Sony Tc-765 Setup guide

SON

Yo

STEREO

TAPE

DECK

_TC-765/766-2°

Owner’s

instruction

manual

Page

2

Before

operating

your

new

Sony

stereo

tape

deck,

please

read

this

manual

completely

to

become

familiar

with

all

its

features

and

capabilities.

Keep

this

manual

handy

for

future

reference.

Bedienungsanleitung

Seite

30

Bevor

Sie

Ihren

neuen

Sony

Stereo-Tape-Deck

in

Betrieb

nehmen,

lesen

Sie

bitte

diese

Bedienungsanleitung

volistandig

durch,

damit

Sie

mit

seinen

besonderen

Einrichtungen

und

Méglichkeiten

ver-

traut

werden.

;

Bewahren

Sie

diese

Anleitung

gut

auf,

spater

jederzeit

darin

nach-

schlagen

zu

kénnen.

by

Sony

Corporation

This

instruction

manual

covers

TC-765

(4-track

;19

cm/s,

7

1/2

ips)

-and

TC-766-2

(2-track

;

38

cm/s,

15

ips).

Where

difference

occurs

between

two

models,

it

is

clearly

de-

scribed

in

the

text.

:

FEATURES

@

Three

heads

and

three

motors

(TC-765)

@Four

heads

and

three

motors

(TC-766-2)

@Closed-loop/dual

capstan

tape

drive

@An

AC

servo-controlled

capstan

drive

motor

@

High-performance

F

&

F

(Ferrite

and

Ferrite)

heads

@

Separate

3-way

bias

and

equalization

selectors

@Logic-controlled

transport

function

buttons

@First

stage

of

the

amplifier

and

the

playback

head

are

directly

coupled.

WARNING

To

prevent

fire

or

shock

hazard,

do

not

expose

the

unit

to

rain

or

moisture.

To

avoid

electrical

shock,

do

not

open

the

cabinet.

Refer

servicing

to

qualified

personne!

only.

TABLE

OF

CONTENTS

Precautions

32

ac-d.0

Sas

Be

Saal

eS

ea

abodes

3

Operating

voltage...

1.

ens

3

Function

of

controls...

0.0...

ee

es

4

Connections

.......0....

002.000

ee

eee

ra

hate

Be

OS

6

Jape:

threading...

.c2%s

soe

$1

etd,

Ga

et

he

AR

Ee

oe

7

Recording.........

a

AT

waka

dc

Sag

aan

a

aires

GN

a

ar

anaes

a>

He

7

Playback

25)

ee.05

°S.3atete,

Sle

Wie

eRie

eh

SN

eae

ae

eas

10

Erasing

is

e.g

5

fee

celeste

be

edo

weg

es

a

eaten

10

Timer-activated

recording

and

playback...............

10

Mic

and

line

mixing...

..........0000

ee

eee

"pagal

FI

Sound-on-Sound

recording

....

0...

00.000

cece

evens

11

ECho:-recording:

si

siao

3

ese

a

seh

oa

ivi

el

oa

Se

5

~.12

EGItin

gis

fn

Pets

toad

toe

ae

ref

teed,

Sete

y

eel

oes

we

as

12

Maintenance

......

0.0...

000

ee

13

Specifications:

4.2.0

chsh

so

okls

kc

aa

be

wales

Bae

wwe

lee

Bs

14

Trouble:

checksis

ss.

s/s

ee

hc

uieciand

H

RRA

hd

ee

ae

eae

15

FOR

THE

CUSTOMERS

IN

THE

UNITED

KINGDOM

—

WARNING

This

apparatus

must

be

earthed

at

the

terminals

in

your

3-pin

plug

as

follows:

IMPORTANT

The

wires

in

this

mains

lead

are

coloured

in

accordance

with

the

following

code:

Green-and-yellow:

Earth

(safety

earth)

Blue

:

Neutral

Brown:

Live

As

the

colours

of

the

wires

in

the

mains

lead

of

this

apparatus

..

may

not

correspond

with

the

coloured

markings

identifying

the

terminals

in

your

plug,

proceed

as

follows:

The

wire

which

is

coloured

green-and-yellow

must

be

connected

to

the

terminal

in

the

plug

which

is

marked

with

the

letter

E

or

by

the

safety

earth

symbol

~

or

coloured

green

or

green-and-yellow.

The

wire

which

is

coloured

blue

must

be

connected

to

the

termi-

nal

which

is

marked

with

the

letter

N

or

coloured

black.

The

wire

which

is

coloured

brown

must

be

connected

to

the

ter-

minal

which

is

marked

with

the

letter

L

or

coloured

red.

PRECAUTIONS

On

safety

;

@

Before

operating,

be

sure

the

operating

voltage

of

your

unit

is

identical

with

that

of

your

local

power

supply.

@Should

any

liquid

or

solid

object

fall

into

the

cabinet,

unplug

the

unit

and

have

it

checked

by

qualified

personnel

before

operating

it

any

further.

@

Unplug

the

unit

from

the

wall

outlet

if

it

is

not

to

be

used

for

an

extended

period

of

time.

To

disconnect

the

cord,

pull

it

out

by

the

plug.

Never

pull

the

cord

itself.

On

installation

@

Good

air

circulation

is

essential

to

prevent

internal

heat

build-up

in

the

unit.

Place

the

unit

in

a

location

with

adequate

air

circula-

tion.

@

Do

not

install

the

unit

in

a

location

near

heat

sources

such

as

radiators

or

air

ducts,

or

in

a

place

subject

to

direct

sunlight,

ex-

cessive

dust

or

mechanical

vibration.

;

On

head

cleaning

The

best

performance

of

your

unit

depends

on

the

periodic

clean-

ing

of

the

heads

and

all

surfaces

over

which

the

tape

travels.

Dirty

heads

and

tape

path

cause:

@Loss

of

high

frequency

response

@Loss

of

sound

volume

@

Sound

drop-out,

etc.

Cleaning

should

be

done

every

after

10

hours

of

operation.

For

details,

see

’

Maintenance”

:

Playback

waveform

at

10

kHz

With

a

clean

head

With

a

dirty

head

(The

output

level

fluctuates.)

Frequency

response

at

38

cm/s

(15

ips)

‘2

Saat

eal

as

Ts

With

a

clean

head

to)

~CL

With

a

dirty

head

[PTH

+

a

|

zs

3a

5

Tr

Ht

Ty

3

Even

hardly

visible

dust

layer

of

1,54

\

@

deteriorates

frequency

response.

\

=

10

t

roth

i

=

_o

-15

}.

4

J

100

1k

10k

Frequency

(Hz)

:

If

you

have

any

question

or

problem

with

your

unit,

please

contact

your

Sony

Service

Station

or

Sony

dealer.

OPERATING

VOLTAGE

Before

connecting

to

the

power

source,

check

that

the

voltage

selector

is

set

to

your

local

power

supply.

lf

itis

not

the

same,

change

the

voltage

selector

setting

as

fol-

lows

:

é

1.

Check

that

the

unit

is

disconnected

from

the

power

supply.

2.

Remove

the

cover

of

the

selector.

Loosen

the

arrow-marked

screw

on

the

cover

but

do

not

remove

it

from

the

cabinet.

Remove

the

other

screw.on

the

cover.

Then

turn

the

cover

around

the

arrow-marked

screw

so

that

you

can

unplug

the

selector.

“ey

3.

Pull

out

the

voltage

selector

plug

and

reinsert

it

so

that

the

top

arrow

mark

of

the

plug

points

to

the

proper

voltage

marking.

4.

After

changing

the

voltage,

reset

the

cover.

@Line

frequency

change

is

not

necessary

since

your

tape

deck

is

furnished

with

an

AC

servo-controiled

motor.

®

110V

220V

>

a>

240V

120V

FUNCTION

OF

contrdty

-

SONY

CLOSED

LOOP

BUAL

CAPSTAN

9:

@

Tension

arms/automatic

shut-off

switches

These

arms

maintain

uniform

tape

tension.

When

all

the

tapes

are

wound

and

these

arms

return

to

the

former

position,

tape

transport

mechanism

will

stop.

@

TIMER

switch

Usually

set

this

switch

to

OFF.

To

make

timer-activated

operation,

set

it

to

ON.

©

TAPE

SPEED

selector

19

cm

(7

1/2

ips):

For

high

quality

recording

9.5

cm

(3

3/4

ips)

:

For

longer

time

recording

38

cm

(15

ips):

For

studio

quality

professional

recording

19

cm

(7

1/2

ips)

:

For

longer

time

recording

Tape

speed

in

playback

should

be

the

same

as

that

in

recording.

@

REEL

SIZE

selector

:

Select

the

optimum

rewind

tension

and

reel

torque

for

the

reel

used:

The

“10”

position

is

for

10

1/2-inch

(27

cm)

reels,

and:

7”

is

for

7-inch

(18

cm)

or

5-inch

(13

cm)

reels.

©

POWER

switch

This

turns

the

power

on

or

off.

The

VU

meters

will

light

up

when

the

unit

is

turned

on.

©

VU

meters

With

MONITOR

switch

set

at

SOURCE,

the

meters

show

the

re-

cording

level

adjusted

by

the

REC

LEVEL

controls,

With

the

MONITOR

switch

set

at

TAPE,

the

meters

show

the

out-

put

level

adjusted

by

the

PB

LEVEL

controls.

0

VU

reading

corre-

sponds

to

0.435

V.

;

@

HEADPHONES

jack

=

Insert

low-impedance

headphones

to

monitor

the

input

and

re-

corded

signals.

@

MIC

jacks

Any

low-impedance

microphone

equipped

with

a

phone

plug

may

be

used.

If

your

microphone

is

equipped

with

a

mini

plug,

a

plug

adaptor

for

converting

to

phone

plug

is

required.

©

Mic

attenuator

switch

[MIC

ATT]

Usually

set

this

switch

at

the

“0”

position.

Mic

attenuator

is

useful

when

recording

a

large

input

signal

on

location

(rock

music,

etc.)

or

recording

with

a

microphone

too

close

to

the

source

without

overloading

the

tape

deck

amplifier.

When

the

needles

of

the

VU

meters

swing

over

the

0

VU

with

the

REC

LEVEL

MIC

controls

turned

down

on

the

scale

around

the

in-

dication

2-3,

first

set

the

MIC

ATT

switch

at

“15".

At

this

posi-

tion,

the

input

level

is

reduced

by

15

dB.

If

the

input

signal

level

is

still

large,

use

the

“30”

position.

At

this

position,

the

level

will

be

reduced

by

30

aB.

@

Tape

counter

and

reset

button

Use

the

counter

for

indexing

tape

contents.

Once

reels

are

thread-

ed,

set

the

counter

to

[0000]

by

pushing

the

reset

button.

The

figures

on

the

counter

change

as

the

tape

passes.

Make

a

note

of

the

figures

and

the

recorded

program

for

later

reference.

@

Function

buttons

@

Recording,

<<

Rewind,

Hi

Stop,

»

Forward

and

»

Fast-forward

tape

motion.

These

buttons

can

be

depressed

at

random

to

change

tape

motion

from

normal

to

fast

wind,

and

vice

versa

(Logic-controlled

transport

function).

[ll

Pause

button

To

momentarily

stop

during

recording

or

playback,

depress

this

button.

To

restart,

depress

it

again.

Also

use

this

button

for

smoother

start

of

recording.

®

Recording

level

controls

[REC

LEVEL-MIC,

LINE]

Adjust

the

recording

level

with

these

controls:

inner

knob

for

R

channel

and

outer

knob

for

L

channel.

Turn

down

the

unused

controls

full

to

“0”.

MIC:

When

recording

from

the

MIC

jacks

LINE

:

When

recording

from

the

REC/PB

and

LINE

IN

jacks

@®

MONITOR

switch

For

tape

playback,

set

the

switch

to

TAPE.

While

recording,

moni-

toring

of

input

sound

is

possible

with

this

switch

set

at

SOURCE,

and

monitoring

of

recorded

sounds

is

possible

with

this

switch

set

at

TAPE.

@®

Playback

level

controls

[PB

LEVEL]

These

controls

adjust

the

playback

signal

level

of

LINE

OUT

and

HEADPHONES

jacks.

Generally,

set

the

controls

at

center

posi-

tion.

For

further

information,

refer

to

page

9.

@®

Recording

mode

switches

[REC

MODE]

For

recording,

push

in

the

switches.

When

these

switches

are

pushed

in,

the

record

button

lamp

puts

on

and

off

repeatedly.

For

playback,

release

these

switches

to

prevent

inadvertent

erasure.

@

TAPE

SELECT

switches

BIAS

:

Select

the

optimum

bias

current

for

the

tape

to

be

used

in

recording

mode.

EQ:

Select

the

correct

equalization

characteristics

for

the

tape

to

be

used

in

recording

mode.

These

two

switches

nave

no

effect

on

playback.

@

2-track/4-track

selector

switch

Usually

set

this

switch

at

left

position

(2-track).

When

playing

back

the

tape

which

has

been

recorded

on

other

4-track

tape

deck,

_

Set

the

switch

at

right

position

(4-track).

If

2-track-recorded

tape

is

played

back

mistakenly

with

this

switch

set

at

right

position

(4-

track),

the

level

will

be

reduced.

On

the

other

hand,

if

4-track-

recorded

tape

is

played

back

with

this

switch

set

at-2-track

posi-

tion,

the

recorded

material

in

the

opposite

direction

will

be

played

back

mixedly.

4-track

Recording

monitor

muting

switch

(REC

MONITOR

MUTE}

(rear)

When

this

switch

is

set

to

ON,

the

line

outputs

are

cut

except

when

the

tape

is

played

back

with

the

MONITOR

switch

set

at

TAPE.

See

the

table

below.

This

switch

makes

the

microphone

recording

free

from

howling

effect

and

is

useful

for

instrumental

practice

whieh

necessitates

repetition

of

recording

and

playback.

MONITOR

switch

SOURCE

TAPE

During

recording

no

sound

no

sound

During

playback

no

sound

yes

Headphone

monitoring

is

free

from

this

switch.

REMOTE

CONTROL

connector

(rear)

Plug

the

Sony

Remote

Control

RM-30

(optional)

in

this

connector.

The

RM-30

features

“record

muting”*

as

well

as

remote

control

operation.

Read

the

RM-30

instruction

manual

before

operating

it

with

the

tape

deck.

*

A

device

which

is

beneficial

to

short-circuit

unwanted

program

sources

such

as

broadcasting

commercials,

thus

allowing

an

inter-

space

between

the

recordings.

INPUT

SELECT

switch

(rear)

When

recording

from

LINE

IN

jacks,

set

this

switch

at

LINE.

When

recording

from

REC/PB

connector,

set

this

switch

at

REC/PB.

CONNECTIONS

@

Turn

off

the

amplifier

before

making

connections.

@lnsert

the

cable

connectors

completely

into

jacks.

Loose

con-

nections

may

cause

hum

and

noise.

,

e@The

red

plug

of

the

supplied

connecting

cord

should

be

con-

nected

to

the

right

channel

and

the

gray

plug

to

the

left

channel.

Amplifier

connection

®

@REC/PBS

Cp

on

Connection

on

front

panel

REC/PB

(DIN)

connector

There

are

two

possibilities

of

the

amplifier

connection,

by

supplied

phono

(RCA)

connecting

cords

and

a

single

5-pin

DIN

connecting

cable.

Note

the

following

points.

@The

phono

cord

connections

are

recommended,

since

it

will

result

in

better

signal-to-noise

ratio.

For

playback

—-—Y.

{For

recording

“For

duplication

from

another

tape

deck

=.

signal

flow

=

e@Connect

the

tape

deck

to

an

AC

outlet

with

the

power

cord:

First

plug

the

cord

into

the

tape

deck

AC

IN

socket,

then

into

a

wall

outlet.

to

recording

outputs

to

tape

inputs

(or

auxiliary

inputs)

wma

tO

wall

outlet

to

line

to

line

:

inputs

outputs

Another

tape

deck

Amplifier

to

record/playback

connector

—_

e@Connection

between

amplifier

DIN

connector

and

phono

jacks

of

the

tape

deck

is

not

recommended,

since

their

input

and

output

sensitivity

and

impedance

are

not

correctly

matched.

@To

directly

connect

both

tape

deck

DIN

connectors,

a

DIN

cable

for

tape

duplication

is

required.

@When

recording

from

the

REC/PB

connector,

set

the

INPUT

—

SELECT

switch

located

in

the

rear

to

REC/PB

position,

andrecord-

ing

level

should

be

adjusted

with

the

REC

LEVEL

LINE

controls.

TAPE

THREADING

RECORDING

Set

the

REEL

SIZE

selector

according

to

the

reels

to

be

used.

Fundamental

steps

Use

the

same

size

reels

for

both

supply

and

take-up.

~

Check

the

INPUT

SELECT

switch:

1.

Secure

the

reels.

When

recording

from

LINE

IN

jacks

—

LINE

When

recording

from

REC/PB

connector

—

REC/PB

O

2.

Pass

the

tape.

3.

Wrap

the

tape

around

the

hub

of

the

right

reel

or

insert

the

end

of

the

tape

into

the

reel

slot.

4.

Rotate

the

reels

a

few

times

by

hand

until

there

is

no

Secx

in

the

tape.

If

there

is

slack,

tape

will

not

move

even

if

the

function

button

is

depressed.

QOQOOOO0O

Koo:

=|

eled

OOOH

oO

@

TIMER

switch

+

OFF

@

POWER

switch

>

Depress

to

ON.

©

Thread

a

tape.

@

Tape

counter

—>

Reset

to

[0000]

@

REEL

SIZE

selector

—

Set

to

the

reel

diameter

to

be

used.

@

TAPE

SPEED

selector

—

As

desired.

inOOO0O

SasoaS

<I

<

TAQ

a

For

the

supplied

27

cm

(10

1/2-inch)

metal

reel,

use

the

supplied

reel

adaptor

RAD-11

(reel

holder

and

spacer)

as

illustrated.

Spacer

Metal

reel

Ci

—~

Reel

holder

“fede

noe

@For

optional

plastic

reel,

neither

reel

holder

nor

spacer

is

re-

quired,

If

the

plastic

reel

has

a

large

center

hole,

use

the

reel

holder

only.

The

spacer

is

unnecessary.

Recording

After

the

fundamental

steps

@

to

@,

continue

with

the

following

steps

@

to

@.

@

TAPE

SELECT

switches

(both

BIAS

and

EQ)

—

Set

according

to

the

tape

used.

@

MONITOR

switch

—

SOURCE

@

PB

LEVEL

controls

—

Set

to

center

click

position.

@

Adjust

the

recording

level

with

respective

MIC

or

LINE

con-

,

trols

while

watching

the

VU

meters.

MIC

controls.

.

for

recording

from

MIC

jacks

LINE

controls.

.

for

recording

from

LINE

IN

jacks

or

REC/PB

con-

nector.

.

Be

sure

to

turn

the

unused

level

controls

full

counterclockwise.

@

REC

MODE

switches

—

Depress.

@

While

depressing

the

@

button,

depress

the

>

button,

Now

recording

starts.

@

When

recording

completes,

depress

the

Jf

button.

Tape

BIAS/EQ

recommendations

The

following

list

shows

our

recommended

settings,

which

have

been

determined

through

critical

listening

tests

and

electrical

characteristic

measurements

on

commercially

available

tapes.

The

setting

could

be

changed

to

your

preference.

For

Sony

tapes,

be

sure

to

use

the

recommended

settings

to

obtain

the

optimum

tape

characteristics.

NORMAL

SPECIAL

Fe-Cr

BASF

LH,

LHS

|

SCOTCH

#211,

~

SONY

PR

AGFA

PE,

PEM

#212,

#213:

MEMOREX

AMPEX

406,

407.

SONY

SLH

SONY

Ferri-Chrome

MED

|

SCOTCH

#218

|

SCOTCH

CLASSIC

|

SCOTCH

#206,

#207

TDK

AUDUA

waxcch-Up

|

HIGH

SCOTCH

#250

Po

Record

monitoring

As

this

tape

deck

has

separate

record

and

playback

heads,

instan-

taneous

tape-source

comparison

is

possible

with

the

MONITOR

switch.

SOURCE

:

Source

sound

is

heard

TAPE

:

Recorded

sound

is

heard

@ln

microphone

recording,

if

monitoring

through

the

speakers,

howling

effect

may

occur.

Use

of

the

REC

MONITOR

MUTE

switch

avoids

this

howling

effect

and

monitoring

may

be

done

through’

headphones.

@if

the

amplifier

has

a

tape-monitor

selector

and

if

connection

is

made

through

tape

deck

LINE

IN

and

LINE

OUT

jacks,

source/tape

comparison

is

possible

with

the

amplifier

monitor

selector.

In

this

case,

the

tape

deck

MONITOR

switch

should

be

set

at

TAPE.

SOURCE

MONITOR

Recording

me

+

‘esa

outputs

:

Amplifier

ape

inputs

i

|

:

!

LINE

IN

Tape

deck

LINE

OUT

REC

LEVEL

)

(

SOURCE

MONITOR

Erase

head

*

Record

head

Tape

immammmenmage”

Playback

head

PB

LEVEL

controls

These

controls

adjust

the

playback

signal

level

at

the

LINE

OUT

and

HEADPHONES

jacks.

The

adjusted

level

is

indicated

on

the

VU

meters,

with

a

O

VU

reading

corresponding

to

0.435

V

output,

which

appears

when

the

control

is

halfway

up

(with

the

indicator

at

“5").

Full

clockwise

rotation

of

the

PB

LEVEL

control

beyond

midpoint

will

provide

a

5

dB

boost,

and

full

counterclockwise

rota-

tion

will

bring

the

volume

down

to

zero.

Generally,

set

these

con-

trols

at

center

position.

The

usages

are

as

follows.

During

record

monitoring,

the

setting

of

these

controls

at

center

position

provides

nearly

equal

levels

on

both

SOURCE

and

TAPE

positions

of

the

MONITOR

switch.

During

playback,

adjust

the

tape

deck.to

match

other

sources:.

If

the

tape

deck

playback

level

differs

from

that

of

other

sources

connected

to

the

amplifier,

such

as

a

tuner,

record

player

etc.,

the

sound

may

become

suddenly

louder

or

softer

when

the

amplifier

input

selector

is

switched

back

and

forth

between

tape

and

some

other

source.

During

duplication

on

another

tape

deck,

adjust

these

controls

so

that

the

sound

is

not

distorted.

Recording

a

new

material

while

the

tape

is

in

motion

This

tape

deck

may

directly

go

from

play

to

record

while

the

tape

is

in

motion.

1.

Perform

the

necessary

steps

for

recording.

2.

Depress

the

REC

MODE

switches.

The

@

button

blinks.

3.

Depress

the

®

button

and

listen

to

the

playback

sound.

4,

At

the

point

where

new

material

is

to

be

recorded,

depress

the

@

and

»

buttons

simultaneously.

The

@

button

illumination

changes

to

a

steady

red

light.

At

this

moment,

recording

begins.

Recording

level

adjustment

Tape

saturation

levels

differ

between

the

types

of

tape.

Recording

level

should

be

adjusted

according

to

the

tape

to

be

used

in

order

to

utilize

it

to

the

utmost

permissible

level.

This

is

the

knack

not

only

for

deriving

the

possible

characteristics

from

the

tape

but

also

assuring

good

recording

result.

High

recording

level

is

recommended

to

reduce

annoying

tape

noise,

but

overloaded

and

distorted

tape

could

result

if

the

level

is

too

high.

When

using

a

Sony

SLH

tape,

for

example:

Adjust

the

recording

level

so

that

the

needles

of

the

VU

meters

swing

around

the

O

VU

reading

and

sometimes

swing

within

red

zone.

Continuous

deflection

within

red

zone

will

lead

to

distor-

tion.

On

the

other

hand,

as

for

TC-766-2,

when

recording

at

38

cm/s

(15

ips),

staying

of

the

needies

within

red

zone

is

still

tolera-

ble,

so

make

the

needles

swing

around

+3

VU

and

even

go

over

the

scale

for

an

instance

at

the

sudden

high

level

burst,

as

the

dynamic

range

becomes

wider

than

that

of

19

cm/s

(7

1/2

ips).

=10

.

=

+

oe,

oe

3

0

+3

ae

;

en

oe

,

i

Too

low

level

Too

high

level

Proper

level

Proper

level

at

(S/N

ratio

will

(Sound

will

be

38cm/s

with

be

poor.)

distorted.)

TC-766-2

But

be

cautious

with

peaks

of

short

duration

out

of

a

relatively

low

recording

level

;

as

the

needles

of

the

VU

meters

cannot

follow

them

because

of

their

inertia,

they

will

show

levels

much

smatler

than

the

actual

levels

(up

to

12

or

14

dB).

Recording

of

FM

broadcasts

or

discs

is

relatively

simple

because

broadcast

stations

and

disc

companies

use

standardized

limiters

to

reduce

the

dynamic

range

of

the

original

sound

source.

More

care

has

to

be

taken

in

case

of

live

recordings.

The

dynamic

range

is

undiminished

by

any

limiter,

and

a

small

movement

may

change

the

distance

between

sound

source

and

microphone,

thus

changing

the

signal

level

even

when

repeating

an

identical

pas-

sage.

Above

all

consideration

has

to

be

given

to

the

fact

that

tape

saturation

and

distortion

at

higher

frequencies

occur

at

lower

levels,

which

may

be

especially

troublesome

in

case

of

piano

re-

cordings,

etc.

To

make

things

even

more

complicated,

microphone

amplifiers

may

overload.

Using

the

MIC

ATT

switch

is

an

effective

method.

In

any

way,

having

acquired

a

little

bit

of

experience,

you

will

be

quite

successful.

Do

not

change

the

recording

level

once

the

recording

starts,

as

this

will

easily

be

audible

during

playback,

especially

when

the

stereo

balance

is

changed.

If

adjustment

becomes

necessary,

it

is

advisable

to

wait

until

a

break

or

a

pause

between

movements

oc-

curs

or

a

soloist

has

finished

his

turn.

PLAYBACK

For

TC-766-2,

check

the

2-track/4-track

selector

switch.

When

playing

back

a

2-track-recorded,

tape

>

left

(2-track)

When

playing

back

a

4-track-recorded

tape

—

right

(4-track)

@

TIMER

switch

—

OFF

@

POWER

switch

—

Depress

to

ON.

@

Thread

a

tape.

@

Tape

counter

—

Reset

to

[0000].

@

REEL

SIZE

selector

—

Set

to

the

reel

diameter

to

be

used.

@

TAPE

SPEED

selector

—

Set

according

to

the

speed

when

re-

corded.

@

MONITOR

switch

—

TAPE

©

Depress

the

»

button.

Now

playback

starts.

@

When

playback

completes,

depress

the

lf

button.

@In

playback,

TAPE

SELECT

switches

have

no

effect.

ERASING

When

the

tape

deck

functions

in

record

mode,

the

erase

head

operates

and

any

is

erased

automatically.

To

erase

the

recorded

contents

without

recording:

@Turn

the

REC

LEVEL

controls

(both

MIC

and

LINE)

full

counter-

clockwise

to

“O”.

@

Set

the

BIAS

switch

at

the

position

appointed

in

page

8,

or

at

the

HIGH

position

And

start

the

tape

deck

in

record

mode.

;

@For

quick

erasure,

use

a

commercially

available

eraser.

10

TIMER-ACTIVATED

RECORDING

AND

PLAYBACK

Automatic

recording

and

playback

at

any

desired

time

is

possible

using

a

commercially

availabie

timer.

Continual

operation

may

be

accomplished

with

a

timer

designed

to

turn

the

tape

deck

on

and

off

any

number

of

times.

Recording

1.

Set

the

tape

deck

TIMER

switch

to

OFF.

2.

Connect

the

tape

deck

power

cord

to

the

timer

which

has

been

set

for

the

desired

time.

,

3.

Perform

the

necessary

steps

for

recording.

(Be

careful

not

to

depress

the

@

and

>

buttons.)

4.

Set

the

tape

deck

TIMER

switch

to

ON.

The

tape

deck

is

now

ready

for

automatic

start

of

recording

at

the

timer-set

time.

.

Playback

F

Procedure

is

almost

the

same

as

that

of

recording.

@Be

careful

not

to

depress

the

REC

MODE

switches.

@Be

sure

to

set

the

MONITOR

switch

to

TAPE.

NOTE

@Read

the

instruction

manual

of

the

timer

carefully

before

using

it.

MIC-AND-LINE

MIXING

Connect

microphones

to

MIC

jacks

and

line

source

to

LINE

IN

jacks.

While

listening

through

headphones,

adjust

the

mixing

level

by

turning

the

respective

controls

of

MIC-L,

R,

LINE-L,

R.

The

VU

meters

indicate

the

composite

recording

level

of

mic

and

line

_

inputs.

MIC-

REC

LEVEL-

LINE

SOUND-ON-SOUND

RECORDING

While

playing

back

the

basic

program

monophonically

recorded

in

one

channel,

add

a

new

program

from

a

microphone

and

record

the

two

programs

in

the

other

channel.

This

enables

you

to

record

a

duet

by

yourself

or

create

other

special

effects.

Sound-on-Sound

recording

on

the

right

channel

(L

>

R)

1,

Record

the

basic

program

on

the

left

channel

and

rewind

the

tape.

2.

Connect

the

L

LINE

OUT

jack

and

R

LINE

IN

jack

by

using

the

supplied

connecting

cord.

Be

sure

to

use

the

plugs

of

the

same

color

at

both

ends

of

the

connecting

cord.

3.

Connect

a

microphone

into

the

R

MIC

jack.

4.

Connect

the

headphones.

:

5.

Push

the

R

REC

MODE

switch.

6.

Set

the

MONITOR

switch

to

TAPE.

7.

Adjust

the

recording

level.

@)

Temporarily

set

the

R

LINE

and

R

MIC

controls

to

the

indi-

cation

“5”,

:

@

Turn

the

R

PB

LEVEL

control

full

counterclockwise

and

set

the

L

PB

LEVEL

control

to

the

indication

“5”.

Depress

the

@

and

»

buttons.

Sing

to

a

microphone

while

listening

to

the

basic

program

through

left

headphone.

@

Rewind

the

tape.

Turn

down

the

L

PB

LEVEL

control

full

counterclockwise

and

turn

up

the

R

PB

LEVEL

control

to

the

indication

“5”,

Depress

the

®

button

and

monitor

the

mixed

sounds

through

right

headphone.

(Recording

level

is

indicated

in

the

R

VU

meter.)

@

Readjust

the

recording

level

as

follows:

@To

increase

the

whole

recording

level,

turn

the

R

LINE

con-

trol

clockwise

beyond

the

indication

“5”,

and

to

decrease,

turn

it

down.

@To

increase

the

mic

sound

against

the

basic

program,

turn

the

R

MIC

control

clockwise

beyond

the

indication

“5”

and

to

decrease,

turn

it

down.

8.

Now

Sound-on-Sound

recording

is

prepared.

Rewind

the

tape.

9.

Turn

down

the

R

PB

LEVEL

control

full,

set

the

L

PB

LEVEL

con-

trol

to

“5”,

and

depress

the

@

and

»®

buttons.

Sing

to

the

micro-

phone.

:

@To

listen

to

the

composite

recording,

turn

down

the

L

PB

LEVEL

control

and

turn

up

the

R

PB

LEVEL,

then

play

back

the

tape.

@If

you

are

not

content

with

the

result,

repeat

these

steps

as

you

like

because

the

basic

program

is

left

recorded.

@For

recording

on

the

ieft

channel

(R

—

L),

you

have

only

to

con-

vert

the

R

and

L

channels

in

the

above

mentioned

steps.

gy:

LINE

OUT

(L)

LINE

IN

(R)

Record

head

Playba

LINE

OUT

(L)

LINE

IN

(R)

11

‘

i

H

ECHO

RECORDING

Recorded

sound

is

caught

by

the

playback

head,

and

recorded

again

in

the

same

track

through

line

input.

The

distance

between

record

head

and

playback

head

causes

the

resonant

effect

like

an

echo.

Stereo

echo

1.

Insert

twe

microphones

into

MIC

jacks.

2.

Turn

the

L

LINE,

R

LINE,

L

MIC

and

R

MIC

controls

full

counter-

clockwise.

3.

Connect

the

LINE

!N

jacks

and

LINE

OUT

jacks

by

using

the

supplied

connecting

cord

matching

the

channels

R

to

R,

and

L

to

L.

4.

Connect

the

headphones.

5.

Set the

MONITOR

switch

to

TAPE.

’

6.

Push

the

REC

MODE

switches

and

depress

the

@

and

»

buttons.

7.

While

listening

through

the

headphones,

adjust

the

L

and

R

MIC

controls..

Then

slowly

turn

the

L

and

R

LINE

controls

clock-

wise

for

desired

echo.

Be

careful

not

to

excessively

increase

the

recording

level.

Otherwise

oscillation

may

occur

as

a

rumbling

sound.

‘

Now,

echo

recording

preparation

is

complete.

Rewind

the

tape

to

_the

beginning

and

start

a

formal

recording.

In

this

case,

discon-

nect

the

stereo

headphones,

since

headphone

monitoring

may

disturb

your

tempo

because

of

the

time-lag

between

original

sound

and

headphone

sound.

.

@For

mono

echo

recording,

use

the

desired

L

or

R

channel

only.

The

illustration

shows

mono

recording.

©

LINE

OUT

(L)

°

LINE

IN

(L)

a

12

‘EDITING

There

are.two

ways

of

tape

editing:

editing

by

tape

duplication

and

splicing.

Before

editing,

play

the

original

tape

thoroughly,

and

note

the

tape

counter

number

where

the

unwanted

sounds

(narra-

ration

or

commercials,

pop

noise,

etc.)

are

located..

Then

go

back

-and

proceed

with

editing

in

either

way.

Editing

by

duplication

For

connection,

see

page

6.

lf

one

tape

deck

is

inferior

to

the

other

in

quality,

use

the

better

one

as

a

master

tape

deck

for

the

playback

process

to

obtain

bet-

ter

S/N.

Editing

by

splicing

As

the

tape

will

be

cut

and

spliced,

recorded

materials

in

opposite

direction

will

also

be

cut

off.

If

necessary,

duplicate

the

tape

to

another

tape

before

proceeding.

Cueing

1.

Stop

the

tape

with

the

pause

button

in

playback

mode

at

the

portion

to

be

spliced.

2.

Move

the

tape

across

the

playback

head

back

and

forth

by

turn-

ing

both

reels

by

hand.

3.

While

listening

to

cue

sound,

find

the

correct

portion

to

be

spliced,

and

carefully

mark

it

at

the

position

of

the

playback

head

on

the

outer

side

of

the

tape

with

soft

colored

pencil.

Yellow

will

be

most

distinctive.

Note:

Take

care

not

to

get

excessive

marking

material

on

the

heads.

Any

stain

on

the

heads

will

cause

contamination

and

im-

pair

tape-and-head

contact.

Splicing

Use

splicing

tape

and

a

demagnetized

pair

of

scissors.

1.

Neatly

overlap

the

tapes

to

be

spliced

and

cut

diagonally.

2.

Place

the

two

diagonal

tape

ends

together,

outer

side

up,

on

a

flat

surface.

Be

careful

to

make

ends

meet

but

not

overlap.

,

3.

Apply

a

piece

of

splicing

tape

diagonally

over

the

aligned

ends,

and

press

it

firmly.

4.

Trim

off

the

excessive

splicing

tape,

slightly

cutting

into

the

tape.

Playback

head

NOTE

@Do

not

use

ordinary

cellophane

tape

as

it

tends

to

spoil

record-

ing

tapes.

Also

avoid

using

magnetized

scissors

or

razor

blades.

Magnetized

instruments

will

cause

a

“click”

or

“pop”

at

the

spliced

portion.

@

Take

care

not

to

unnecessarily

touch

the

tape.

Even

unvisible

traces

of

grease

and

sweat

from

your

fingers

will

hinder

a

good

sticking.

Searching

the

program

beginning

in

rewind

or

fast-forward

mode

;

While

the

tape

is

fast-winding,

depress

the

pause

button,

then

slightly

push

up

the

left

and

right

pinch

rollers

against

the

heads.

Chattering

sounds

will

be

heard

from

the

recorded

part

of

the

tape.

Search

the

blank

portion

between

these

sounds.

The

sound

volume

may

be

changed

according

to

the

pressure

ap-

plied

to

the

pinch

rollers

by

your

fingers.

@Don’t

push

the

pinch

rollers

excessively.

Too

much

pressure

will

deteriorate

or

even

cut

the

tape.

MAINTENANCE

Cleaning

of

heads

and

tape

path

Generally

cleaning

after

every

10

hours

of

operation

will

be

suf-

ficient.

However

all

surfaces

over

which

tape

travels

should

be

cleaned

before

making

high

quality

recordings.

Take

the

supplied

head

cleaning

pen

and

wipe

the

heads

and

tape

path.

For

easier

cleaning

of

pinch

roller

and

capstan,

rotate

them

by

holding

the

automatic

shut-off

switch

and

the

tape

guide

with

a

rubber

band.

Supply

the

power

to

the

unit

and

depress

the

»

button.

Erase

head

Record

head

Playback

head

Capstan

Pinch

roller

Tape

guide:

Tension

arm/automatic

shut-off

switch

———!

Tension

roller

Record

head

Playback

head

(2-track)

Playback

head

(4-track)

TC-766-2

Erare

head

Capstan

Pinch

roller

Tape

guide

Tension

arm/automatic

shut-off

switch

———_~

Tension

roller

Rubber

band

Demagnetizing

heads

Residual

magnetism

will

gradually

build

up

on

the

heads

through

continuous

use

and

cause

erasure

of

high

frequencies

and

hiss

build-up.

The

heads

and

metallic

parts

of

the

tape

path

should

be

demagnetized

after

20-30

hours

of

operation

with

a

commercially

available

head

demagnetizer.

Be

sure

the

unit

is

turned

off.

Cleaning

cabinet

Clean

the

cabinet,

panel

and

controls

with

a

soft

cloth

lightly

moisténed

with

mild

soap

solution.

Do

not

use

any

type

of

scour-

ing

powder

or

solvent

such

as

alcohol

or

benzine.

Inside

check

Consult

your

nearest

Sony

Service

Station

or

Sony

dealer

once

a

year

to

maintain

optimum

performance.

13

SPECIFICATIONS.

Power

requirements

Power

consumption

Semiconductors

Tape

speeds

Recording

time

Fast

winding

time

Reel

Track

system

Heads

Motors

Bias

frequency

Equalization

Signal-to-noise

ratio

110,

120,

220

or

240

V

AC

(adjustable)

50/60

Hz

90

W

2

ICs,

3

FETs,

104

transistors

89

diodes

19

cm/s

(7

1/2

ips)

9.5

cm/s

(3

3/4

ips)

With

1100

m

(3,600

ft)

tape,

27

cm

reel

Stereo

recording

180

minutes

at19

cm/s

©

Mono

recording

720

minutes

at

9.5

cm/s

Approx.

150

sec.

with

740

m

(2400

ft)

tape

up

to

27

cm

(10

1/2-inch)

4-track

2-channel

stereo

Record

head

1,

Playback

head

1

Erase

head

1

AC

servo-controlled

capstan

motor

1

induction

reel

motor

2

,

160

kHz

JIS

standard

19

cm/s

:3,180

us

+

50

us

9.5

cm/s:

3,180

us

+

90

us

With

Sony

Ferri-Chrome

Tape

61

dB

(DIN,

1975

rev.)

56

dB

(DIN

old)

Total

harmonic

distortion

Frequency

response

Wow

and

flutter

Inputs

Outputs

0.7%

:

With

Sony

Ferri-Chrome

Tape

and

SLH

Tape

30-25,000

Hz

+

3

dB

at

19

cm/s

30-18,000

Hz

+

3

dB

at

9.5

cm/s

With

regular

tape

30-18,000

Hz

+

3

dB

at

19

cm/s

30-15,000

Hz

+

3

dB

at

9.5

cm/s

+0.07%

at

19

cm/s

+0.15%

at

9.5

cm/s

Microphone

input

(phone

jack)...

...

sensitivity

0.2

mV

(—72

dB)

for

low

impedance

microphone

Line

input

(phono

jack)...........

sensitivity

0.06

V

(—22

dB)

input

impedance

100

k

ohms

Line

output

(phono

jack)..........

output

level

0.435

V

(—5

dB)

at

load

impedance

of

100

k

ohms,

with

PB

LEVEL

controls

set

to

center

detent

position,

with

PB

LEVEL

controls

set

to

“10”

0.775

V

(O

cB)

Suitable

load

impedance

more

than

10k

ohms

Headphone

output..............

for

low

impedance

headphones

Record/playback

(DIN)

connector

Other

jack

Dimensions

Weight

14

Input

impedance

less

than

10

k

ohms

Output

impedance

less

than

10

k

ohms

11-pin

remote

control

connector

Approx.

445

x

525

x

235

mm

(w/h/d)

(17

1/2

x

20

5/g

x

9

1/4

inches)

Including

projecting

parts

and

controls

Approx.

27

kg

(59

Ib

8

oz)

Supplied

accessories

Power

requirements

Power

consumption

Semiconductors

Tape

speeds

Recording

time

Fast

winding

time

Reel

Track

system

Heads

Motors

Bias

frequency

Equalization

Signal-to-noise

ratio

Reel

adaptor

and

spacer

RAD-11....

.

Reel:

R-WA.

de

a

ee

Connecting

cord

RK-74H

.........

Head

cleaningpen

.............

110,

120,

220

or

240

V

AC

(adjustable)

50/60

Hz

90

W

2

ICs,

3

FETs,

103

transistors

86

diodes

38

cm/s

(15

ips)

19

cm/s

(7

1/2

ips)

With

1,100

m

(3,600

ft),

27

cm

reel

Stereo

recording

45

minutes

at

38

cm/s

Mono

recording

180

minutes

at

19

cm/s

Approx.

150

sec.

with

740

m

(2,400

ft)

tape

;

up

to

27

cm

(10

1/9-inch)

2-track

2-channel

stereo

recording

and

playback

4

track

2-channel

stereo

playback

Record

head

1,

Playback

head

2

Erase

head

1

AC

servo-controlled

capstan

motor

1

Induction

reel

motor

2

160

kHz

JIS

standard

3,180

ps

+

50

ps

With

Sony

Ferri-Chrome

Tape

64

dB

(DIN,

1975

rev.)

59 dB

(DIN,

old)

Total

harmonic

distortion

Frequency

response

Wow

and

flutter

Inputs

Outputs

0.5%

With

Sony

Ferri-Chrome

Tape

and

SLH

’

Tape

30-30,000

Hz

+

3dB

at

38

cm/s

30-25,000

Hz

+

3

dB

at

19

cm/s

With

regular

Tape

30-22,000

Hz

+

3

dB

at

38

cm/s

30-18,000

Hz

+

3

dB

at

19

cm/s

+0.035%

at

38

cm/s

+0.07%

at

19

cm/s

Microphone

input

(phone

jack)......

sensitivity

0.2

mV

(—72

dB)

for

low

impedance

microphone

Line

input

(phono

jack})...........-

sensitivity

0.06

V

(—22

dB)

input

impedance

100

k

ohms

Line

output

(phono

jack)..........

output

level

0.435

V

(—5

dB)

at

load

impedance

of

100

k

ohms,

with

PB

LEVEL

controls

set

to

center

detent

position,

with

PB

LEVEL

controls

set

to

|

“10”

0.775

V

(0

dB)

Suitable

load

impedance

more

than

10k

ohms

:

Headphone

output

.....

Site

at

aa

&

4

for

low

impedance

headphones

Record/playback

(DIN)

connector

Other

jack

Input

impedance

less

than

10

k

ohms

Output

impedance

less

than

10

k

ohms

11-pin

remote

control

connector

Dimensions

Approx.

445

x

525

x

235

mm

(w/h/d)

(17

1/2

x

20

5/g

x

9

1/4

inches)

Including

projecting

parts

and

controls

Weight

Approx.

27

kg

(59

Ib

8

oz)

Supplied

accessories

Ree!

adaptor

and

spacer

RAD-11......

2

Reel

R-11A

1.2.0...

.--...004.

21

Connecting

cord

RK-74H

.........

2

Head

cleaning

pen

.............

1

While

the

information

given

is

correct

at

the

time

of

printing,

“small

production

changes

in

the

course

of

our

company’s

policy

of

improvement

through

reserch

and

design

might

not

necessarily

be

indicated

in

the

specifications.

We

please

ask

you

to

check

-with

your

appointed

Sony

dealer

if

clarification

on

any

point

is

required.

TROUBLE

CHECKS

The

following

chart

will

help

correct

most

problem

which

may

.

occur

with

the

unit.

Before

going

through

the

check

list

below,

first

pay

attention

to

the

following

fundamental

points.

@The

power

cord

must

be

connected

firmly.

@Connection

to

the

amplifier

must

also

be

firm.

@

Heads,

capstan

and

pinch

roller

should

be

cleaned.

@

The

amplifier

controls

and

switches

should

be

set

correctly.

Tape

does

not

move

even

when

function

buttons

are

de-

pressed.

@

There

is

slack

in

the

tape.

Tape

does

not

run

even

when

the

»

button

is

depressed.

_

@The

pause

button

is

depressed.

When

power

is

supplied,

tape

runs

even

though

the

»

button

is

not

depressed.

@

The

TIMER

switch

is

set

to

ON.

:

Recording

source

cannot

be

monitored

in

the

playback

mode,

when

setting

the

MONITOR

switch

to

SOURCE.

@The

REC

MONITOR

MUTE

switch

is

set

to

ON.

During

recording,

there

is

a

great

volume

difference

between

SOURCE

and

TAPE

settings

of

the

MONITOR

switch.

@The

PB

LEVEL

controls

are

set

far

beyond

midpoint.

Unclear

or

distorted

recording

or

excessive

wow

and

flutter

@Contamination

of

the

heads.

Poor

S/N

ratio

during

recording

@The

REC

LEVEL

controls

unused

(MIC

or

LINE)

should

be

turned

full

counterclockwise.

Recording

cannot

be

made.

@The

REC

MODE

switches

are

not

depressed.

@Check

the

INPUT

SELECT

switch.

No

playback

or

decrease

of

sound

reproduction

@Contamination

of

the

playback

head.

@The

MONITOR

switch

should

be

set

to

TAPE.

At

SOURCE

posi-

tion,

no

sound

is

heard.

@Check

the

amplifier

volume

controls.

@Check

the

amplifier

input

selector.

@Check

if

the

PB

LEVEL

controls

are

set

to

“0”.

@Check

the

2-track/4-track

selector

switch.

(TC-766-2)

Too

low

microphone

sound

@Set

the

MIC

ATT

switch

at

“0”.

@

Use

low

impedance

microphones.

No

sound

from

the

headphones

@Check

the

PB

LEVEL

controls.

Insufficient

erasure

e@Contamination

of

the

erase

head

Oscillation

occurs

when

trying

to

record

from

the

amplifier

@lf

the

LINE

OUT

jacks

of

the

tape

deck

are

connected

to

the

am-

plifier

AUX

jacks

and

if

these

are

switched

on,

change

the

amplifier

input

selector

to

another

position.

15

Diese

Bedienungsanleitung

gilt

fir

das

Modell

TC-765

(4-Spur,

19

cm/s)

und

das

TC-766-2

(2-Spur,

38

cm/s).

Die

Unterschiede

zwischen

den

zwei

Modellen

werden

genau

im

Text

behandelt.

BESONDERE

MERKMALE

@

Drei

Tonképfe

und

drei

Motoren

(TC-765)

e@

Vier

Tonképfe

und

drei

Motoren

(TC-766-2)

@Geschlossener

Zwei-Andruckrollenbetrieb

@

Servogesteuerter

Wechselstrommotor

fir

die

Bandantriebswelle

@F

&

F

(Ferrit

und

Ferrit)-Hochleistungstonkdépfe

e@Getrennte

3-Weg-Wahler

fir

Vormagnetisierung

und

Entzer-

rung

;

@Logische

Kontrolle

der

Funktionstasten

@Die

erste

Stufe

des

Verstaérkers

und

der

Wiedergabekopf

sind

direkt

gekoppelt.

VORSICHT

Um

einen

elektrischen

Schlag

oder

Brandgefahr

zu

vermeiden,

setzen

Sie

das

Gerat

weder

Regen

noch

Feuchtigkeit

aus.

Um

einen

elektrischen

Schlag

zu

vermeiden,

darf

das

Gehause

nicht

gedéffnet

werden.

Uberlassen

Sie

Wartungsarbeiten

nur

qualifiziertem

Personal.

30

INHALTSVERZEICHNIS

Zur

besonderen

Beachtung...........

000

eee

31

Betriebsspannung.....

0.0.0.2

ee

eee

ees

31

Funktion

der

Bedienungselemente

..............2005

32

SWANSCHIGSSES

6

5

wi

d.0g

te

eutibie

oe

Gage

date

ed

yes

34

Einfadeln

des

Tonbandes

..........

0000

e

eee

34

Autnahmes,.

#:.204:%

-a-e

eeete

Seed

ave

Lae

ee

ede

35

Wiedergabe

s.

3:3

sss.

ie

Gie

Seine

8

AS

ee

we

aS

hae

38

LOSCheN

t.:25..a0n

sacs

ste

Ge

a

tiaes

Held

eed

a

ahs

38

Zeitgesteuerte

Aufnahme

und

Wiedergabe.............

38

Mischen

von

Mikrofon-

und

Direkteingangssignalen.......

39

7

Sound-on-Sound’”-Aufnahme..

2.

ee

39

EGHO=AUf

nal

ine

fitz

on

asec

05s

Sechelt

ett

40

Bandmontage®

6.276.

od

pik

es

ees

Os

ne

RR

40

Wartung

und

Pflege

2.2.0...

0...

ee

eee

41

Technische

Daten...

..

2.2...

0.00.

2

eee

es

42

Stérungsiiberprifungen

..

2...

0.0...

ee

43

ZUR

BESONDEREN

BEACHTUNG

Zur

Sicherheit

e@Vergewissern

Sie

sich,

ob

die

Betriebsspannung

Ihres

Gerates

mit der

drtlichen

Netzspannung

iibereinstimmt.

@Falls

irgendeine

Flissigkeit

oder

ein

Fremdkorper

in

das

Ge-

hause

gelangt,

ziehen

Sie

den

Netzstecker

und

lassen

Sie

das

Gerat

von

einem

Fachmann

Uberpriifen,

bevor

Sie

es

weiter

be-

nutzen.

@Ziehen

Sie

den

Netzstecker

aus

der

Steckdose,

wenn

Sie

das

Gerat

Uber

langere

Zeit

nicht

benutzen.

Um

das

Netzkabel

heraus-

,zuziehen,

fassen

Sie

es

immer

am

Stecker

an;

ziehen

Sie

niemals

am

Kabel.

Zur

Aufstellung

*

@Gute

Luftzirkulation

ist

wesentlich,

um

einen

Warmestau

im

Ge-

rateinneren

zu

verhindern.

Steilen

Sie

das

Gerat

daher

so

auf,

daB

es

von

gentgend

Luft

durchstrémt

werden

kann.

:

@

Stellen

Sie

das

Gerat

nicht

neben

Heizkérpern

und

Warmluftaus-

lassen

auf,

oder

dort,

wo

es

direktem

Sonnenlicht

ausgesetzt

ist,

und

schiitzen

Sie

es

vor

Staub

und

Erschiitterungen.

.

Zur

Tonkopfreinigung

Die

optimale

Leistung

Ihres

Tonbandgerates

hangt

davon

ab,

daB

Sie

die

Tonképfe

und

alle

Oberflachen,

Gber

die

das

Tonband

lauft,

periodisch

reinigen.

Schmutz

auf

Tonképfen

und

Bandfiihrung

verursacht

:

@Verlust

in

der

Wiedergabe

hoher

Frequenzen

@Verlust

in

der

Lautstarke

@

Klanglécher

(drop-out)

usw.

Eine

Reinigung

sollte

jeweils

nach

10

Betriebsstunden

durchge-

fihrt

werden.

Fir

Einzelheiten,

siehe

,,Wartung

und

Pflege”.

Wiedergabe-Signal

bei

10

kHz

Mit

einem

sauberen

Tonkopf

Mit

einem

schmut-

zigen

Tonkopf

(Der

Ausgangspegel

schwankt.)

Frequenzgang

bei

38

cm/s

T

TT

it

einem

o

=

®

-5

oOo

2

i

a

Selbst

eine

kaum

sichtbare

Staubdicht

von

@

_10

1,5

«

verursacht

diese

Verschlechterung

g

des

Frequenzgangs.

<

-15

sak

ees

oe

_

100

10k

1k

Frequenz

(Hz)

‘Sollten

Fragen

oder

Probleme

mit

dem

Gerat

auftreten,

wenden

Sie

sich

bitte

an

die

nachste

Sony

Kundendienststelle

oder

Ihren

-nachsten

Sony

Handler.

BETRIEBSSPANNUNG

Vor

dem

Anschlu8

an

des

Lichtnetz

vergewissern

Sie

sich,

da8

der

Spannungswéahler

richtig

auf

ihre

drtliche

Netzspannung

‘einge-

stellt

ist.

Wenn

die

Voltzahl

nicht

ibereinstimmt,

stellen

Sie

den

Wahler

wie

folgt

um.

1.

Ziehen

Sie

das

Netzkabel

aus

der

Steckdose.

2.Nehmen

Sie

den

Deckel

des

Wa&hlers

ab:

Lockern

Sie

die

Schraube

mit

Pfeilmarkierung

am

Deckel

aber

entfernen

sie

nicht

aus

dem

Gehause.

Ziehen

Sie

die

andere

Schraube

heraus.

Drehen

Sie

dann

den

Deckel

zur

Seite,

so

daB

der

Wahler

abgenommen

werden

kann.

3.

Ziehen

Sie

den

W4hler

heraus

und

setzen

Sie

ihn

so

erneut

ein,

daB

die

Pfeilmarkierung

auf

die

entsprechende

Voltzahl

zeigt.

4.

Befestigen

Sie

nach

dem

Umstellen

des

Wahlers

den

Deckel

wieder.

@Eine

Anpassung

des

Gerates

an

die

Netzfrequenz

entfallt,

da

|hr

Tape

Deck

mit

einem

servogesteuerten

Wechselstrommotor

be-

trieben

wird.

110V

220V

ov

3@

240V

120V

240V

120V

“31

FUNKTION

DER

BEDIENUNGSELEMENTE

@

Bandspannungshebel,

automatische

Endabschaltung

Diese

Hebe!

sorgen

fiir

gleichmaBige

Bandspannung.

Wenn

das

Band

ganz

aufgespult

ist

und

die

Bandspannungshebel

in

ihre

urspriingliche

Stellung

zurtickkehren,

wird

der

Bandtransport-

mechanismus

angehalten.

@

Zeitschalter

[TIMER

|

Stellen

Sie

normalerweise

diesen

Schalter

auf

OFF.

Zum

zeitgesteuerten

Betrieb

stellen

Sie

inn

auf

ON.

@

Geschwindigkeitswahler

[TAPE

SPEED]

19cm:

Fur

Aufnahmen

von

hoher

Qualitat

9,5cm:

Fir

langere

Spieldauer

des

Bandes

38

cm:

Fir

professionelle

Aufnahmen

mit

Studioqualitat

19.cm

:

Fir

langere

Spieldauer

des

Bandes

Die

Bandgeschwindigkeit

sollte

bei

Aufnahme

und

Wiedergabe

|

gleich

sein.

32

@

SpulengréRenwahler

[REEL

SIZE]

;

Wahlen

Sie

optimale

Rickspulspannung

und

Spulendrehmoment

fiir

die

verwendete

Spule:

Die

Stellung

,,10”

ist

fir

270

mm-

Spulen,

die

Stellung

,,7”

fir

180

mm-

und

130

mm-Spulen.

©

Netzschalter

[POWER

|

Damit

wird

der

Strom

ein-

und

ausgeschaltet.

Die

VU-Meter

Jeuchten

auf,

wenn

das

Gerat

eingeschaltet

wird.

©

VU-Meter

[VU]

Steht

der

Monitorschalter

[MONITOR]

auf

SOURCE,

zeigen

die

Meter

den

durch

die

Aufnahmepegelregler

[REC

LEVEL]

abge-

glichenen

Aufnahmepegel

an.

Steht

der

Schalter

[MONITOR}

auf

TAPE,

zeigen

die

Meter

den

Ausgangspegel

an,

der

durch

die

Wiedergabepegelregler

[PB

LEVEL

]

eingestellt

wurde.

Die

QO

VU

entspricht

0,435

V.

@

Kopfhorerbuchse

[HEADPHONES

}

Zum

Horen

der

Eingangsprogramme

wie

auch

der

aufgenomme-

nen

Signale

schlieBen

Sie

einen

niederohmigen

Kopfhérer

an.

©

Mikrofonbuchsen

[MIC]

Jedes

niederohmige

Mikrofon

mit

Klinkenstecker

kann

angeschlos-

sen

werden.

Wenn

Ihr

Mikrofon

einen

Ministecker

hat,

so

be-

nétigen

Sie

einen

Zwischenstecker,

um

es

an

die

Klinkenbuchse

anzuschlieBen.

©

Mikrofondampfungsschalter

[MIC

ATT]

Stellen

Sie

diesen

Schalter

normalerweise

auf

,,O”.

Der

Mikrofondampfungsschaiter

ist

nitzlich

bei

Live-Aufnahmen

sehr

starker

Eingangssignale

(Rock-Musik

usw.)

oder

fiir

Auf-

nabmen,

bei

denen

das

Mikrofon

sehr

nahe

an

die

Aufnahmequelle

gebracht

muB.

Er

dient

dazu,

solche

Aufnahmen

ohne

Uberta-

stung

vom

Verstarker

des

Tape

Decks

zu

machen.

Stellen

Sie

diesen

Schalter

auf

,,15”,

wenn

die

Zeiger

der

VU-Meter

tiber

die

»0“-Marke

schwingen,

obwohl

die

Mikrofon-Aufnahmepegelregler

CREC

LEVEL

MIC]

zuriickgedreht

sind.

In

,,15’-Stellung

wird

der

Eingangspege!

um

15

dB

abgeschwacht.

Wenn

das

Eingangs-

signalpegel

noch

starker

ist,

stellen

Sie

den

Schalter

auf

,,30”.

In

,

30"-Stellung

wird

der

Eingangspege!

um

30

dB

abgeschwacht.

@

Bandzahlwerk

und

Rickstellknopf

Verwenden

Sie

das

Zahlwerk

zur

Erfassung

des

Bandinhalts.

Stel-

len

Sie

das

Zahlwerk

nach

dem

Einfadeln

eines

Bandes

durch

Druck

auf

den

Rickstellknopf

auf

,,0000”.

Die

Ziffern

andert

sich

mit

dem

Lauf

des

Bandes.

Notieren

Sie

sich

die

entsprechenden

Zif-

fern

und

das

aufgenommene

Programm

zum

spateren

Wiederfin-

den.

@

Funktionstasten

@

Aufnahme,

<q

Riicklauf,

B§

Stop,

®

Vorlauf

und

BY

Schneil-

vorlauf

des

Bandes.

Diese

Tasten

kénnen

beliebig

gedriickt

werden,

um

die

Bandbe-

wegung

von

Normal-

auf

Schnellauf

und

umgekehrt

zu

Andern

(lo-

gisch

gesteuerte

Transportschaltung).

Ef

Pausentaste

Zum

kurzzeitigen

Anhalten

des

Bandes

wahrend

der

Aufnahme

oder

der

Wiedergabe

driicken

Sie

diese

Taste.

Um

das

Band

er-

neut

zu

starten,

driicken

Sie

die

Taste

noch

einmal.

Verwenden

Sie

diese

Taste

auch

fiir

den

glatten

Start

einer

Aufnahme.

@

Aufnahmepegelregler

[REC

LEVEL—MIC,

LINE]

Stellen

Sie

die

Aufnahmepegel

mit

diesen

Reglern

ein;

der

innere

Regler

ist

fir

den

rechten

Kanal

[R],

der

4uBere

fir

den

linken

[L].

Drehen

Sie

die

nicht

verwendeten

Regler

ganz

nach

,,O”.

MIC:

Beim

Aufnehmen

Uber

die

Mikrofonbuchsen

[MIC].

LINE

:

Beim

Aufnehmen

tber

den

DIN-AnschluB

[REC/PB]

und

die

Direkteingange

[LINE

IN}.

@®

Monitorschalter

[MONITOR]

Stellen

Sie

diesen

Schalter

bei

Wiedergabe

auf

TAPE.

Bei

Auf-

nahme

kénnen

in

Stellung

SOURCE

die

ankommenden

Eingangs-

signale

und

in

Stellung

TAPE

die

gerade

aufgenommenen

Signale

mitgehort

werden.

@®

Wiedergabepegelregler

[PB

LEVEL

]

Sie

regeln

den

Wiedergabesignalpegel

von

Direktausgangen

{LINE

OUT]

und

Kopfhérerbuchse

[HEADPHONES].

Stellen

Sie

die

Regler

normalerweise

in

Mittelstellung.

Weitere

Einzelheiten

siehe

Seite

37.

@®

Aufnahmebetriebsschalter

[REC

MODE}

Driicken

Sie

diese

Schalter

zum

Aufnehmen.

Sind

diese

Schalter

gedrickt,

blinkt

die

Aufnahmetaste

regelmaBing

auf.

Rasten

Sie

die

Schalter

bei

der

Wiedergabe

aus,

um

das

Band

vor

unbeab-

sichtigtem

Léschen

zu

schiitzen.

@

Bandartenwahischalter

[TAPE

SELECT]

BIAS

:

Wahlen

Sie

die

optimale

Vormagnetisierung

fir

das

Band,

“auf

das

Sie

aufnehmen

wollen.

:

EQ:

Wahlen

Sie

die

korrekte

Entzerrungscharakteristik

fir

das

Band,

auf

das

Sie

aufnehmen

wollen.

Beide

Schalter

haben

keine

Wirkung

bei

der

Wiedergabe.

@

2-Spur/4-Spur-Wahler

:

Stellen

Sie

normalerweise

diesen

Schalter

nach

links

(2-Spur).

Wenn

Sie

ein

Band,

das

auf

einem

anderen

4-Spur

Tape

Deck

aufgenommen

wurde,

wiedergeben

wollen,

stellen

Sie

diesen

Schaiter

nach

rechts

(4-Spur),

Wird

eine

Aufnahme

auf

zwei

Spu-

ren

gemacht

und

das

Band

mit

diesem

W4hler

auf der

rechten

Stellung

(4-Spur)

wiedergegeben,

wird

der

Wiedergabepegel

ab-

geschwacht.

Wird

andererseits

auf

4

Spuren

aufgenommen

und

bei

der

Wiedergabe

der

Wahler

auf

2-Spur

gestellt,

werden

Kanale

gemischt.

4-Spur

Schalter

fir

Aufnahmetonunterdriickung

[REC

MONITOR

MUTE}

(auf

der

Riickseite

des

Gerates)

Steht

dieser

Schalter

auf

ON,

werden

die

Direktausgaénge

abge-

schaltet,

auBer

wenn

bei

Wiedergabe

der

Monitorschalter

[MONI-

TOR]

auf

TAPE

steht.

Siehe

untere

Tabelle.

Dadurch

werden

Heuleffekte

bei

Mikrofonaufnahmen

vermieden

und

Aufnahmen

von

Instrumenten,

bei

denen

haufiges

Wiederholen

von

Aufnahme

und

Wiedergabe

notwendig

wird,

werden

einfacher.

Schalter

[MONITOR]

SOURCE

TAPE

bei

Aufnahme

kein

Ton

kein

Ton

bei

Wiedergabe

kein

Ton Ton

Mithéren

tber

Kopfhérer

ist

in

jedem

Fall

méglich.

Fernbedienungsanschlu&

[REMOTE

CONTROL]

(auf

der

Riick-

seite)

Verbinden

Sie

das

Sony

Fernbedienungsgerat

RM-30

(gesondert

lieferbar)

mit

diesem

Anschlu&.

Das

RM-30

erméglicht

sowohl

Aussparung

bei

einer

Aufnahme*

als

auch

Fernbedienung.

Vor

Gebrauch

des

RM-30

mit

dem

Tonbandgerat

lesen

Sie

seine

Be-

dienungsanleitung.

*

Diese

Einrichtung

ist

praktisch,

um

unerwtinschte

Programm-

teile,

wie

Reklame

im

Radio,

zu

blenden

und

dabei

einen

ange-

messenen

Abstand

zwischen

den

Aufnahmen

erzeugen.

;

Eingangswahlschalter

[INPUT

SELECT]

(auf

der

Rickseite)

Beim

Aufnehmen

Uber

Direkteingange

[LINE

IN}

stellen

Sie

den

Schalter

auf

LINE.

Beim

Aufnehmen

dber

DIN-Anschlu8

[REC/PB]

stellen

Sie

ihn

auf

‘REC/PB.

33

ANSCHLUSSE

@Schalten

Sie

vor

dem

AnschlieBen

bitte

den

Verstarker

aus.

@Stecken

Sie

die

Stecker

fest

in

die

Buchsen.

Lockere

Anschliis-

se

k6nnen

Brummen

und

Rauschen

verursachen.

@

Der

rote

Stecker

des

mitgelieferten

Verbindungskabels

sollte

an

den

rechten

Kanal

angeschlossen

werden,

der

graue

Stecker

an

den

linken

Kanal.

©

;

AnschluB

an

einen

Verstarker

Zum

Uberspielen

auf

ein

anderes

REC/PB,

=Oee

=

AnschluB

auf

der

Vorderseite

DIN-Anschlu&

[REC/PB

]

Es

gibt

zwei

Méglichkeiten

fur

den

AnschluB

an

den

Verstarker

;

iiber

die

mitgelieferten

Phono-Verbindungskabel

oder

tiber

das

funf-polige

DIN-Kabel.

Beachten

Sie

die

folgenden

Punkte.

@

Der

AnschluB

iber

die

Phonokabe!

wird

Sony TC-765 Setup guide

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