Philips N 7150 User manual

English
The illustrations are on a separate sheet
Francais
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- Deutsch
Die Abbildungen liegen separat bei
Nederlands
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Espanol
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Italiano
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Dansk
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Svenska
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Suomi
Kuvat ovat irtolehdessa
Norsk
lilustrasjonene finnes pa et eget ark
page 3
page 8
Seite 14
pagina 20
pagina :
pagina 32
side 37
sida 42
sivu 47
side 52

English
see
corrected
insert
sheet
Introduction
This HiFi stereo open reel recorder has, among others, the
following features:
@ Four motors:
- two DC-motors for driving both reel discs;
- one tacho-controlled DC-motor for driving the capstan;
- one DC-motor for the servo-control and the movement of the
pressure roller.
e@ A pressure roller which retracts into the apparatus, so facili-
tating the insertion of the tape.
@ A three-head system with full monitoring possibilities.
@ A specification amply meeting the requirements of HiFi
standard DIN 45 500.
@ Four-track system.
@ Three tape speeds, 19 - 9.5 - 4.75 cm/s.
@ Servo-controlled tape transport buttons.
@ Suitable for both horizontal and vertical positioning.
@ Cueing possibility.
@ Sound-on-sound (multiplay) recording.
@ Possibility for echo recordings.
Controls and connection sockets
Front - fig. 1
@ Reel spindles with rotatable lock
@) Tape tension stabilisers
@ Control for cueing volume
@ Tape counter with zero reset button
© Mains switch
© Recording level controls, L/R = left/right channel
@ Output-level control for line-out and monitor sockets
Volume control for headphone socket @
Recording level meter for the left channel and tracks 1-4
Recording level peab indicator, for both channels
@ Recording level meter for the right channel and tracks 3-2
(2 Input socket for the left channel microphone
49 Input socket for the right channel microphone
Tape speed selector
@® Track selector
Monitor selector and cueing switch
@ Record button with indicator
Play button
Pause button
@0 Fast rewind button
@}) Fast forward wind button
@) Stop button
@3) Output socket for headphones
Rear side - fig. 2
@) Mains laid
@) Carrying handle
@§ Type plate
@) Socket for remote control
Monitor sockets, L/R = left/right channel
@) Socket for sound-on-sound (muitiplay) recordings
@9" Line-out/monitor sockets, L/R = left/right channel
@) Line-in sockets, L/R = left/right channel
Connecting the recorder to the mains - fig. 2
Before connecting the recorder to the mains, check if the mains
voltage as shown on type plate @§ corresponds to your local mains
supply. If it does not, get your dealer or service organisation to
adjust the voltage setting. The mains lead @4 may then be unwound
and the mains plug inserted into the wall socket.
Important note for users in U.K.:
The version /15 (see type plate 9 is not fitted with a mains plug.
When fitting a mains plug to the mains leads, proceed as follows:
The wires in the mains lead are coloured in accordance with the
following code: Blue = Neutral, Brown = Live. As these colours
may not correspond with the colour markings identifying the
terminals in your plug, proceed as fllows:
The Brown wire must be connected to the terminal which is
marked with the letter L or coloured Red. The Blue wire must be
connected to the terminal which is marked with the letter N or
coloured Black.
Note: This apparatus must be protected by a 3 Amp fuse if a
13 Amp plug is used. If any other type of plug is used, by a 5 Amp
fuse either in the plug or adaptor or at the distribution board. If in
doubt, consult a qualified electrician.
Switching on and off
The recorder is switched on by pressing mains switch@). Depend-
ing on the position of track selector (, the recording level meters
© or @ or both will then light.
The recorder is switched off by pressing the mains switch) again.
Ensure that the tape is brought to a standstill by pressing the stop
button @ before switching off the apparatus.
Inserting the tape - figs. 1 and 3
The recorder will accept either plastic or metal reels with a
diameter up to 18 cm andis suited for use with tapes of thickness
from 25 to 55 micron (1 micron ‘um’ = 0.001 mm). Thus, in
addition to ordinary Long-Play (LP) tape, Double-Play (DP) tape
may also be employed. Triple-Play (TP) or Super-Long-Play tape of
a thickness less than 25 micron is not recommended.
Threading the tape is very simple because in the stop position the
pressure roller (4) (fig. 9) retracts into the apparatus.
@ The reels should be attached to the reel discs by placing them
over the spindles @) and turning the top of the spindles 60 degrees
(fig. 3). The reels are then firmly clamped to the discs.
@ Attach a full reel of tape to the left-hand reel disc. This reel must
turn anti-clockwise as the tape unwinds.
e@ Attach an empty reel to the right-hand reel disc. The diameter of
the empty ree! must be large enough to accomodate the entire
tape from the full reel.
@ Unwind about 30 cm of tape and lead it around the tape tension
stabilisers @) and under the head cover (fig. 1).
@ Lead the end of the tape between the flanges of the empty reel,
draw a short piece through the threading slot in the flange, press
the start of the tape against the reel and turn the reel anti-
clockwise until it begins to take up the tape.
If the empty reel has no threading slot, insert the end of the tape
between the flanges of the reel, press it against the inner side of
the core and turn the reel anti-clockwise until it begins to take up
the tape.
@ Switch on the apparatus by pressing mains switch (6). Then
press start button @% and keep it depressed until the coloured
leader tape and the metal switching foil have passed the switching
contact © (fig. 9), then press stop button @.
Automatic stop
When the metal switching foil at the start and the end of the tape
passes the switching contact © (fig. 9), the motion of the tape is
stopped and the depressed buttons are disengaged.
lf tapes without metal switching foil are used, the depressed
buttons will be disengaged after a few seconds by the integral
tape-breakage protection mechanism.
Tape counter
Make a habit of setting the tape counter @ to zero by pressing the
zero reset button immediately after threading a tape. The counter
reading at which each recording on the tape commences, maybe
noted on the index card of the tape storage box. Later, a recording
can be swiftly located by fast forward winding or rewinding to the
counter reading concerned.
Tape travel buttons
The tape travel buttons are of the ‘tip touch’ type and they control
the mechanism via a servo motor, the so-called ’servo-control’.
The incorporation of logic circuitry precludes wrongful operation
and
makes
it
possible
to
switch
from
one
tape
travel
function
to
another without first pressing the stop button.

@ The play button (49 sets the tape in motion for playback.
@ For recording, record button 4? and play button @@) should be
pressed at the same time. The indicator beside the record button
will glow to indicate that the apparatus is in the recording mode.
e Using the pause button (9, recording and playback may be
interrupted briefly without the record and play buttons being
disengaged. The pause button itself can be disengaged by
pressing it a second time.
@ By pressing the stop button @3, recording, playback, fast
forward winding and rewinding may be terminated and the corre-
sponding buttons (except the pause button (19) disengaged.
e@ Fast forward winding and rewinding may be undertaken by
pressing fast forward wind button @) or fast rewind button @9.
Cueing (monitoring during fast winding/rewinding)
When monitor selector (9 is in position ‘tape’, the cueing function
is switched on during fast forward winding, fast rewinding and in
the play/pause position.
When cueing during fast winding or rewinding, the recorded
sound is played back at the winding speed, so the recording will
sound strange because of the increase in pitch. Some practice will
soon enable a desired passage to be quickly recognised and
located.
Cueing is also possible in the play/pause position, the reels then
being turned by hand. In this way, a desired point may be located
with great accuracy, for example the start of a word. This is a
valuable feature when splicing together various sections of tape to
form a composite recording.
The level of the cueing signal may be adjusted by turning cueing
volume control @). When turning this control to the left, the tape is
brought nearer to the playback head, which increases the volume
of the cueing signal. When turning this control to the right, the ape
is brought farther from the playback head, which reduces the
volume of the cueing signal.
Four-track system - fig. 4 and 5
This recorder allows four recordings to be made over the full width
of the tape. The four recording tracks lie one above the other. Each
tape can thus take four mono or two stereo recordings (a stereo
recording consisting of two mono recordings).
Stereo - fig. 4
To make two stereo recordings on the four tracks, proceed as
follows:
@ Set track selector @ to stereo ’ST’; both recording level meters
@ @ will now light.
@ Make the first stereo recording, which takes place on track 1
(left channel)and track 3 (right channe).
@ When theright-hand reelis full, transpose the left and right-hand
reels.
@ Leave the track selector (9 set at stereo ’ST’.
@ Make the second stereo recording, which takes place on
track 4 (left channel) and track 2 (right channel).
@ When the right-hand reelis full, all tracks over the full width of the
tape have been recorded. DB
Mono - fig. 5
- To make four mono recordings on the four tracks, proceed as
follows:
@ Set track selector @9 to 1-4’; recording level meter @) will now
lint.
@ Make the first recording, which taes place on track 1.
@ When theright-hand reelis full, transpose the left and right-hand
reels.
@ Leave the track selector (8 set at '1-4’.
@ Make te second recording, which takes place on track 4.
@ When the right-hand reelis full, transpose the left and right-hand
reels.
© Set track selector @ at '3-2’; recording level meter @ ill now
light.
@ Make the third recording,which takes place on track 3.
@ When the right-hand reel is full, tanspose the left and right-hand
4
reels.
@ Leave the track selector (8 set at ’3-2’.
@ Make the fourth recording, which takes place on track 2.
@ When the right-hand reelis full, all tracks over the full width of the
tape have been recorded.
Connections - figs. 1 and 2
For microphones, headphones and connectingleads, see chapter
*Optional accessories’.
Microphones - fig. 1
The unbalanced microphone inputs are designed for the connec-
tion of low-impedance microphones (50-2000 Ohms) fitted with
6.3 mm diameter mono jack plugs, so virtually any type of mi-
crophone, including electret, may be used.
@ Input @2 is for the left channel microphone.
@ Input @3 is for the right chanel microphone.
For mono recordings on one trck (track selector (1 at 1-4’ or’3-2),
the microphone may be connected to either of the inputs, or two
mono signals will be recorded onto the same track.
Headphones - fig. 1
The headphone output socket @ is for headphones ith a 6.3 mm
diameter stereo jack plug and having an impedance between 8 and
2000 Ohms, thus virtually any type of headphone, including elec-
tret, may be employed.
Remote control - fig. 2
Remote socket 27 enables connection of a start/stop remote
control unit fitted with a 5-pole 240° DIN plug, switch contacts to
pins 1 and 5.
For remote control, switch on the ecorder and press the play
button (9 (for playback) or the play button G8 and the recrd button
@ (for recording). The remote control thus allows the tape to be
started and stopped during recording and playback.
Timer - fig. 2
When using the machine in conjunction with a timer which
switches the mains supply, connect the mains plug to one of the
mains outlets from the timer (switching power 23 W minimum).
Press the mains switch © (the apparatus remaining in the
switched-off state) and then the play button 4 (for playback) or
the play button (@@ together with the record button (7 (for record-
ing). Once the starting time set on the timer has been reached, the
recorder will start to play back or to record. Allowance should be
made for the fact that a few seconds will elapse before the
recorder attains the desired tape speed. If the recorder is also
switched off by the timer, the depressed tape transport buttns will
be released. ;
Connecting the recorder to a HiFi-syste - fig. 2
The recorder may be connected to an amplifier, pre-amplifier,
receiver (combined tuner/amplifier), open-reel or cassette
recorder et.
Use a connecting cable with four coaxial phono plugs at each end,
for example: 4822 321 20381, length 50 cm;
4822 321 20382, length 250 cm.
@ Connect the line-in sockets @) ofthe recorder to the tape output ~
sockets (‘tape out’ or ‘rec out’) of, e.g. the amplifier (fig. 2).
@ Connect the line-out sockets @9 of the recorder to the fapeinput
sockets (‘tape in’ or ’rec in’) of the amplifier (fig. 2). EK
Always connect corresponding channels with one another, left to
left (’L or ‘left’) and right to right (’R’ or ’right’).
The line-out sockets @ are also monitor output sockets, which
allow monitoring (source and tape) during recording. Tre line-out
sockets 60 thus deliver an utput signal both during recording and
playback.
Additional monitor sockets - fig. 2
The recorder is equipped with an additional pir of monitor sockets
which are switched in parallel with the line-out sockets @ and
therefore can be used for the same functions as the line-out

sockets. This may be useful when you want to record on two
recorders at the same time: connect the second recorder to these
monitor outputs.
Adjustable output level for the line-out and monitor sockets @
The output voltage of the line-out 6d and monitor @§ output sockets
may be adjusted with the aid of line-out level control @ so as to
allow the recorer playback level to be adapted to that of other
sound sources conneted to the amplifier, so that the playback
volume of the recorder and for example the tuner is the same.
Monitoring during recording
During recording it is possible to monitor what is going onto the
tape. This can be done either through headphones cnnected to
socket @9 or via an amplifier connectd to the line-out @9 or monitor
sockets @9.
Monitoring through headphones is of advantage when making
microphone recordings since it averts the danger of the mi-
crophone —cking up sound from the loudspeakers and thus
causing acoustic feedback, which is heard as a whistling or
howling noise. ;
By means of monitor selector @® the choice can be made between
‘before tape’ (‘source’) and ’after tape’ (‘tape’) monitoring. The
selector has a third position (’automatic’) which is explained
below.
- Tape monitoring (fig. 6A): during recording, the signal which the
record head (©)) (fig. 9) has put on the tape, is reproduced
immediately afterwards by the playback head ©). Thus what is the
heard is the signal as recorded. Note that with the tape stationary
(in the pause or stop position) the playback head gives no signal
and so nothing is heard.
- Source monitoring (fig. 6B): in this case, what is heard is the
signal as it sounds before the record head() has putit on the tape,
so the source signal will also be audible in the pause or stop
position. Note that, when playing back a tape with monitor selector
G9 in position ’source’, you will not hear the tape recording, but the
source signal.
- Automatic monitoring: When record button (2 is pressed, the
set is automatically switched to source-monitoring. When the
record buttonis not pressed (in position ‘play’ or play/pause’), the
apparatus is in the tape-monitoring position.
Note that, with monitor selector (6 at ‘tape’, the cueing function is
also operative (see chapter ’Cueing’).
To monitor, proceed as follows:
@ Connect headphones to socket @3 or connect an amplifier to
the line-out sockets @9 or to the monitor sockets @8 and switch the
amplifier for monitor playback.
@ Set monitor selector (6 to ‘source’ if the tape is stationary or to
‘tape’ if the tape is running. For automatic switchover set the
selector to ‘automatic’.
@ Adjust the volume for the headphones with control @). When
monitoring through an amplifier, the volume, balance etc. should
be adjusted using the amplifier’s own controls.
Introduction to recording
@ Copying of gramophone records and recording of radio
programmes is permissible only insofar as copyright or other
rights of third parties are not thereby infringed.
Note for users in U.K.: Recording and Playback of material may
require consent. See Copyright Act 1956 and The Performers’
Protection Acts 1958 to 1972.
@ The strength at which the sound is recorded on the tape (the
‘recording level’) determines the quality of the sound obtainable
on playback. This recording level is adjusted with the recording
level controls ©, the front control is for the right channel and the
rear control for the left channel, so differences between the right
and left channel may be corrected.
@ The recording level is correctly set in position source-moni-
toring if, during the loudest passages, the pointers of recording
level meters ()() defiect to the '0 dB’ mark and the peak indicator
lights from time to time (not continuously!). Ifthe recording level
is too high or too low, distortion or disturbing tape noise, respect-
ively, will be heard on playback.
Note: Depending on the type of tape which is used, the indicated
recording level obtained during tape-monitoring and playback
may differ from the meter indication obtained during source-
monitoring. However, in order to obtain optimum recording
quality, the recording level should be set during source- monitor-
ing.
@ During recording, ay previous recording on the same part of the
tape is automatically erased. You can, however, erase a recording
without adding a new one by keeping the recording level controls
@at ’0’ as you record. Erasure is fastest with tape speed selector
@) at 19 cm/s.
e@ During the making of microphone recordings, the apparatus
connected to the line-in sockets 6) must be disconnected or
switched off. During the making of recordings from the line-in
sockets 6), no microphones must be connected. This is to avoid
unwanted mixing of signals.
Recording
@ Connect the equipment from which you wish to record to the
appropriate socket(s), see chapter Connections’.
@ Set track selector (9 to stereo ST’ or - for mono recordings -
to 1-4’ or 3-2’, see chapter 'Four-track system’.
@ Set tape speed selector (4 to the tape speed desired. The
lowest speed gives the longest playing time, the highest speed the
best sound quality.
@ Set monitor selector (6 to ‘source’ or ‘automatic’.
@ Press pause button (9.
@ Press record button (i and play button G8) at the same time. The
indicator near the record button will now light.
@ Allow the equipment connected to play, or speak or singinto the
microphones and adjust the recording level and the balance
between both channels with the recordinglevel controls@)in such
a way that, during the loudest passages, the pointers of the
recording level meters @)() deflect just to the ’0 dB’-mark and the
recording level peak indicator (9 lights from time to time (not
continuously!). Monitor selector @ must be in position source’ or
automatic’.
@ Now start making the actual recording by pressing the pause
button @3 once more. You can also start a recording without using
‘the pause button by simply epressing the record (i and play
button (@@ at the same time and adjusting the recording level during
the recording (source-monitoring). The sound may also be faded-
in by turning the recording level controls © from '0’ to the desired
setting after the tape has been set in motion.
@ The signal before and after recording can be compared at any
time with the original signal by monitoring either through head-
phones or through the amplifier connected. The original signal is
heard with monitor selector 46 at source’ or ’automatic’ (source-
monitoring), and the signal as recorded with the monitor selector
at ‘tape’ (tape-monitoring).
@ Check the recording level from time to time in position source-
monitoring and readjust it, gradually, as necessay with the record-
ing level controls ©.
@ For brief interruptions, press pause button (9. To resume
recording, simply press the pause button again.
@ To stop recording, press stop button @. If it is wished to
fade-out the sound, turn the recording levelcontrols () slowly
back to ’0’ before pressing the stop button.
Playback
@ Set track selector @ to the position it was in during recording.
@ Set tape speed selector (4 to the position it was in during
recording.
@ Set monitor selector (@ to ‘tape’ or ‘automatic’.
@ Adjust the amplifier for tape’-playback or connect headphones
to socket @9.
@ Start playing back by pressing play button (i).
e@ Adjust the volume for the headphones with control (6) or, when
playback is through an amplifier, adjust the volume, balance, tone
etc. using the amplifier controls.

@ To stop playback, press stop button @.
Sound-on-sound (multiplay) recordings
itis possible with this facility to make several different recordings
which may be synchronised and combined with each other to form
a single recording on one track. It is therefore possible to make a
recording of, say, a quartet in which all the instruments are played
by the same person.
To make a sound-on-sound recording with, say, a microphone,
proceed as follows:
First recording - fig. 7A
@ Connect a microphone to socket (2.
@ Settape speed selector (4 preferably to the highest tape speed.
@ Set tape counter (4) to zero by pressing the zero reset button.
@ Set track selector @ to 1-4’.
@ Make a normal mono recording on track 1 of e.g. the drum
accompaniment.
Second recording - fig. 7A
@ Rewind the tape to the zero-position of tape counter (4).
@ Connect headphones to socket @9.
e@ Set monitor selector @ to ‘source’ or ‘automatic’ and let it
remain in this position during recording.
@ Set track selector (9 to '3-2’.
@ Connect with the aid of an additional connecting lead the right
line input socket G) to the sound-on-sound (multiplay) socket @9
(fig. 2).
In fact you will make a mixed recording on track 3, consisting of the
second microphone recording of e.g. the trumpet and the first
microphone recording of the drum, which will be transferred from
track 1 to track 3.
During the second recording, you will hear the first (drum)
recording through the headphones, so the second (trumpet)
recording will be synchronised with the drum accompaniment.
The recording level of the new microphone recording should be
adjusted with the left recording level control © and the level of the
signal being transferred from track 1 to track 3 can be adjusted
with the right recording level control ©.
@ Set the recording level of the new microphone recording lower
than normal, because the signal to be transferred will be added to
this. During recording, the mixing ratio can be monitored by
headphones and if necessary corrected with the controls © and
@. The illuminated recording level meter indicates the sum of the
two signals and must be adjusted in the normal way as stated in
chapter ‘Recording’.
@ Now make the new (trumpet) recording, adding th old (drum)
recording to it, on track 3.
@ If the second recording is unsatisfactory, it may be remade
since the preceding recording on track 1 has not been erased.
Third recording - fig. 7A
@ Rewind the tape to the zero position of the tape counter (4).
@ Set track selector @9 to ‘1-4’.
@ Proceed further as indicated under Second recording’, making
the new recording and adding the earlier recordings, on track 1.
Proceed with further recordings in the same way. Do not forget to
move the track selector (5) to the other track position before
making each recording. Note that for the second, third and
subsequent recordings the monitor selector @ must stay at either
‘source’ or ‘automatic’.
If the last recording is unsatisfactory, it may be remade again and
again, since the preceding recording had not been erased.
Theoretically, this process could be continued indefinitely, but
transfer loss (the progressive deterioration in the quality of sound
with each copy made of a recording) imposes limits in practice. To
keep loss to a minimum, the highest tape speed should be used
and the most important instrument or voice part recorded last of
all.
When a sound-on-sound recording is finished, always remove the
plug from the sound-on-sound socket @9.
6
Playback of a sound-on-sound recording - fig. 7B
Playback of asound-on-sound recording takes place in the normal
way with the track selector (19) in the position last used. The second
last recording can, if desired, be erased or it may be replaced by
another mono recording.
Echo recordings - fig. 8
Recordings with echo may be made with this recorder, due to the
fact that the apparatus is equipped with separate heads, mounted
in line, for recording and playback. In the making of a recording
with echo, the signal just recorded on the tape by the record head
© (fig. 9) is reproduced immediately by the playback head ©),
returned to the record head and then recorded together with the
original signal (fig. 8).
The echo effect is made possible by the fact that the two heads are
a finite distance apart, and its character is influenced by the tape
speed. At the relatively low speeds of 4.75 and 9.5 cm/s, a slow
echo is obtained, whilst at the high speed of 19 cm/s, arapid echo
(reverberation) is obtained.
Anechorecordingis in fact a mixed recording, and the mixing ratio
between the echo signal and the original signal can be adjusted.
Echo recordings can be made in stereo and mono alike, but only
through the microphone inputs @ (3.
@ Connect the microphones to the inputs (3 (9.
@ Interconnect the line-out sockets @9 or the monitor sockets
with the line-in sockets @), using a suited connecting lead.
@ Set the tape speed selector (19 to the speed desired.
e@ During echo recordings, monitor selector must stay in
position ‘tape’.
@ The recording level is adjusted with the recording level controls
© and the line-out level control @. Set the recording level of the
microphone signal to a lower value than normal, since the echo
signal is added to this during recording.
e Start the recording. When monitoring through headphones,
you can adjust the mixing ratio between the microphone signal and
the echo signal with the recording level controls @ and the line-out
level control @. The recording level meters indicate the sum of
both signals and the level may further be adjusted as indicated in
chapter ’Recording’.
Maintenance
Itis advisable to remove at regular intervals the dust and dirt from
the magnetic heads and other parts with which the tape comes
into contact. This should be done after about every 50 hours of
operation, which, in normal circumstances, will be about once per
month.
Use a soft cloth or cotton bud lightly moistened with alcohol,
methylated spirit or a fluid specially made for this purpose. Use no
materials other than these and avoid touching the heads with
sharp or metallic objects.
Clean the tape tension stabilisers @, the front of erase head@) (fig.
9), record head (0), playback head ©), the tape guides ®, the pins
©, the capstan ©), the switching contact © and the rubber sides
of the pressure roller @ (for this, switch the recorder in the
play/pause position without any tape inserted).
After cleaning, rub the heads @) © © with a dry cloth.
Do not lubricate the apparatus. It is recommended that the
machine is checked by a service engineer about once per year.
Technical data
Subject to change without notice
@ Adjustable by your dealer for mains voltages of 110, 127, 220,
and 240 V.
@ Suitable without switching for 50 and 60 Hz A.C.
e@ Power consumption approx. 23 W.
@ Four-track system.
e@ Suitable for reels up to 18 cm.
e@ Permissible tape thickness 25 to 55 micron (um).
@ Frequency range according to DIN 45 500:
19 cms: 35-25 000 Hz;
9,5 cm/s: 35-18 000 Hz;
oT

4.75 cm/s: 35-12 500 Hz.
@ Signal-to-noise ratio, according to DIN 45 500 and NAB,
weighted/curve A, D=3%:
19 cm/s: >62 dB;
9.5 cm/s: > 60 dB;
4.75 cm/s: > 56 dB.
@ Signal-to-noise ratio, DIN, unweighted, D = 3%, for all speeds:
> 48 dB.
@ Wow and flutter, according to DIN 45 500, weighted:
19 cm/s: <0.10%;
9.5 cm/s: <0.15%:;
4.75 cm/s: <0.20%.
@ Maximum deviation from the nominal tape speed, for ail speeds:
+ 1%.
@ Fast winding/rewinding time for LP 18 (540 m): < 180s.
@ Crosstalk (channel separation) at 1 kHz: > 40 dB.
@ Track separation:
at 1 kHz: >60 dB;
at 35-200 Hz: >35 dB.
@ Equalisation:
19 cm/s: 3180 + 50 us;
9.5 cm/s: 3180 + 90 us;
4.75 cm/s: 3180 + 120 us.
@ Bias and erase frequency: 100 kHz + 10%.
@ Mechanical noise: <37 dBA((ISO noise curve 30).
® (3.43 - unbalanced microphone inputs for low-impedance
(50-2000 ) microphones. Input sensitivity 0.3 mV/2 kQ.
- @ @ - Headphone output socket for headphones having an
impedance between 8 and 2000 Q. Maxium output voltage 3 V/
600 2.
@ @ - Remote control socket, start/stop breakcontact between
pins 1 and 5.
® @ - Sound-on-sound socket.
e - Monitor and line-out sockets, adjustable output voltage
1 V/5-10 kQ; load impedance > 50 kQ.
@ @} - Line-in sockets, input sensitivity 50 mV/68 kQ.
@ Dimensions, width x height x depth: 390 x 390 x 210 mm ap-
prox.
@ Weight: 8 kg approx.
Optional accessories
The accessories listed below may be obtained fom your dealer.
Note: Some accessories may not be available in all countries.
Tapes etc.
@ LP 13-15-18, High Output HiFi long-play tape on metal-look
plastic reels, diameters respectively 13 cm (270 mof tape), 15 cm
(360 m of tape) and 18 cm (540 m of tape).
@ DP 13-15-18, High Output HiFi long-play tape on metal-look
plastic reels, diameters respectively 13 cm (360 m of tape), 15 cm
(540 m of tape) and 18 cm (720 m of tape).
@ ER 13-15-18 ML, empty mtal-look plastic reels, diameter, res-
pectively 13, 15 and 18 cm.
@ SK 10, tape splicing kit.
Microphones
@ N 8215, omni-directional electret HiFi microphone with jack
plug and detachable table stand. Sensitivity 2.5 mV/Pa, frequency
* range 50-18 000 Hz ( —6 dB), impedance 800 Q.
@ N 8310/02, omni-directional electret HiFi microphone with jack
plug and detachable table stand, fitted with wind shield and
‘ adapter for floor stand with 3/8” Whitworth thread, all packed ina
storage cassette. Sensitivity 3mV/Pa, frequency rage 20-
20 000 Hz {—6 dB), impedance 800 ©.
@ N 8501/02, uni-directional (cardioid) electret HiFi microphone
with jack plug and detachable table stand, fitted with wind shield
and adapter for floor stand with 3/8” Whitworth thread, all packed
in a storage cassette. Sensitivity 3.5 mV/Pa, frequency range
50-18 000 Hz ( —- 6dB), impedance 1200 Q.
@ N 8404/02, HiFi stereo microphone pair, comprising two omni-
directional electret HiFi microphones, each with jack plug, with
two table stands packed in a storage box. Sensitivity 2,5 mV/Pa,
frequency range 50-18 000 Hz, (— 6dB), impedance 800 2 (all per
channel).
@ N 8410, deluxe HiFi stereo microphone pair, comprising two
uni-directional (cardioid) electret HiFi microphones, each with
jack plug, windshield and adjustable microphone clamp, with
several accessories for table and floor stand mounting (3/8”
Whitworth threaa), all packed in a deluxe storage case. Sensitivity
3.5 mV/Pa, frequency range 50-18 000 Hz(—6 dB), impedance
1200 Q (all per channel).
Headphones
@ N 6330/02, HiFi stereo headphones with stereo jack plug,
equipped with 12 auxiliary diaphragms for extreme spatial effect.
Frequency range 16-20 000 Hz, impedance 2600 Q, weight
400 g.
@ N 6321, HiFi stereo electret headphones with stereo jack piug.
Frequency range 20-22 000 Hz, weight approx. 350 g.
@ N 6326, HiFi stereo electrt headphones with stereo jack plug.
Frequency range 20-2 000 Hz, weight approx. 350 g.
Additional accessories
@ AH 080, timer.
e@ N 6605, transparent dust protection cover.
@ LFD 3414, remote control unit for starting and stopping the tape
during recording and playback.
Connection, extension and adapter leads
For microphones
@ 4822 321 20364, mono extension lead, fength 500 cm. With
mono jack socket connector and mono jack plug.
@ 4822 321 20367, adapter lead, length 15 cm, for connecting
microphones with 3-pole 180° mono DIN plug. With 5-pole mono
DIN socket connector and mono jack plug.
@ 4822 321 20368, adapter lead,length 15cm, for connecting
stereo microphones with 5-pole 180° stereo DIN plug. With one
5-pole stereo DIN socket connector and two mono jack plugs.
For headphones
@ 4822 321 20316, stereo extension lead, length 500 cm. With
stereo jack socket conector and stereo jack plug.
@ 4822 321 20291, adapter lead, length 15cm, for connecting
headphones with stereo DIN die-5 plug. With stereo DIN die-5
socket connector and stereo jack plug.
With coaxial phono plug.
Connecting leads with four coaxial phono plugs at both ends:
4822 321 20381, length 50 cm;
4822 321 20382, length 250 cm.
@ 4822 321 20383, extension lead, length 250 cm. Withfur coaxial
phono socket connectors and four coaxial phono plugs.
@ 4822 321 20308, connecting lead, length 250 cm. With two
coaxial phono plus at both ends.
@ 4822 321 20307, extension lead, length 250 cm. With two coaxial
phono socket connectors and two coaxial phono plugs.
With coaxial phono and 5-ole 180° DIN plugs
@ Connecting leads with four coaxial phono plugs and one 5-pole
180° stereo DIN plug.:
4822 32 20189, length 120 cm;
4822 321 20198, length 120 cm, with attenuating resistors (1 MQ)
on pins 1 and 4.
Plugs for remote control (pins 1 and 5)
@ 4822 264 40024, 5-pole 240° DIN plug.
@ 4822 264 40027, 5-pole 240° DIN angled plug.

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