape
tension
comparators
maintain
a
constant
tape
tension
during
playback,
recording
and
fast
winding.
The
rotating
guide
rollers
ensure
that
the
tape
is
precisely
guided
along
its
path.
3.9.
PROGRAMME
INDICATOR
WITH
PRE-SELECTOR
The
programme
indicator
and
the
pre-selector
(3)
coupled
to
it
facilitate
the
rapid
location
of
a
certain
recording
on
the
tape.
When
the
programme
indicator
is
set
to
“0000”
at
the
beginning
of
the
tape
and
the
reading
is
taken
at
the
beginning
and
end
of
a
recording,
this
or
another
number
can
be
set
on
the
pre-selector.
The
tape
is
then
automat-
ically
stopped
when
the
programme
indicator
has
reached
the
pre-selector
setting.
This
pre-selection
facility
is
operative
when
the
tape
runs
to
the
left
and
to
the
right
and
can
be
used
during
playback
as
well
as
fast
winding.
However,
during
recording
the
device
is
inoperative
to
prevent
erroneous
interruptions.
3.10.
TIMER
The
recorder
incorporates
a
special
timer
(39),
which
allows
recording
or
playback
to
be
started
or
stopped
automatically
at
a
preset
time.
At
the
timer
you
can
set
the
correct
time
and
the
desired
starting
and
stopping
time.
When,
for
instance,
for
a
recording
one
of
the
start
keys,
the
record
key
and
the
pause
key
are
pressed,
recording
is
started
and
stopped
at
the
preset
times.
This
feature
permits
you
to
record
for
example
a
radio
programme
in
your
absence.

3.11.
TIP-TOUCH
KEYS
N
4450
is
operated
by
relay-controlled
electronic
tip-touch
keys
instead
of
the
conventional
mechanically-operated
push-buttons.
These
tip-touch
keys
respond
to
a
very
light
touch,
after
which
they
are
illuminated.
They
also
have
a
““memory”’,
which
means
that
e.g.
when
playback
is
interrupted
for
fast
winding,
the
relevant
start
key
remains
illuminated,
though
less
bright,
to
remind
you
of
the
direction
of
playback.
Another
advantage
of
these
keys
is
for
example,
during
play-
back
you
may
directly
press
the
start
key
for
the
other
direction
or
one
of
the
fast-winding
keys,
without
first
pressing
the
stop
key.
This
feature
also
ensures
that
when
different
keys
are
pressed
rapidly
after
each
other
the
recorder
and
the
tape
cannot
be
damaged,
as
the
last
command
is
always
carried
out.
In
conjunction
with
the
convenient
slide
potentio-
meters
for
recording
level,
volume,
balance
etc.
these
tip-
touch
keys
provide
for
true
ease
and
rapidity
of
operation.
3.12.
Hi-Fi
AMPLIFIER
The
N
4450
is
a
combination
of
a
Hi-Fi
tape
recorder
and
a
Hi-Fi
amplifier.
In
addition
to
reproduction
of
recordings
made
with
the
tape
recorder,
this
stereo
amplifier
can
also
be
used
for
amplifying
signals
from
all
other
sound
sources
connected
to
it,
such
as
microphone,
record
player,
tuner
etc.,
thus
forming
the
centre
of
a
complete
Hi-Fi
installation.
It
features
a
“SCRATCH”
(noise)
and
RUMBLE
filter
and
also
a
physiology
circuit
(“PHYS”)
which
boosts
the
low
and
high
tones
with
respect
to
the
mid
range.
The
controls
for
volume,
balance,
treble
and
bass
are
con-
veniently
operated
slide
potentiometers.
When
you
wish
to
use
the
amplifier
section
only
and
the
recording
section
is
not
needed,
you
can
render
the
tape
transport
inoperative
(thus
preventing
unnecessary
wear)
by
setting
the
function
selector
(12)
to
“AMP”.
The
amplifier
supplies
2x
20
Watts
continuous
power
(2
x
30
Watts
music
power)
and
is
provided
with
connections
for
loudspeaker
enclosures
with
an
impedance
between
4
and
8
ohms.
3.13.
SPLICING
JIG
Acces
to
the
jig for
editing
and
splicing
the
tape
(Fig.
9)
may
be
gained
by
removing
the
cover
below
the
tape
slot
in
a
forward
direction.
This
built-in
splicing
jig
consists
of
a
guide
slot
for the
tape,
two
tape
clips
and
an
oblique
guide
slot
for
the
anti-mag-
netic
tape
cutter.
It
has
the
advantage
that
the
tape
can
be
edited
with
the
reels
normally
placed
on
the
turntables.
A
very
useful
aid
in
tape-editing
is
the
Philips’
splicing
kit
SK
10
(optionally
available).
3.14.
REMOTE
CONTROL
All
tape
transport
functions
plus
the
recording
function
can
also
be
remote-controlled
with
remote
control
unit
N
6719.
This
remote
control
unit
is
an
optionally
extra
available
and
has
a
lead
of
approx.
7
m
length.
The
tip-touch
keys
on
the
remote
control
unit
correspond
to
the
tip-touch
keys
on
the
recorder
(keys
16
...
22).
The
keys
on
the
remote
control
unit
are
also
of
the
tip-touch
type,
which
illuminate
when
operated
and
have
a
“‘memory’’.
When
the
remute
control
unit
is
connected,
the
remote-control
keys
and
those
on
the
recorder
can
be
used
side
by
side.
The
unit
is
supplied
with
a
mounting
bracket
which
enables
the
unit
to
be
attached
to
a
cabinet,
an
easy-chair
or
a
wall.
3.15.
CONTINUOUS
TAPE
REEL
The
tape
recorder
can
be
used
in
conjunction
with
a
conti-
nuous
tape
reel
type
EL
1907/52
(CE
10).
A
programme
recorded
on
this
continuous
tape
reel
can
be
played
back
continuously
as
the
endless
tape
repeats
itself
indefinitely.
The
continuous
tape
reel
may
be
used,
for
instance,
to
repeat
commercials
in
department
stores
and
supermarkets.
3.16.
SLIDE
SYNCHRONISER
In
the
horizontal
position
of
the
recorder,
it
can
be
used
in
combination
with
slide
synchroniser
N
6400.
This
unit
allows
slides
to
be
synchronised
with
speech
and
music.
3.17.
TELEPHONE
COIL
With
the
aid
of
telephone
coil
N
6708
(not
available
in
Great
Britain),
you
can
record
telephone
conversations
with
this
recorder.
The
telephone
coil
is
then
connected
to
the
recorder
in
a
similar
way
as
a
microphone.
In
various
coun-
tries,
however,
recording
of
telephone
conversations
is
not
permitted
by
law.
Therefore,
should
you
wish
to
do
so,
we
recommend
that
you
first
ask
for
advice.
59

CONTROLS
AND
CONNECTION
SOCKETS
Fig.
1
1=
Reel
selector
switch
2=
Reel
spindles
with
rotatable
locking
tops
3=
Programme
indicator
with
pre-selector
“AUTOSTOP”
4=
Tape
tension
comparators
5=
Cueing
buttons
“<]
CUEING”
and
“CUEING
>”
6=
Tape
slot
7=
Recording
level
indicator
for
left
channel
““LEFT”
8=
Recording
level
indicator
for
right
channel
“RIGHT”
9=
Input
selector
“TUN
TAPE
AUX
PHON”
10=
Selector
for
before
and
after-tape
monitoring
“A
B”
11=
Track
selector
“1-4
ST
3-2”
12=
Function
selector
“MP
NOR
ECHO
AMP”
13=
Speed
selector
“19
9.5
4.75”
14=
Normal/reverse
switch
“NOR
REV”
15=
Speed
control
for
fast
winding
“FAST
MED
SLOW”
16=
Start
key
for
reverse
operation
“<]
LEFT”
17=
Record
key
“REC”
18=
Pause
key
“PAUSE”
19=
Start
key
for
forward
operation
“RIGHT
>”
20=
Fast
rewind
key
“
<<
WIND”
21=
Stop
key
“STOP”
22=
Fast
wind
key
“WINDP>”
23=
Roller
shutter
24=
Socket
for
stereo
or
mono
(left
channel)
microphone
“MICRO
ST
L”)
25=
Socket
for
mono
microphone
(right
channel)
“MICRO
R”
26=
Socket
for
tape
recorder
“TAPE”
27=
Socket
for
headphones
‘““HEADPH”
28=
Microphone
recording
level
control
(left
channel)
“MICRO
L”
29=
Microphone
recording
level
control
(right
channel)
“MICRO
R”
30=
Recording
level
control
for
all
other
input
sources
“RECORDING”
31=
Echo/multiplay
recording
level
control
“ECHO/MP”
32=
Volume
control
“VOLUME”
33=
Balance
control
“BALANCE”
34=
Bass
control
“BASS”
35=
Treble
control
“TREBLE”
36=
Push-button
for
scratch
filter
“SCRATCH”
37=
Push-button
for
rumble
filter
“RUMBLE”
38=
Push-button
for
physiology
filter
“PHYS”
39=
Timer
“START
TIME
STOP”
40=
On/off
switch
for
the
switching
function
of
the
timer
“TIMER
ON”
41=
Mains
switch
“MAINS
ON”
When
the
functions
“MP”,
“ECHO”
and
“AMP”
of
the
function
selector
(12),
position
“A”
of
the
before/after-tape
monitoring
switch
(10)
and
position
“REV”
of
the
normal/
reverse
switch
(14)
have
been
selected,
these
are
indicated
by
a
red
illumination
of
the
relevant
function.
This
enables
you
to
see
at
a
glance
which
function
has
been
chosen.
60
Fig.
2
42=
Slot
for
50-60
Hz
adjustment
for
timer
43
=
Socket
for
remote
control
“REMOTE”
44=
Socket
for
loudspeaker
enclosure,
right
channel
“LOUDSP
R”
45=
Socket
for
loudspeaker
enclosure,
left
channel
“LOUDSP
L”
46=
Socket
for
monitor
amplifier
“MONITOR”
47=
Socket
for
record
player
“PHONO”
48=
Socket
for
connection
of
other
auxiliary
equipment
“AUX”
49
=
Selector
for the
socket
for
record
player
(47)
“CRYST
DYN”
50=
Socket
for
tape
recorder
“TAPE
IN/OUT”
51=
Socket
for
tuner
“TUNER”
52=
Voltage
adapter
The
numbers
of
the
controls
and
sockets
are
repeated
throughout
the
text.
The
figures
illustrating
the
text
can
be
found
on
the
separate
sheet.
Please,
note
that
copying
of
gramophone
records
and
re-
cording
of
radio
programmes
is
only
permissible
in
so
far
as
copyrights
or
other
rights
of
third
parties
are
not
thereby
infringed.

PART
Il
“WHAT
YOU
MUST
KNOW”
1.
PREPARING
THE
RECORDER
FOR
USE
1.1.
CARRYING
HANDLE
Raising
the
handle:
Press
on
one
side
of
the
handle.
The
other
end
is
then
raised
and
the
handle
can
be
pulled
up
(Fig.
3).
Folding
in
the
handle:
Press
down
one
end
of
the
handle.
Then,
press
on
the
raised
end.
1.2.
CONNECTION
TO
THE
MAINS
Place
the
recorder
in
the
vertical
position
and
take
off the
lid
of
the
storage
compartment
in
the
back
by
pressing
the
catches.
Take
the
mains
lead
out
of
the
storage
compartment
and,
before
inserting
the
mains
plug
in
the
wall
socket,
check
that
the
value
on
the
voltage
adapter
(52)
opposite
the
triangle
corresponds
to
the
local
mains
voltage.
Should
this
not
be
the
case,
the
adapter
must
be
turned
with
a
coin
(anti-clockwise
from
position
220.or
clockwise
from
position
245)
until
the
correct
setting
is
opposite
the
triangle
and
a
click
is
heard
(Fig.
2).
In
this
way
the
recorder
can
be
set
to
mains
voltages
of
110
(100
-
120),
127
(115
-
130),
220
(200
-
230)
or
240
(230-
250)
Volts.
Except
for
the
timer,
(39),
switching
to
50
or
60
Hz
a.c.
is
not
necessary.
Now,
you
may
connect
the
mains
lead
to
the
mains
socket,
since
adaptation
to
the
correct
mains
frequency
for
the
timer
should
be
done
while
the
recorder
is
switched
on.
At
the
rear
of
the
recorder
a
slot
(42)
is
located
with
the
indications
50
and
60
Hz
on
either
side.
When
looking
into
the
recorder
through
this
slot,
you
see
the
timer
(39).
From
the
timer
a
lever
protrudes,
marked
with
grey
tape
at
the
back.
This
lever
should
point
towards
50
or
60
Hz
depending
on
the
local
mains
frequency.
When
changing
the
mains
frequency
setting
of
the
timer,
the
recorder
should
remain
switched
on.
Insert
a
thin
screwdriver
in
the
slot
(42)
and
push
the
lever
slowly
to
the
left
or
to
the
right
in
the
desired
position
until
it
is
felt
to
engage.
Take
care
that
the
screwdriver
is
not
inserted
too
far,
to
avoid
any
other
parts
being
touched
and
damaged.
Note:
The
lid
of
the
storage
compartment
has
an
opening
through
which
the
mains
lead
and
cciinecting
leads
can
be
led.
This
allows
the
storage
compartment
to
be
closed
while
the
recorder
is
in
use.
1.3.
OPENING
AND
REMOVING
THE
COVER
When
using
reels
of
18
cm
dia.
(7’’) or
smaller,
the
cover
need
not
be
removed.
For
larger
reels,
it
must
be
hinged
up
completely
or
taken
off.
When
the
recorder
is
not
in
use,
refit
the
cover
as
a
protection
against
dust.
Opening:
Open
the
two
catches
by
pushing
them
through
completely
and
releasing
them.
The
lower
part
of
the
cover
can
now
be
hinged
with
respect
to
the
upper
section.
It
is
also
possible
to
hinge
up
both
sections
and
place
them
on
top
of
the
recorder
(Fig.
4).
Removal:
Hinge
the
two
parts
together
and
hinge
them
90°
with
respect
to
the
recorder
(Fig.
5).
The
cover
can
now
be
pushed
to
the
right
out
of
the
hinges.
Refitting:
First
hinge
the
two
parts
together
and
place
the
hinge
pins
on
the
hinges
on
top
of
the
recorder.
Hold
the
cover
at
right
angles
to
the
recorder
(Fig.
5)
and
slip
it
into
the
hinges
towards
the
left.
Swing
the
two
sections
of
the
cover
open
and,
if
desired,
fasten
the
catches.
Note:
To
ensure
that
the
recorder
is
stable
when
used
in
the
vertical
position,
it
is
fitted
with
pull-out
feet.
1.4.
SWITCHING
ON
AND
OFF
Switching
on:
Press
the
mains
switch
(41):
the
selected
functions
and
the
recording-level
indicator(s)
(7)
and/or
(8)
-
depending
on
the
setting
of
the
track
selector
(11)
-
are
illuminated
and
the
timer
(39)
is
started.
Switching
off:
Press
the
mains
switch
(41)
again:
the
lights
extinguish
and
the
timer
stops.
Note:
Never
switch
off
the
recorder
while
the
tape
is
still
running.
In
that
case,
first
press
the
stop
button
(21).
1.5.
REEL
SELECTOR
SWITCH
(1)
The
reel
selector
switch
(1)
should
point
vertically
down-
wards
when
using
reels
with
a
diameter
of
21
cm
(8
1/2”)
or
larger
(max.
26.5
cm
or
10
1/2”).
When
using
reels
of
18
cm
dia.
(7)
or
smaller,
this
switch
should
be
turned
in
the
direction
of
the
arrow
until
a
click
is
heard.
Note:
When
using
reels
of
different
diameters,
the
largest
reel
determines
the
setting
of
the
reel
selector
switch.
However,
in
that
case
the
speed
control
for
fast
winding
(15)
should
not
be
used.
1.6.
THREADING
THE
TAPE
@
Set
the
reel
selector
switch
(1)
to
the
correct
position.
@
Place
the
full
reel
on
the
left
turntable
(when
the
tape
is
unwound,
the
full
reel
should
turn
anti-clockwise)
and
place
the
empty
reel
on
the
right-hand
turntable.
Ensure
that
the
reels
lie
perfectly
flat
on
the
turntables.
@
Pull
out
the
tops
of
the
reel
spindles
(2),
turn
them
60°
and
release
them.
The
reels
are
now
clamped
in
position
on
the
turntables.
©
Unwind
approx.
60cm
of
tape,
hold
it
taut
and
feed
the
tape
around
the
tape
tension
comparators
(4),
the
guide
rollers
and
through
the
tape
slot
(6).
@
Keeping
the
tape
taut,
insert
the
leading
end
between
the
flanges
of
the
empty
reel
until
the
tape
touches
the
hub
(Fig.
6).
©
Press
the
tape
end
onto
the
reel
hub
with
your
fingers
through
the
openings
in
the
reel
and
turn
the
reel
anti-clock-_
wise
until
the
right-hand
reel
grips
the
tape.
©
Press
the
start
key
“RIGHT
>”
(19)
and
keep
it
depressed
until
the
coloured
leader
tape
and
the
metal
switching
foil
have
passed
the
tape
slot
(see
“AUTOMATIC
STOP”
1.10).
Then
press
the
stop
key
(21)
and
set
the
programme
indi-
cator
(3)
to
“0000”
by
pressing
the
zero
reset
button.
On
the
take-up
reel
the
glossy
side
should
face
up
and
the
dull
side
should
face
down.
Note:
It
goes
without
saying
that
the
tape
may
also
be
threaded
from
right
to
left.
However,
for
clarity,
we
have
described
one
direction
only.
1.7.
FUNCTION
SELECTOR
(12)
With
function
selector
(12)
the
recorder
can
be
set
to
four
different
functions:
“MP”
(red)
for
multiplay
recordings;
“NOR”
for
(normal)
use
of
the
recording
section
(including
the
tape
transport)
plus
the
amplifier
section;
ECHO
(red)
for
echo
or
reverberation
recordings
(only
possible
during
recording);
“AMP”
(red)
(amplifier)
when
using
the
amplifier
section
only.
In
this
position
the
tape-transport
section
is
completely
switched
off;
the
keys
for
tape
transport
(16
...
22)
are
61

inoperative.
During
normal
tape
transport
or
fast
winding,
the
function
selector
may
be
set
to
position
“AMP”
without
any
risk
of
damaging
the
recorder:
the
effect
is
the
same
as
when
the
stop
button
(21)
is
depressed.
1.8.
SPEED
SELECTOR
(13)
The
desired
tape
speed
can
be
set
with
the
speed
selector
(13):
19,
9.5
or
4.75
cm/sec.
The
lowest
speed
gives
the
longest
playing
time
and
the
highest
speed
the
best
sound
quality.
1.9.
TRACK
SELECTOR
(11)
The
right
head-system
operates
when
the
tape
runs
to
the
right
and
covers
tracks
1
and/or
3.
The
left
head-system
is
operative
when
the
tape
runs
to
the
left
and
covers
tracks
2
and/or
4.
“1-4”
(mono)
When
the
tape
runs
to
the
right,
track
1
is
to
be
used
and
when
it
runs
to
the
left
track
4.
Recording
level
indicator
(7)
“LEFT”
is
illuminated.
“ST”
(stereo)
When
the
tape
runs
to
the
right
tracks
1
(left
channel)
and
3
(right
channel)
are
used.
When
the
tape
runs
to
the
left,
you
use
tracks
4
(left
channel)
and
2
(right
channel).
Both
recording
level
indicators
(7)
‘““LEFT”
(left
channel).
and
(8)
“RIGHT”
(right
channel)
are
illuminated.
“3.2”
(mono)
When
the
tape
runs
to
the
right,
you
use
track
3
and
when
it
runs
to
the
left
track
2.
Recording
level
indicator
“RIGHF”
(8)
is
illuminated.
1.10.
AUTOMATIC
STOP
At
each
end
of
the
tape
a
piece
of
metal
switching
foil
has
been
inserted
between
the
coloured
leader
tape
and
the
mag-
netic
tape.
This
switching
foil
can
perform
a
switching
function
when
passing
certain
contacts
in
the
tape
slot.
The
switching
function
is
determined
by
the
position
of
the
normal/reverse
switch
(14)
(1.11.).
1.11.
NORMAL/REVERSE
SWITCH
(14)
With
the
normal/reverse
switch
(14),
the
switching
function
of
the
strips
of
switching
foil
at
each
tape
end
can
be
selected.
“NOR”:
the
tape
stops
automatically
both
when
the
tape
runs
to
the
left
and
to
the
right;
“REV”:
(red)
at
the
end
of
the
tape
transport
to
the
right
the
recorder
automatically
changes
over
to
tape
transport
to
the
left.
At
the
end
of
the
tape
transport
to
the
left
the
tape
stops
automatically.
Notes:
1.
Both
functions
can
be
used
during
recording
as
well
as
play
back.
2.
The
reverse
function
is
performed
only
at
the
end
of
tape
transport
to
the
right.
If
continuous
reversal
is
desired,
please
consult
your
dealer.
1.12.
PROGRAMME
INDICATOR
WITH
PRE-SELECTOR
“AUTOSTOP”
(3)
Make
it
a
habit
to
reset
the
programme
indicator
to
“0000”
immediately
after
threading
the
tape,
by
pushing
the
zero-reset
button.
The
programme
indicator
does
not
give
an
indication
as
to
the
length
or
playing
time
of
the
tape:
it
merely
counts
the
number
of
revolutions
of
the
left-hand
turntable.
Make
a
note
of
the
position
of
the
programme
indicator
at
the
beginning
of
each
recording
on
the
index
label
of
the
tape
62
storage
box.
If
you
wish
to
rapidly
locate
a
certain
recording,
set
the
previously
noted
programme
indicator
reading
with
the
knurled
rings
of
the
“AUTOSTOP”
pre-selector.
To
switch
on
the
pre-selector,
press
the
switch
at
the
left.
The
tape
will
then
stop
automatically
on
reaching
the
preset
position
during
playback
or
fast
winding.
Notes:
1.
To
prevent
erroneous
interruptions
during
recording,
the
pre-selector
is
inoperative
during
recording.
2.
During
fast
winding
with
large
reels,
it
should
be
taken
into
account
that
a
large
reel
has
a
greater
inertia
and
cannot
be
braked
abruptly.
Therefore,
when
using
the
pre-selector
during
fast
winding,
the
tape
will
overshoot
the
preset
position.
To
overcome
this
problem,
it
is
advised
to
advance
the
pre-
selector
slightly
(approx.
15
units)
compared
with
the
noted
programme
indicator
reading.
This
method
may
also
be
adopted
to
stop
the
tape
exactly
at
the
beginning
or
end
of
the
tape.
1.13.
TIP-TOUCH
KEYS
(16
...
22)
“RIGHT
>”
(19)
=
start
key
for
starting
tape
transport
to
the
right,
both
for
playback
and
recording
(in
combination
with
record
key
“REC”
(17)
).
Tape
transport
is
stopped
by
pressing
the
stop
key
“STOP”
(21)
or
by
selecting
another
tape
transport
function.
During
recording
the
recording
function
is
not
switched
off
by
pressing
the
key
“
<]
LEFT”
(16).
“©
LEFT”
(16)
=
start
key
for
tape
transport
to
the
left
during
playback
and
recording
(in
combination
with
record
key
(17).
Tape
transport
is
stopped
by
pressing
the
stop
key
“STOP”
(21),
or
by
selecting
another
tape
transport
function.
During
recording
the
recording
function
is
not
switched
off
by
pressing
the
key
“RIGHT
>
”
(19).
“WIND
pp
”
(22)
=
key
for
fast
winding
to
the
right.
Fast
winding
is
stopped
by
pressing
the
stop
key
“STOP”
(21)
or
by
selecting
another
tape
transport
function.
*
<<]
WIND”
(20)
=
key
for
fast
winding
to
the
left.
Fast
winding
is
discontinued
by
pressing
the
stop
key
“STOP”
(21)
or
by
selecting
another
tape
transport
function.
“PAUSE”
(18)
=
pause
key
for
short
interruptions
during
recording
or
playback.
To
continue,
just
press
the
appropri-
ate
start
key.
The
recording
function,
if
selected,
then
re-
mains
switched
on.
The
pause
key
is
inoperative
during
fast
winding.
“REC”
(17)
=
record
key.
The
record
key
should
always
be
pressed
simultaneously
with
another
key:
a.
simultaneously
with
the
pause
key
(18)
to
prepare
for
recording;
to
start
the
recording
you
can
then
press
the
appropriate
start
key
(16
or
19),
without
disabling
the
recording
function.
b.
simultaneously
with
one
of
the
start
keys
for
tape
transport
(19
“RIGHT
>”
or
16
“<LEFT”).
If
during
recording
in
position
recording/pause
the
other,
not
illuminated
start
key
for
tape
transport
is
pressed,
the
recording
function
is
not
switched
off
and
recording
is
continued
in
the
other
direction.
The
recording
function
is
switched
off
by
pressing
the
stop
key
(21)
or
one
of
the
fast
wind
keys
(20
or
22).
“STOP”
(21)
=
stop
key
for
switching
off
all
tape
transport
functions.
The
stop
key
is
not
illuminated
after
it
is
pressed.
Note:
The
tip-touch
keys
are
inoperative
when
the
function
selector
(12)
is
set
to
“AMP”.

1.14,
CUEING
BUTTONS
(5)
If
you
depress
the
cueing
button
(5)
which
corresponds
to
the
direction
of
the
recording,
the
tape
is
positioned
against
the
playback
head
and
the
recording
becomes
audible.
This
permits
you
to
stop
the
tape
at
the
correct
point.
With
button
““<]
CUEING”
the
tape
is
pressed
against
the
left
head
system
for
tracks
1
and/or
3.
However,
cueing
is
possible
only
when
the
relevant
head
system
is
operative:
for
““<(CUEING”
the
corresponding
start
key
for
tape
transport
to
the
left
(16)
“<1
LEFT”
should
be
illuminated
(dimly);
for
“CUEING
>”
the
corresponding
start
key
for
tape
transport
to
the
right
(19)
“RIGHT
>”
should
be
lit
(dimly).
When
the
wrong
start
key
for
tape
transport
is
illuminated,
briefly
press
the
correct
key,
allow
the
tape
to
start
and
immediately
after
this
press
the
stop
key
(21).
The
speed
control
(15)
for
fast
winding
can
also
be
used
during
cueing;
this
will
make
it
easier
for
you
to
recognise
the
sounds.
When
using
the
cueing
buttons
while
the
tape
is
manually
turned,
also
press
the
pause
key
(18):
the
sound
is
then
better
audible.
1.15.
SPEED
CONTROL
FOR
FAST
WINDING
(15)
With
speed
control
(15)
you
can
adjust
the
winding
speed
during
fast
winding.
Slide
the
speed
control
from
“FAST”
to
“MED”
(medium)
or
“SLOW”
if
you
want
to
reduce
the
winding
speed.
The
speed
control
springs
back
to
position
“FAST”
when
released.
This
control
can
be
used
in
com-
bination
with,
for
example,
the
cueing
buttons
(5)
or
the
pre-selector
““AUTOSTOP”
(3).
Note:
This
speed
control
should
not
be
used
during
fast
winding
with
reels
of
different
diameter.
This
may
give
rise
to
looping,
thus
damaging
the
tape.
1.16.
TIMER
(39)
With
the
timer
(39)
you
can
start
and
stop
the
playback
and
recording
functions
at
preset
times.
The
time
can
be
set
with
the
knurled
rings:
first
set
the
hours
(left)
and
then
the
minutes
(right).
The
rings
for
setting
the
minutes
for
the
start
and
stop
function
are
blocked
in
position
58.
This
means
that
they
cannot
be
turned
from
the
58th
minute
to
the
60th
minute.
The
timer
is
started
when
the
recorder
is
switched
on
with
the
mains
switch
(41).
The
switching
function
of
the
timer
is
switched
on
by
pressing
switch
(40):
the
timer
is
then
illuminated.
The
switching
function
is
made
inoperative
by
pressing
switch
(40)
again:
the
timer
light
then
extinguishes.
“TIME”:
this
section
is
the
electrical
clock
on
which
the
correct
time
can
be
set.
The
clock
is
started
when
the
re-
corder
is
switched
on.
“START”:
here,
the
starting
time
of
recording
or
playback
can
be
set.
Switch
(40)
should
be
depressed
and
the
recorder
should
be
set
to
recording
or
playback.
With
the
pause
key
(18)
the
recorder
should
be
set
to
the
pause
position,
and
the
key
for
the
direction
of
tape
transport
(16
or
19)
and,
if
applicable,
the
record
key
(17)
should
also
be
illuminated.
The
tape
recorder
and
e.g.
the
tuner
from
which
the
re-
cording
is
to
be
made
should remain
switched
on.
“STOP”:
here,
the
time
can
be
set
at
which
recording
or
playback
should
stop.
The
recorder
remains
switched
on.
Note:
The
max.
deviation
when
starting
and
stopping
the
tape
with
the
timer
is
+
or
—2
mins.
Allowance
should
be
made
for
this
when
setting
the
start
and
stop
time.
2.
CONNECTION
SOCKETS
The
recorder
is
provided
with
two
connection
panels.
Under
the
roller
shutter
(23)
at
the
front
of
the
recorder
four
connection
sockets
are
located
which,
as
a
rule,
will
only
be
used
temporarily:
two
microphone
sockets
(24
and
25),
a
headphone
socket
(27)
and
an
additional
socket
for
con-
nection
of
a
tape
recorder
(26).
In
the
storage
compartment
at
the
rear
of
the
recorder
the
connection
sockets
are
located
which
will
usually
remain
connected,
e.g.
socket
for
tuner
(51)
or
loudspeaker
en-
closures
(44
and
45).
The
various
connection
sockets
may
be
divided
into
inputs,
outputs
and
combined
inputs
and
out-
puts.
The
inputs
can
only
be
used
for
recording
purposes
or
for
amplification:
the
sockets
for
microphones
(24
and
25),
tuner
(51),
record
player
(47)
and
auxiliary
equipment
(“AUX”,
48).
The
outputs
can
be
used
for
sound
reproduction
only:
sockets
for
monitor
amplifier
(46),
headphones
(26)
and
loudspeaker
enclosures
(44
and
45).
The
combined
inputs/outputs
can
be
used
for
recording
and
amplification
or
for
playing
back:
tape-recorder
sockets
(26
and
50).
All
sound
sources
may
remain
connected
simultaneously.
2.1.
INPUT
SELECTOR
(9)
With
the
input
selector
(9)
you
can
select
the
input
that
you
wish
to
use
for
recording
or
reproducing
via
the
amplifier
section.
When
playing
back
a
tape
with
the
recorder
section,
the
position
of
the
input
selector
does
not
matter.
The
following
positions
can
be
selected:
“TUN”:
input
for
tuner
(51)
“TAPE”:
one
of
the
two
“TAPE”
inputs
(26
or
50)
(re-
cording
and
playback).
That
input
is
used
to
which
a
switched-on
apparatus
is
connected.
If
the
signal
to
be
recorded
appears
to
be
too
weak,
remove
the
plug
from
the
other
“TAPE”
socket.
“AUX”:
auxiliary
input
(48)
“PHONE”:
record
player
input
(47).
Independently
of
the
position
of
the
input
selector
you
can
make
microphone
recordings
if
a
microphone
is
connected.
However,
if
you
do
not
wish
to
make
mixed
recordings,
check
that
the
other
equipment
connected
to
the
recorder
is
switched
off
or
that
the
recording
level
control
(30)
is
set
to
0”,
2.2.
CONNECTION
Connection
socket
for
a
stereo
or
mono
microphone
“MICRO
ST L”
(24)
(under
shutter
23)
for
connection
of:
a.
a
stereo
microphone
for
stereo
recordings
“MICRO
ST”.
In
this
case
no
microphone
may
be
connected
to
socket
(25).
Adjust
the
recording
level
with
the
two
microphone
recor-
ding
level
controls
(28
and
29);
b.
a
mono
microphone
for
the
left
channel
in
the
case
of
stereo
recordings
“MICRO
L”;
c.
a
mono
microphone
for
mono
recordings.
When
using
a
mono
microphone,
adjust
the
recording
level
with
the
microphone
recording
level
control
(28).
Connection
socket
for
a
mono
microphone
“MICRO
R”
(25)
(under
shutter
23),
for
connecting:
a.
amono
microphone
for
the
right-hand
channel
in
the
case
of
stereo
recordings
“MICRO
R”;
63

b.
amono
microphone
for
mono
recordings.
In
both
cases
adjust
the
recording
level
with
control
(29).
Notes:
1.
Telephone
coil
N
6708
is
connected
in
the
same
way
asa
mono
microphone.
2.
The
microphone
leads
can
be
extended
by
means
of
connection/extension
lead
4822
321
20211.
When
the
equipment
to
be
connected
is
not
provided
with
a
connecting
lead
with
plug,
use
stereo
connection
lead
EL
3768/14.
For
connection
to
equipment
not
fitted
with
DIN
con-
nections,
adapter
leads
and
plugs
are
available.
Connection
sockets
for
tape
recorders
(26
and
50)
(input/
output)
“TAPE”
(26)
under
shutter
23),
intended
as
temporary
connection
facility.
“TAPE
IN/OUT”
(50)
(in
storage
compartment),
intended
as
permanent
connection
facility.
Both
connection
sockets
are
fully
identical
and
can
be
used
as
input
or
output.
Both
sockets
serve
in
the
first
place
as
connections
for
a
tape
recorder
(open-reel
or
cassette
recor-
der).
However,
they
may
also
be
used
for
connecting
any
other
apparatus
provided
with
a
so-called
“diode”
or
tape
recorder-connection.
Note:
The
output
signal
is
only
available
on
both
“TAPE”
sockets
when
the
N
4450
is
set
to
playback
of
a
tape
pro-
gramme
with
input
selector
(9)
in
position
“TAPE”.
However,
if
during
recording
the
signal
at
the
same
time
is
to
be
recorded
on
another
recorder
or
is
to
be
applied
to
an
external
amplifier,
connect
the
relevant
apparatus
to
the
“MONITOR”
socket
(46).
Socket
for
record
player
“PHONO”
(47)
(input)
For
connection
of
a
record
player.
This
input
is,
via
selector
switch
(49),
adaptable
for
any
record
player,
no
matter
the
type
of
pick-up
cartridge
used.
Selector
(49)
for
“PHONO”
socket
(47)
This
selector
serves
to
adapt
the
“PHONO”
input
(47)
to
record
players
with
different
types
of
cartridge:
“DYN”:
in
this
position
the
“PHONO”
socket
(47)
is
suited
for
record
players
with
a
Hi-Fi
pick-up
cartridge
(dy-
namic
or
ceramic)
without
built-in
preamplifier.
“CRYST”:
in
this
position
the
“PHONO”
socket
(47)
is
suitable
for:
a.
record
players
with
a
crystal
or
(normal)
ceramic
pick-up
cartridge;
b.
record
players
with
built-in
preamplifier
for
Hi-Fi
pick-up
cartridge
(dynamic
or
ceramic).
Record
players
mentioned
under
a.
and
b.
may
also
be
con-
nected
to
the
“AUX”
socket
(48).
Switch
(49)
only
operates
the
“PHONO”
socket
(47).
Note:
Record
players
with
built-in
output
amplifier
provided
with
a
tape
recorder
connection
must
be
connected
to
the
”
AUX”
socket
(48)
or
one
of
the
“TAPE”
sockets
(26
or
50).
Connection
socket
for
tuner
“TUNER”
(51)
(input)
For
connection
of
a
tuner.
Normal
radios
and
tuner/am-
plifier
combinations
must
be
connected
to
one
of
the
“TAPE”
sockets
(26
or
50)
(input/output)
or
the
“AUX”
input
(48).
64
Auxiliary
socket
“AUX”
(48)
(input)
For
connection
of
other
than
the
usual
input
sources,
e.g.
an
electronic
organ
or
an
electric
guitar.
However,
first
check
that
the
output
voltage
of
the
apparatus
to
be
connected
and
the
input
sensitivity
of
the
“AUX”
input
correspond.
The
input
may
also
be
used
to
connect
a
normal
radio
set,
a
tuner-amplifier
combination
(receiver)
etc.
Record
players
that
may
be
connected
to
the
“PHONO”
socket
(47)
in
position
“CRYST”
of
switch
(49),
may
also
be
connected
to
the
“AUX”
input
socket.
Switch
(49)
operates
the
“PHONO”
input
(47)
only.
Connection
socket
for
monitor
amplifier
“MONITOR”
(46)
(output)
For
connection
of
a
monitor
amplifier.
The
socket
always
supplies
a
signal,
both
during
playback,
recording
and
when
using
the
amplifier
section.
This
allows
it
to
be
used
for
connecting
another
tape
recorder
(duplicating)
or
an
external
(monitor)
amplifier.
(During
recording
and
when
using
the
amplifier
section
the
“TAPE”
outputs
(26
and
50)
are
blocked.)
Connection
sockets
for
loudspeaker
enclosures
““LOUDSP
R”
(44)
and
“LOUDSP
L”
(45)
These
sockets
serve
for
connecting
the
loudspeaker
enclosures
for
the
right
channel
(socket
44)
and
for
the
left
channel
(socket
45).
The
enclosures
should
have
an
impedance
between
4
and
8
ohms.
Connection
socket
for
stereo
headphones
““HEADPH”
(27)
This
socket
has
two
connection
possibilities:
a.
with
the
protrusion
on
the
plug
opposite
the
white
dot
at
bottom
left:
the
loudspeaker
enclosures
are
new
muted;
b.
with
the
protrusion
on
the
plug
tumed
half
a
turn
(180°)
further
than
under
a.:
the
loudspeaker
enclosures
remain
switched
on.
Socket
for
remote
control
“REMOTE”
(43)
For
connection
of
remote
control
unit
N
6719
(optional
extra).
Switch
off
the
recorder
with
the
mains
switch
(41),
when
connecting
the
remote
control
unit.
The
recorder
may
otherwise
be
switched
to
an
undesired
function.
3.
RECORDING
3.1.
USING
MICROPHONES
Stereo
recordings
can
be
made
with
two
mono
microphones
or
with
one
stereo
microphone,
which
in
fact
also
consists
of
two
separate
mono
microphones
(microphone
sections).
—
Mono
recordings
can
be
made
with
one
mono
microphone
(or
with
two
mono
microphones
when
using
connection/
extension
lead
4822
321
20211).
Do
not
place
the
microphone(s)
too
close
to
the
recorder,
preferably
not
on
the
same
table,
to
prevent
unwanted
noise
produced
by
the
recorder
being
picked
up
by
the
microphone(s).
In
the
case
of
stereo
recordings,
the
microphone(s)
should
be
placed
so
that
the
microphone
(or
microphone
section)
for
the
left
channel
must
be
directed
towards
the
left
of
the
sound
source(s)
to
be
recorded
and
that
for
the
right-hand
channel
towards
the
right.
Both
for
mono
and
stereo
‘recordings
of
music,
singing
etc.
the
most
suitable
distance
between
microphone(s)
and
sound

source(s)
can
be
determined
by
making
test
recordings.
The
best
distance
between
mouth
and
microphone
when
re-
cording
speech
is
approx.
30cm.
The
stereo
effect
becomes
more
marked
as
the
left
and
right
portions
of
the
sound
source
are
placed
further
apart
or
the
microphones
are
placed
closer
to
the
relevant
part
of
the
sound
source.
The
acoustics
of
the
room
where
the
recording
is
made
also
determines
the
quality
of
the
recording.
For
example,
if
you
record
speech
in
a
space
with
large
re-
flecting
surfaces,
such
as
big
windows
and
bare
walls,
this
results
in
annoying
reverberation
in
the
recording.
This
may
be
prevented
by
speaking
closer
to
the
microphone
or
by
drawing
the
curtains
or
covering
the
walls.
However,
when
recording
music
(instrumental
or
vocal),
reverberation
is
necessary
to
make
the
recording
sound
natural.
In
this
case
there
is
of
course
no
need
to
draw
the
curtains.
This
recorder
also
has
a
facility
to
add
echo
or
reverberation
to
a
recording.
Furthermore,
it
is
possible
to
mix
recordings
from
a
microphone
and
e.g.
a
record
player.
3.2.
RECORDING
LEVEL
The
quality
of
a
recording
is
determined
by
the
intensity
with
which
the
sound
is
recorded
on
the
tape:
the
so-called
recording
level.
Also
when
using
the
amplifier
section
(function
selector
12
in
position
“AMP”)
the
reproduction
quality
depends
on
the
setting
of
the
recording
level.
@
The
recording
level
is
adjusted
with
the
recording
level
controls
(28
..
.
31)
and
can
be
checked
with
recording
level
indicators
(7)
and/or
(8).
Depending
on
the
setting
of
the
track
selector
(11),
either
one
(mono)
or
two
(stereo)
re-
cording
level
indicators
are
operative.
The
scale
of
each
indicator
is
graduated
in
per
cent
and
decibels
—dB—
(a
unit
of
volume).
@
The
recording
level
is
correct
when
the
pointers
of
the
recording
level
indicators
deflect
to
100%
at
the
loudest
passages
of
the
recording
(Fig.
8).
If
the
recording
level
is
set
too
low,
too
much
“noise”
will
be
audible
during
playback;
if
the
recording
level
is
too
high,
distortion
will
result.
@
Bear
in
mind
that
the
recording
level
should
also
be
set
when
using
the
amplifier
section.
3.3.
SELECTOR
FOR
BEFORE/AFTER
TAPE
MONITORING
(10)
“A’’
(red):
this
is
the
position
for
after-tape
monitoring.
During
recording,
while
the
tape
is
running,
the
signal
which
has
just
been
recorded
on
the
tape
is
reproduced
via
the
playback
head.
Thus,
you
hear
the
sound
as
it
has
been
re-
corded
on
the
tape.
NB:
In
position
“A”
with
stationary
tape
(position
recording/pause)
the
playback
head
supplies
no
signal
so
that
you
will
not
hear
anything.
“B”:
this
is
the
position
for
before-tape
monitoring.
The
signal
is
monitored
before
it
is
recorded
on
the
tape
via
the
recording
head.
When
the
tape
is
not
running
(in
position
recording/pause),
you
can
consequently
hear
the
signal
to
be
recorded.
3.4.
MONITORING
DURING
RECORDING
To
check
the
sound
to
be
recorded,
you
can
listen
in
during
recording
via
the
loudspeaker
enclosures
or
headphones.
When
making
microphone
recordings
it
is
necessary
to
use
headphones,
in
order
to
prevent
the
sound
radiated
by
the
loudspeakers
being
picked
up
by
the
microphone(s)
(“acoustic
feedback’’).
When
monitoring
via
the
headphones
as
well
as
the
loud-
speaker
enclosures,
you
may
choose
between
before
and
after-tape
monitoring
(Chapt.
3.3.)
a.
Monitoring
via
headphones
You
can
monitor
your
recordings
in
stereo
or
mono
with
the
aid
of
the
Philips’
headphones
LBB
9902/00
or
N
6302.
®
Connect
the
headphones
in
the
desired
position
to
socket
(27)
at
the
front
of
the
recorder.
®
Set
the
before/after-tape
switch
(10)
to
the
correct
position.
©
Adjust
the
headphone
volume
with
volume
control
(32),
the
balance
with
balance
control
(33)
and
tone
with
controls
(34)
and
(35).
b.
Monitoring
via
loudspeaker
enclosures
@
Adjust
the
volume
as
required
with
volume
control
(32),
the
tone
with
the
tone
controls
(34
and
35)
and,
in
stereo
programmes,
the
relative
volume
with
the
balance
control
(33).
If
“howling”
occurs
when
using
the
microphones,
slide
down
the
volume
control
(32)
or
place
the
micro-
phones
farther
from
the
recorder.
@
Set
switch
10
to
“B”
or
“A”
for
before
or
after
tape
monitoring.
3.5.
RECORDING
Introduction
@
During
recording
any
previous
recording
on
the
same
part
of
the
tape
is
automatically
erased.
©
The
setting
of
the
volume
and
tone
controls
of
a
radio
etc.
with
recorder
connection
does
not
affect
the
recording.
@
When
making
microphone
recordings
switch
off
the
other
sound
sources
or
set
recording
level
control
(30)
to
“0”
if
you
do
not
want
a
mixed
recording.
:
@
When
not
monitoring
during
microphone
recordings,
set
volume
control
(32)
to
“‘0”,
or
if
monitoring
is
desired,
use
headphones
in
order
to
avoid
‘“‘acoustic
feedback”.
©
The
recording
level
may
be
set
before
recording
is
started;
if
this
is
not
possiblé,
this
may
also
be
done
during
re-
cording.
Recording
@
For
microphone
recordings
connect
the
microphone(s)
and
check
that
recording
level
control
(30)
is
set
to
“O”.
The
setting
of
the
input
selector
(9)
does
not
matter.
©
For
other
recordings,
make
sure
that
the
relevant
audio
source
is
connected
and
that
the
input
selector
(9)
is
in
the
correct
position.
©
Set
the
normal/reverse
switch
(14)
to
the
desired
position.
®
Check
that
function
selector
(12)
is
in
position
“NOR”.
©
Set
the
before/after
tape
switch
(10)
to
position
“B”.
@
Set
the
speed
selector
(13)
to
the
desired
position.
@
Set
the
track
selector
(11)
to
position
‘‘ST”’
for
stereo
recordings
and
to
position
1-4
or
3-2
for
mono
recordings.
©
Note
the
reading
of
programme
indicator
(3)
or
set
the
programme
indicator
to
“0000”
by
pressing
the
zero-reset
button.
®
Set the
recorder
to
position
recording/pause
by
simul-
taneously
pressing
the
record
key
(17)
and
the
pause
key
(18).
@
Speak
or
sing
into
the
microphones
or
switch
on
the
audio
source.
Adjust
the
recording
level
by
sliding
up
the
appropriate
recording
level
control(s)
until
the
pointer(s)
of
the
recording
level
indicator(s)
(7)
and/or
(8)
deflect
to
100
%.
65

e
If
you
wish
to
listen
in
during
recording,
you
may
now
adjust
volume,
balance
and
tone
with
controls
32...
35.
@
To
start
the
recording,
press
the
appropriate
start
key
for
tape
transport
(16
or
19).
Occasionally
check
the
re-
cording
level
and,
if
necessary,
readjust
it
gradually.
@
As
long
as
the
tape
is
running,
you
may
choose
between
before
and
after-tape
monitoring
(switch
10).
©
For
brief
interruptions
press
the
pause
key
(18).
Monitoring
is
now
possible
only
in
position
“B”
of
the
before/after-tape
monitoring
switch
(10).
©
To
stop
recording,
press
the
stop
key
(21).
If
desired,
you
may
also
press
one
of
the
fast
wind
keys
(20
or
22).
Note:
If
during
recording
(with
running
tape)
the
other
start
key
for
tape
transport
is
pressed,
the
recording
function
is
not
switched
off.
The
recorder
then
continues
recording
in
the
other
direction.
3.6.
ERASING
WITHOUT
RECORDING
During
recording
any
previous
recording
on
the
same
part
of
the
tape
is
automatically
erased.
A
recording
may
also
be
erased
without
recording
over
it:
©
Set
speed
selector
(13)
to
“19”
(to
speed
up
erasing).
©
Set
track
selector
(11)
to
“ST”,
“1-4”
or
“3-2”,
depending
on
the
tracks
to
be
erased.
(In
position
“ST”
two
tracks,
1
and
3
or
4
and
2
are
erased
at
the
same
time;
in
position
“1-4”
or
“3-2”
one
track
is
erased
at
a
time).
©
Set
all
recording
level
controls
(28...
31)
to
“0”.
@
Press
one
of
the
start
keys
for
tape
transport
(16
or
19)
together
with
the
record
key
(17).
©
To
stop,
press
stop
key
(21).
4.
PLAYING
BACK
AND
USING
THE
AMPLIFIER
SECTION
4.1.
THE
AMPLIFIER
The
built-in
Hi-Fi
stereo
amplifier
meets
Hi-Fi
standard
DIN
45
500
and
supplies
2
x
20
W
of
continuous
power
(2x
30
W
music
power).
The
volume
is
adjusted
with
control
(32)
““VOLUME”.
The
balance
between
left
and
right
channel
during
stereo
reproduction
is
adjusted
with
control
(33)
“BALANCE”.
The
bass
tones
are
adjusted
with
control
(34)
“BASS”.
Treble
can
be
adjusted
with
control
(35)
“TREBLE”.
At
low
volume
(volume
control
32)
you
may
depress
the
contour
switch
(39)
“PHYS”
(physiology):
the
low
and
high
notes
are
then
additionally
boosted.
This
is
because
at
low
sound
level
the
human
ear
is
less
sensitive
to
the
treble
and
bass
tones.
When
using
a
record
player
the
noise
filter
(36)
“SCRATCH”
or
the
rumble
filter
(37)
“RUMBLE”
may
be
switched
in
by
pressing
the
relevant
switches.
“Scratch”
is
disturbing
noise
in
the
treble
range,
occurring
when
playing
an
old
and
wom
record.
“Rumble”
is
a
dis-
turbing
sound
in
the
bass
range
caused
by
mechanical
vibrations
of
the
record
player
or
vibrations
from
outside.
You
can
listen
to
the
amplifier
via
two
loudspeaker
enclosures
and/or
via
stereo
headphones;
volume
etc.
can
be
adjusted
with
the
same
controls
in
both
cases.
a.
Via
two
loudspeaker
enclosures
(4-8
ohm)
Connect
the
enclosures
to
sockets
(44)
and
(45).
The
loud-
speaker
enclosure
connected
to
socket
(45)
reproduces
the
left-hand
channel
of
a
stereo
recording
and
that
connected
to
socket
(44)
the
right-hand
channel.
66
Place
the
loudspeaker
enclosure
for
the
left
channel
to
your
left
and
that
for
the
right
channel
to-your
right.
In
general,
the
best
listening
position
is
in
the
middle
in
front
of
the
loudspeaker
enclosures,
so
that
the
distance
from
the
listener
to
each
enclosure
equals
the
distance
between
the
enclosures.
However,
it
may
be
necessary
to
do
some
experi-
menting
to
find
the
best
enclosure
arrangement
as
the
sound
reproduction
may
be
influenced
by
the
acoustic
properties
of
the
room.
By
sliding
the
balance
control
(33)
up
or
down
from
position
“Q”,
the
reproduced
sound
of
a
stereo
recording
can
be
made
to
resemble
the
original
sound
impression
as
closely
as
possible.
In
the
case
of
a
mono
recording,
the
sound
is
repro-
duced
at
the
same
volume
by
both
loudspeaker
enclosures
in
position
“0”
of
the
balance
control.
If
desired
one
of
the
loudspeaker
enclosures
may
then
be
muted
completely
by
sliding
the
balance
control
completely
upwards
or
downwards,
depending
on
the
loudspeaker
enclosure
to
be
switched
off.
b.
Via
stereo
headphones
The
headphones
should
be
connected
in
the
desired
position
to
socket
(27)
under
the
shutter
(23)
at
the
front
of
the
recorder.
c.
Via
a
monitor
amplifier
An
additional
amplifier
can
be
connected
to
socket
“MONITOR”
(46).
Volume
etc.
can
then
be
adjusted
on
the
external
amplifier.
The
volume
controls
etc.
of
N
4450
do
not
affect
the
output
signal
on
the
“MONITOR”
socket
(46).
4.2.
PLAYING
BACK
A
TAPE
PROGRAMME
©
Check
that
the
function
selector
(12)
is
in
position
“NOR”.
©
During
playback
the
position
of
the
before/after
tape
switch
(10)
is
not
important.
©
Set
the
speed
selector
(13)
to
the
speed
at
which
the
recording
has
been
made.
©
Set
the
track
selector
(11)
to
the
position
in
which
the
recording
has
been
made.
©
Set
the
normal/reverse
switch
(14)
to
the
desired
position.
©
Start
playback
by
pressing
the
appropriate
start
key
for
tape
transport
(16)
or
(19).
e
Adjust
the
volume
etc.
with
the
relevant
controls
(see
Chapter’4.1.).
e
To
stop
playing
back,
press
stop
key
(21).
e
Ifyou
wish
to
proceed
at
once
to
fast
winding,
tape
transport
in
the
opposite
direction
or
recording,
you
may
simply
press
the
relevant
keys,
without
having
to
press
the
stop
key
(21)
first.
4.3.
USING
N
4450
AS
AN
AMPLIFIER
When
the
function
selector
(12)
is
in
position
“AMP”,
only
the
amplifier
section
of
the
recorder
is
operative.
The
three
motors
of
the
tape
deck
are
then
switched
off
and
the
keys
for
the
tape
transport
functions
(16...
22)
are
inoperative.
If
during
tape
transport
you
wish
to
change
over
to
the
amplifier
section,
the
function
selector
(12)
may
be
simply
set
from
“NOR”
to
“AMP”
while
the
tape
is
running.
The
effect
is
the
same
as
when
pressing
the
stop
key
(21).
The
amplifier
section
can
form
the
centre
of
your
stereo
installation,
i.e.
it
may
be
used
in
combination
with
e.g.
a
record
player
or
tuner,
without
the
need
to
make
a
recording.
©
Check
that
the
relevant
signal
source
is
connected
to
the
correct
socket.

@
Set
the
track
selector
(11)
to
position
“ST”
(stereo).
@
Set
the
input
selector
(9)
to
the
correct
position.
@
Make
sure
that
the
function
selector
(12)
has
been
set
to
““AMP”’.
@
Adjust
the
recording
level
with
recording
level
control
(30)
and
check
this
with
recording
level
indicators
(7)
and/or
(8).
@
Adjust
the
volume
etc.
with
the
appropriate
controls
(also
see
Chapter
4.1.).
@
To
stop
reproduction,
switch
off
N
4450
with
the
mains
switch
(41);
do
not
forget
to
switch
off
the
external
equip-
ment
(e.g.
tuner)
as
well.
®
If
you
wish
to
make
a
recording
(e.g.
from
tuner)
while
using
the
amplifier
section,
set
the
function
selector
(12)
to
“NOR”
and
press
the
record
key
(17)
simultaneously
with
the
appropriate
start
key
for
tape
transport
(16
or
19).
5.
SPECIAL
FACILITIES
5.1.
MIXING
SOUNDS
This
recorder
permits
of
simultaneously
making
a
recording
from
e.g.
a
record
player
and
microphone.
Thus,
you
may
for
example
record
gramophone
records
and
anounce
them
yourself
via
the
microphone.
You
can
adjust
the
mixing
ratio
yourself.
In
the
case
of
mixed
recordings,
the
illumi-
nated
recording
level
indicator(s)
indicate(s)
the
sum
of
the
recording
levels.
The
mixing
ratio
can
be
checked
by
monitoring
during
recording.
Preferably
use
headphones
for
this,
in
order
to
avoid
“acoustic
feedback”.
5.2.
MULTIPLAY
Note:
When
repeatedly
copying
a
recording,
the
quality
of
sound
will
deteriorate
(so-called
transfer
loss).
To
minimise
this
loss
of
quality
it is
advisable
to
use
the
highest
tape
speed
and
to
record
the
main
part
(e.g.
mehody)
at
the
end.
The
recording
level
of
the
new
recording
is
adjusted
with
one
of
the
recording
level
controls
(28,
29
or
30).
The
recording
level
of
the
recording
to
be
duplicated
should
be
adjusted
with
the
multiplay
recording
level
control
(31).
For
monitoring
in
the
case
of
multiplay
recordings
with
a
microphone,
preferably
use
headphones
to
avoid
acoustic
feedback.
Adjust
the
volume
etc.
for
the
headphones
with
controls
32...
35.
To.
make
a
three-part
recording
with
e.g.
a
microphone
and
the
tape
running
to
the
right,
proceed
as
follows.
First
run:
Recording
the
first
part
on
track
1.
@
Connect
the
headphones
to
socket
(27)
and
the
micro-
phone
to
socket
(24)
or
(25).
@
Set
the
before/after-tape
switch
(10)
to
position
“B”.
©
Set the
function
selector
(12)
to
“NOR”.
@
Set
the
speed
selector
(13)
preferably
to
“19”
(in
view
of
transfer
loss).
®
Set
the
track
selector
(11)
to
1-4.
@
Note
the
reading
of
programme
indicator
(3)
or
set
the
programme
indicator
to
“O000”
with
the
zero-reset
button.
@
Make
the
microphone
recording
on
track
1.
@
When
monitoring
via
the
headphones
during
trons
you
hear
the
signal
in
both
earshells.
e
After
recording,
rewind
the
tape
as
far
as
the
pedianiny:
Second
run:
Transferring
the
first
part
from
track
1
to
track
3,
simultaneously
adding
the
second
part.
®@
Set
the
track
selector
(11)
to
3-2.
®
Set
the
function
selector
(12)
to
“MP”
(multiplay).
The
recording
level
of
the
new
recording
(second
part)
is
adjusted
with
one
of
the
microphone
recording
level
controls
(28)
or
(29).
The
recording
level
of
the
recording
to
be
transferred
(first
part)
is
adjusted
with
multiplay
recording
level
control
(3
1).
However,
adjust
the
recording
level
of
the
new
recording
below
normal,
as
the
multiplay
signal
also
has
to
be
added
during
recording.
It
is
obvious
that
the
multiplay
recording
level
can
be
adjusted
during
recording
only.
The
illuminated
recording
level
indicator
indicates
the
sum
of
the
two
signals.
Of
course,
this
sum
should
not
exceed
100
%.
@
Make
the
second
microphone
recording
on
track
3,
simultaneously
adding
the
first
part.
The
original
recording
on
track
1
is
not
erased,
so
that
the
second
run
may
be
repeated
if
the
result
is
not
satisfactory.
During
recording
you
hear
the
new
recording
in
the
left
earshell
of
the
head-
phones
and
the
recording
to
be
transferred
in
the
right
earshell.
©@
Rewind
the
tape
to
the
beginning
of
the
recording.
The
first
and
second
part
are
now
on
track
3.
Third
run:
Transferring
the
first
and
second
parts
from
track
3
to
track
1,
while
adding
the
third
part.
@
Set
the
track
selector
(11)
to
1-4.
©
Leave
the
function
selector
(12)
in
position
‘“MP”.
Further
proceed
as
for
the
second
run.
After
the
third
run,
the
first,
second
and
third
runs
are
on
track
1.
The
recording
of
the
second
run
on
track
3
is
not
erased
and
the
third
run
may
be
repeated
of
the
result
is
not
satisfactory.
If
desired
you
may
proceed
with
a
fourth
and
fifth
run,
but
you
should
take
into
account
the
above-stated
“‘transfer
loss”.
Playing
back
is
possible
by
leaving
the
track
selector
(11)
in
the
last
position.
If
desired,
you
can
also
erase
the
last
but
one
recording
(see
Chapter
3.6.).
5.3.
ECHO
AND
REVERBERATION
To
make
recordings
with
echo
or
reverberation,
proceed
as
follows:
@
Set
the
function
selector
(12)
to
“ECHO”’.
@
Set
the
speed
selector
(13)
to
“4.75”
or
“9.5”
for
echo
recordings
and
to
“19”
for
reverberation
recordings.
@
Further
proceed
in
the
same
way
as
for
anormal
recor-
ding.
Adjust
the
recording
level
of
the
actual
recording
to
a
lower
level,
as
the
echo
or
reverberation
has
to
be
added.
Adjust
the
echo
or
reverberation
level
with
echo
recording
level
control
(31).
The
sum
of
the
two
levels
can
be
checked
on
the
recording
level
indicator(s)
(7)
and/or
(8)
and
should
not
exceed
100%.
6.
SPLICING
JIG
After
removing
the
cover
below
the
tape
slot
(pull
forwards),
you
see
the
built-in
splicing
jig
for
editing
and
splicing
the
tape
(Fig.
9).
It
may
occur,
for
example,
that
you
wish
to
remove
a
certain
passage
from
a
recording
or
link
different
passages.
However,
take
into
account
that
if
the
other
tracks
have
also
been
used,
these
may
be
damaged
by
cutting
and
splicing.
67

For
splicing
use
special
splicing
tape.
You
can
also
use
the
Philips’
splicing
kit
SK10.
Proceed
as
follows
:
@
Pull
the
cover
below
the
tape
slot
forwards.
@
Open
the
two
black
tape
clips
(Fig.
9).
©
Insert
the
correct-part
of
the
tape
in
the
jig
and
close
the
clips.
The
side
of
the
tape
facing
the
heads
(dull
side)
should
face
downwards.
During
splicing
the
reels
need
not
be
removed
from
the
recorder.
®
Cut
the
parts
to
be
removed
by
inserting
a
non-magnetic
tape-cutter
in
the
diagonal
guide
slot
(an
oblique
splice
is
not
audible
during
playback).
@
Place
the
ends
to
be
spliced
accurately
against
each
other,
@
Apply
a
piece
of
adhesive
tape
of
approx.
2
cm
across
the
ends.
Check
that
the
adhesive
tape
does
not
overlap
the
magnetic
tape;
if
necessary,
cut
off
the
protruding
part.
Note:
Take
care
that
no
pieces
of
tape
drop
into
the
recorder
during
splicing:
this
may
disturb
the
correct
working
of
the
recorder.
7.
REMOTE
CONTROL
The
N
4450
tape
recorder
can
also
be
remote
controlled
with
the
aid
of
remote
control
unit
N
6719
(separately
available).
Connect
the
remote
control
unit
to
the
“REMOTE”
socket
(43)
with
the
recorder
switched
off,
as
otherwise
the
recorder
might
be
set
to
an
undesired
function.
8.
CONTINUOUS
TAPE
REEL
The
continuous
tape
reel
EL
1907/52
(CE
10)
can
also
be
mounted
on
the
recorder.
The
recorder
can
then
be
used
for
recording
and
playback
with
the
continuous
tape
reel
(also
in
the
vertical
position).
@
Remove
the
ornamental
screw
between
the
reel
discs
of
the
recorder.
In
the
top-left
corner
of
the
storage
compart-
ment,
a
screw
with
a
round,
black
head
is
fitted;
pull
out
this
screw.
©
Place
the
continuous
tape
reel
over
the
hole
for
the
ornamental
screw
and
fit
the
special
screw
in
this
hole
through
the
hole
in
the
reel.
The
special
screw
should
not
be
tightened
too
firmly.
©
The
endless
tape
reel
can
now
be
used
for
recording
and.
playback,
but
only
for
tape
transport
to
the
right:
tape
transport
to
the
left
will
damage
the
continuous
tape
reel
beyond
repair.
Fast
winding
is
not
possible
with
a
continous
tape
reel.
Note:
The
reel
discs
of
the
recorder
also
rotate
when
using
the
continuous
tape
reel,
but
this
is
of
no
consequence.
9.
SLIDE
SYNCHRONISER
The
recorder
may
also
be
used
in
conjunction
with
slide
syn-
chroniser
N
6400,
for
synchronising
slides
with
speech
and
music.
The
recorder
should
then
be
used
in
the
horizontal
position
and
the
slide
synchroniser
should
be
placed
to
the
left
or
right
of
the
recorder.
For
a
correct
synchronisation,
the
slide
synchroniser
should
be
in
the
same
place
during
recording
and
playback.
68
10.
MAINTENANCE
When
normally
used
your
tape
recorder
requires
no
special
attention.
However,
it
is
advisable
to
remove
occassionally
the
dust
and
dirt
collected
on
the
heads,
since
this
may
adversely
affect
the
sound
quality,
especially
the
treble
tones
and
playback
volume.
We
therefore
recommend
that
you
clean
the
heads
from
time
to
time
by
playing
back
the
Philips
cleaning
tape,
type
811/CT.
This
tape
should
be
replayed
in
the
same
way
as
a
normal
audio
tape
in
position
playback.
After
playing
the
cleaning
tape,
the
heads
will
be
clean.
This
should
be
done
after
approx.
50
hours
of
use,
or
on
the
average,
once
a
month.
However,
if
the
heads
are
very
dirty,
proceed
as
follows:
®
Check
that
the
recorder
is
disconnected
from
the
mains.
©
Remove
the
head
cover
above
the
tape
slot
and
the
cover
below
the
tape
slot
by
pulling
them
forwards.
©
Clean
with
one
of
the
cleaning
swabs
supplied
with
the
recorder:
the
tape
tension
comparators
(4),
the
guide
rollers
(A),
the
tape
guides
(C),
the
front
of
the
heads
(D,
E,
F),
the
capstans
(B)
and
both
rubber
pressure
rollers
(Fig.
10).
If
the
dirt
is
persistent,
you
may
moisten
the
cleaning
swab
with
some
alcohol
or
methylated
spirit.
Never
use
any
other
cleaning
agents
than
those
mentioned
above
and
do
not
touch
the
heads
with
sharp
or
metal
objects.
©
The
drive
mechanism
should
not
be
lubricated.
©
Allow
all
parts
to
dry
before
refitting
the
head
cover
and
connecting
the
recorder
to
the
mains.
Furthermore,
we
recommend
that
you
have
your
recorder
checked
by
your
dealer
at
regular
intervals,
for
instance
once
a
year
or
in
the
case
of
very
intensive
use
at
shorter
intervals.
Your
dealer
will
clean,
check
and,
if
necessary
readjust
the
recorder,
and
parts
that
are
subject
to
wear
will
then
be
replaced
in
due
time.
Storage
of
tapes
Put
the
tape
in
its
box
immediately
after
use.
It
is
then
protected
against
dust
and
dirt
and
can
be
easily
taken
along.
Store
the
tapes
at
room
temperature,
not
near
loudspeakers
or
transformers,
and
not
in
the
sun.

PART
Ill.
GENERAL
INFORMATION
1.
OPTIONAL
ACCESSORIES
For
this
recorder
an
extensive
range
of
accessories
are
avail-
able.
These
permit
you
to
make
full
use
of
your
recorder.
®@
Long-play,
double-play
and
triple-play
tape
on
various
sizes
of
reels.
Thus,
you
can
buy
tape
in
the
quantity
which
best
suits
your
needs.
Empty
reels
are
also
available.
®
Various
types
of
microphones.
@
Stereo
connecting
lead
EL
3768/14
for
connecting
equipment
with
DIN
sockets.
@
Hi-Fi
loudspeaker
boxes
22
RH
413,
22
RH
493,
22
RH
496,
22
RH
497
and
22
RH
499.
e
Remote
control
unit
N
6719.
e@
Splicing
kit
SK
10
which
includes:
leader
tape
in
various
colours,
switching
foil,
adhesive
tape,
splicing
jig,
cutter,
and
self-adhesive
labels.
®
Connection/extension
lead
4822
321
20211,
for
mono
and
stereo
recordings
with
two
microphones
and/or
extending
microphone
leads.
e@
Telephone
coil
N
6708,
for
recording
telephone
con-
versations
(not
available
in
Great
Britain).
@
Hi-Fi
stereo
headphones
LBB
9902
or
N
6302
for
monitoring
during
recording
and
for
reproducing
without
disturbing
others.
@
Cleaning
tape
811/CT
@
Slide
synchroniser
N
6400,
for
synchronising
slides
with
speech
and
music.
(Possible
only
when
the
recorder
is
used
in
the
horizontal
position).
®
Continuous
tape
reel
EL
1907/52
(CE
10)
for
continually
repeating
a
programme,
e.g.
commercials
in
department
stores
and
supermarkets.
@
Adapter
leads
and
adapter
plugs
for
connecting
equip-
ment
not
fitted
with
DIN
sockets.
Note:
All
these
accessories
will
not
necessarily
always
be
available
in
all
countries.
2.
INPUTS
AND
OUTPUTS
The
pin
numbers
are
given
near
the
pins
of
the
plugs.
Pins
that
are
not
mentioned
are
free.
MICRO
L
+
ST
socket
(24):
for
3
or
5-pin
180°
DIN
plug
sensitivity
for
stereo
recording:
0.1
mV/2
kohms
sensitivity
for
mono
recording
with
one
microphone:
0.2
mV/2
kohms
pin
1
=
left,
pin
4
=
right,
pin
2=
earth.
MICRO
R
socket
(25):
for
3
or
5-pin
180°
DIN
plug
sensitivity
for
stereo
recording:
0.1
mV/2
kohms
sensitivity
for
mono
recording
with
one
microphone:
0.2
mV/2
kohms.
pins
1
and
4
=
right
(connected
to
pin
4
of
socket
24),
‘pin
2
=
earth.
TAPE
IN/OUT
sockets
(26)
and
(50):
for
5-pin
180°
DIN
plug
input
sensitivity:
pins
1
and
4:
2
mV/20
kohms
input
sensitivity:
pins
3
and
5:
100
mV/1
Mohm
output
voltage:
pins
3
and
5
*):
1
V/50
kohms
pin
1
=
left,
pin
4
=
right,
pin
2
=
earth,
pin
5
=
right,
pin
3
=
left.
HEADPH
socket
(27):
for
5-pin
360°
DIN
plug
output
voltage:
max.
3
V/400-600
ohms
pin
4
=
left,
pins
2
and
3
=vearth,
pin
5
=
right.
TUN
socket
(51):
for
5-pin
180°
DIN
plug
input
sensitivity:
100
mV/100
kohms
pin
2
=
earth,
pin
5
=
right,
pin
3
=
left.
PHONO
socket
(47):
for
5-pin
180°
DIN
plug
input
sensitivity
“CRYST”:
100
mV/1
Mohm
input
sensitivity
“DYN”:
1.5
mV/47
kohms
pin
2
=
earth,
pins
5
and
1
=
right,
pin
3
=
left.
AUX
socket
(48):
for
5-pin
180°
DIN
plug
input
sensitivity
pins
1
and
4:
2
mV/20
kohms
input
sensitivity
pins
3
and
5:
100
mV/1
Mohm
pin
1
=
left,
pin
4
=
right,
pin
2
=
earth,
pin
5
=
right,
pin
3
=
left.
MONITOR
socket
(46):
for
5-pin
180°
DIN
plug
output
voltage:
1
V/50
kohms
pin
2
=
earth,
pin
5
=
right,
pin
3
=
left,
LOUDSP
L
+
R_
sockets
(45)
and
(44):
for
2-pin
DIN
loudspeaker
plugs
impedance:
4
to
8
ohms
round
thin
pin
=
signal
side
(“+
”),
broad,
flat
pin
=
screening
(“—”’).
REMOTE
socket
(43):
for
10-pin
remote
control
plug
pin
1
=
recording
(REC),
pin
2=
stop
(STOP),
pin
3
=
fast
winding
to
the
left
(WIND),
pin
4
=
fast
winding
to
the
right
(WIND>,
pin
5
=
pause
(PAUSE),
pin
6
=
earth,
pin
7
=
“memory”
for
illumination
of
the
start
keys
for
tape
transport
“<]
LEFT”
or
“RIGHT
&”’
(16
or
19)
in
stop
or
pause
position
or
during
fast
winding;
pin
8
=
tape
transport
to
the
right
(RIGHT
>
),
pin
9
=
power
supply
(—25
V),
pin
10
=
tape
transport
to
the
left
(<1
LEFT),
*)
The
output
signal.
on
pins
3
and
5
of
the
TAPE
sockets
(26
and
50)
is
only
available
when
the
N
4450
is
set
to
playback
of
a
tape
programme
with
input
selector
(9)
in
position
‘““TAPE”.
The
“MONITOR”
socket
(46),
however,
always
carries
an
outgoing
signal,
both
during
recording,
playing
back
and
use
of
the
amplifier
section.
69

3.
TECHNICAL
DATA
(subject
to
change
without
notice)
@
Adjustable
to
mains
voltages
of
110
(100
-
120),
127
(115
-
130),
220
(200
-
230)
and
240
(230
-
250)
Volts
with
voltage
adapter
(52).
@
Suited
for
50
and
60
Hz
alternating
voltage.
Only
the
timer
(39)
should
be
set
to
50
or
60
Hz.
Accepts
reels
with
a
diameter
up
to
26.5
cm
(10
1/2”).
Tape
width
6.25
mm
(1/4").
Four-track
system.
Track
configuration
in
accordance
with
IEC
standards.
Three
tape
speeds:
19,
9.5
and
4.75
cm/sec.
Max.
playing
time
(stereo)
with
1080
m
tape
(26.5
cm
reel
with
LP
tape)
at
19
cm/sec:
2x1
1/2
hours
(reverse).
©
Fast
winding:
1080
m
tape
(26.5
cm
reel
with
LP
tape)
within
250
secs.;
540
m
tape
(18
cm
reel
with
LP
tape)
within
150
secs.
®@
Provided
with
two
head-systems,
each
consisting
of
one
erase
head,
one
recording
head
and
one
playback
head;
(six
heads
in
total).
®
Provided
with
two
capstans
and
two
pinch
rollers,
one
set
for
each
tape-transport
direction.
@
Equipped
with
one
Hall-effect
motor
(collectorless
D.C.-
motor)
for
driving
the
capstans
and
two
D.C.
motors
for
driving
the
turntables.
e
Tape
transport
reaches
nominal
speed
within
300
msecs.
Bias
reaches
nominal
value
within
100
secs.
Switching-time
in
the
case
of
“reverse”
is
max.
2
secs.
Bias
and
erase
frequency:
114
kHz
(+
10%).
Power
consumption:
max.
120
W.
©
Output
power:
2x
20
W
sinewave
power
*),
2x30
W
music
power.
@
Harmonic
distorsion:
less
than
1%
*),
@
Frequency
response
of
recorder
section;
19
cm/sec
without
filter:
40-
20,000
Hz
within
6
dB
40
-
12,500
Hz
within
3/5
dB
*)
40
-
16,000
Hz
within
6
dB
40
-
12,500
Hz
within
3/5
dB
*)
40
-
15,000
Hz
within
6
dB
40
-
12,500
Hz
within
3/5
dB
*)
with
filter
1)
:
9.5
cm/sec.:
4.75
cm/sec.:
60-
8,000
Hz
within
6
dB
1)
For
suppression
of
the
annoying
whistle-tone
during
stereo
radio
transmissions,
the
input
circuits
of
inputs
“TUN”
(tuner;
51)
and
“AUX”
(auxiliary;
48)
include
a
filter
which
reduces
the
frequency
range
for
both
inputs
to
16,000
Hz.
®
Mechanical
noise
(UAN-L1051):
<
37
dB.
@
RUMBLE
filter:
—10
dB
at
30
Hz.
@
SCRATCH
filter:
—12
dB
at
15
kHz.
e@
PHYS
filter
(physiology):
+14
dB
at
SO
Hz;
+6
dB
at
10
kHz.
@
Signal/noise
ratio:
Signal/hiss:
at
19
cm/sec:
2
50dB—D3=3%
*);
|
at
9.5cm/sec.:
>
50dB—D3
=
3%
*);
at
4.75
cm/sec.:
>
48
dB
-D3
=3
%.
Signal/hum:
at
19cm/sec:
2
45
dB
*);
at
9.5
cm/sec:
2
45
dB
*);
at
4.75
cm/sec.:
2
45
dB.
@
Wow
and
flutter
measured
with
EMT
420
A
acc.
to
DIN
45
507:
at
19cm/sec.:
<+
0.15
%
*);
at
9.5
cm/sec:
<+
0.2
%
*);
at
4.75
cm/sec.:
<<
+
0.35
%,
@
Max
speed
error:
at
19cm/sec.:
+
1%
*);
at
9.5cm/sec.:
+
1%
*);
at
4.75
cm/sec.:
+
2%.
@
Equalization
during
playback:
at
19cm/sec.:
50+3180
usecs.
at
9.5
cm/sec.:
90
+3180
psecs.
at
4.75
cm/sec.:
120
+3180
psec.
©
Dimensions
without
cover
(without
26.5
cm
reels),
vertical
position,
width
x
height
x
depth:
520
x
500
x
210
mm
(20
1/2”
x
19
3/4"
x
81/4”).
©@
Weight:
approx.
20
kg
(approx.
44
Ibs.)
.
®
Suitable
for
use
in
tropical
climates.
*)
Values
marked
with
an
asterisk
comply
with
the
Hi-Fi
standard
DIN
45
500.
The
characteristics
showing
the
frequency
range
of
the
amplifier,
recorder,
the
rumble
and
scratch
filters,
the
harmonic
distortion
and
physiology
will
be
found
on
the
last
pages
of
the
operating
instructions.
70

12,500
Hz
40
Hz
60
Hz
8,250
Hz
Frequentiebereik
recorder
Gamme
de
fréquences
de
la
partie
enregistreur
Frequenzgang
des
Laufwerkes
*)
zonder
filter
Frequency
range
recorder
++)
met
filter
Margen
de
frecuencias,
parte
registradora
*)
without
filter
Gamma
di
frequenze
della
parte
registratore
**)
with
filter
30
100
300
1000
Frequentiebereik
versterker
Gamme
de
fréquences
de
la
partie
amplificateur
Frequenzgang
des
Verstarkers
Frequency
range
amplifier
Caracteristica
de
frecuenzia,
parte
amplificadora
Gamma
di
frequenze
della
parte
amplificatore
|
15,000
Hz
|
16,000
Hz
|
20,000
Hz
|
|
3
i
19cm/s
19cm
WA
s"
9,5cm
Vie
Ss
*)
sans
filtre
*)
**)
avec
filtre
**)
*)
sin
filtro
*)
**)
con
filtro
**)
ohne
Filter
mit
Filter
senza
filtro
con
filtro
105
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