Teac A-2340 User manual

INSTRUCTION
MANUAL
A-2340
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STEREO
TAPE
DECKS

CONTENTS
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Reay PANEL CONNECETIONS: (ss xad sepa venlhagews wh tees 4
Connections to and from the 2340/3340 ....... cee 5
Location of controls: sisieses cd xs aha ie tahale Py ath 7
Threading the TAP cons sessecveneressccsarervevens 10
PiSYOCCK ODE ATION: + ards siadadice ean Gand Beene Ba wt ees 12
General recording information ........cccceesscees 14
RECOVOING -OPEVETION:, ““aivdswsiacaiad gesaus adea ekeeer 20
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SPCCTEI Cations: - dicey atatunes heewa ee beeen dks x seee 28
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INTRODUCTION
Your
new
TEAC
2340/3340
has
been
manufactured
under
the
strictest
quality
control
procedures,
each
unit
has
been
thoroughly
checked
at
the
factory.
Should
any
damage
have
been
incurred
during
transit
or
should
you
have
any
doubts
as
to
its
performance,
contact
your
dealer
as
soon
as
possible.
Our
investigation
has
shown
that
approximately
40%
of
the
calls
for
service
immediately
after
purchase,
result
from
improper
operation
of
the
equipment.
Therefore
it
is
important
that
you
thoroughly
read
and
understand
this
manual
before
placing
the
unit
in
operation,
A
lack
of,
or
improper
cleaning
can
also
result
ina
degradation
of
performance.
Careful
observation
of
the
cleaning
and
servicing
hints
contained
in
this
mane
will
contribute
to
a
lengthened
trouble
free
unit
life,
In
this
manual
al?
2340/3340
control
designations
will
be
in
upper
case
letters,
‘exactly
as
they
appear
on
the
tape
deck,
External
amplifier
controls
will
be
in
lower
case
letters
and
may
not
correspond
to
those
on
your
amplifier.
Throughout
the
manual
you
will
see
repeated
references
to
"front"
and
“rear”
amplifiers.
These
terms
do
not
refer
to
location
of
the
amplifiers
but
to
the
normal
placement
of
the
four
microphones
used
for
true
4-channe}
recording.
The
usual
practice
is
to
have
two
microphones
placed
at
the
front
of
the
recording
Studio
and
two
more
at
the
rear.
When
installing
the
4-channel
playback
system,
speaker
placement
should
be
in
accordance
with
the
placement
of
the
microphones
during
recording.
Hence
"front"
and
"rear"
amplifiers.
The
front
amplifier
am-
plifies
the
signals
from
the
front,
left
and
right
tracks
(Tracks
#1
and
#3),
the
rear
amplifier
is
fed
with
the
signals
from
the
remaining
two
tracks
(Tracks
#2
and
#4).
When
playing
stereo
(2-channel
4-track)
tapes,
only
the
front
ampli-
fier
is
used
unless
your
system
incorporates
a
method
of
paralleling
the
amplifiers.
@ INSTALLATION SUGGESTIONS
Do
not
operate
this
unit
near
heating
appliances
or
on
top
of
an
amplifier
where
amplifier
heat
would
contribute
to
a
rise
in
temperature.
Do
not
place
the
unit
where
it
will
be
exposed
to
direct
summer
sunlight.
Temper-
ature
extremes
will
not
only
cause
degradation
of
sound
quality
but
will

also
shorten
the
useful
operating
life
of
the
unit.
Avoid
temperatures
higher
than
100°F,
In
low
temperature
locations
lubricants
will
harden
and
satisfactory
opera-
tion
cannot
be
expected.
Operation
will
be
sluggish
and
an
overload
may
be
placed
on
the
drive
motors.
Avoid
temperatures
Tower
than
40°F,
High
humidity
locations
will
shorten
equipment
life
due
to
corrosion
and
possible
fungus
growth
on
printed
circuit
boards.
Should
you
be in
an
area
where
line
voltage
fluctuation
is
severe,
the
use
of
an
automatic
voltage
controller
is
recommended.
3-motor
decks
naturally
generate
more
heat
than
1-motor
units;
therefore,
it is
extremely
important
that
you
choose
a
level
space
which
affords
adequate
venti-
lation
in
the
placement
of
your
tape
deck.
This
is
especially
true
if
you
choose
to
operate
your
tape
deck
in
a
horizontal
position
(in
which
it
will
get
notice-
ably
warmer)
-
so
avoid
placement
on
thick
carpets
for
example.
@ SERVICE
Should
the
equipment
need
repair,
contact
the
dealer
where
it
was
purchased,
or
the
TEAC
authorized
service
center
nearest
you.
1)
The
warranty
period
is
described
in
the
enclosed
warranty
card.
Read
the
card
for
complete
details.
2)
For
repairs
after
expiration
of
the
warranty
period
a
service
charge
will
be
made
in
addition
to
the
price
of
repair
parts.
3)
If
only
repair
parts
are
-equired,
place
your
order
with
your
dealer
or
any
TEAC
authorized
service
center.
@ NOTE
Although
the
unit
may
still
be
under
the
warranty
period,
you
may
be
charged
for
repairs
made
necessary
by
misuse,
or
damage
incurred
as
a
result
of
improper
operation.

@ CHANGING THE POWER LINE SETTING
The deck is adjusted to the power voltage and frequency indicated on
the carton, before shipment from the factory. If it is to be used under
different power ratings, the tape deck must be reset as outlined below:
Note: Always disconnect the power cord from the AC outlet before resetting.
WHEN VOLTAGE IS DIFFERENT
The unit may be set for 100, 117, 200, 220 and 240 volts AC. To change the
voltage, unscrew the fuse in the center of the voltage selector plug. Pull
out the plug and reinsert it so that the desired voltage shows in the cutout.
Reinstall the fuse.
WHEN FREQUENCY IS DIFFERENT
|. Remove the power cord and all connecting cables.
¢.
Take
off
tape
deck
rear
cover
by
removing
the
screws
holding
it.
3.
The
belt
linking
the
motor
pulley
and
flywheel
must
be
repositioned.
The motor
pulley
on
the
unit
has
two
steps
and
difference
in rotation
due
to
a
different
power frequency
is
compensated
for
by
changing
the
belt
step
on
the
pulley.
Reposition
the
belt
with
your
fingers,
at
the
flywheel
first
and
then at
the pulley
when switching
from
60Hz
to
50Hz,
or
the
pulley
first and then
the
flywheel
when
changing
from
50Hz
to 60Hz.
4. After repositioning belt, rotate the flywheel several turns with your
finger to make sure the belt is correctly seated on the steps.
5. The frequency selector switch inside the tape deck must be switched to the
frequency of the power line.
6. Reinstall the rear cover of tape deck.
e
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REAR PANEL CONNECTIONS
Ground terminal
Fuse 2A
AC power jn
QUTPUT terminals
LINE IN terminals
an FP Ww MP —
R - right L - left
Before making connections
]. Set the POWER switch button to OFF.
2. Make sure the power line voltage and frequency to be used matches
those on the card attached to the deck. If they do not match,
change the setting after carefully reading "changing the power
line setting", page 3.

CONNECTIONS TO AND FROM THE 2340/3340

10:;
LOCATION OF CONTROLS
. Reel turntables:
The
3340
...
10-1/2
inch
NAB
reel
capacity.
The
2340
...
7
inch
NAB
reel
capacity.
. Index counter:
4-digit, push button reset.
. Tension arm:
Maintains constant tape tension even during start and stop operation.
. Guide post:
Acts in conjunction with tension arm as a mechanical filter, smooths out
any irregularities caused by sticking tape or uneven windings.
. TAPE SPEED selector:
Provides high or low speed operation at recording or playback.
The 3340 H: 15 ips The 2340 4H: 7-1/2 ips
L: 7-1/2 ips L: 3-3/4 ips
. REEL size selector (The 3340 only):
Selects proper back tension and reel torque for large or small reels.
. Head housing:
Protects the farous TEAC hyperbolic heads, also contains the head function
selector switches. These switches make possible the SIMUL-SYNC function.
By changing the head function for each track from record to monitor, ful}
4-track synchronization is possible. Placing the head function selector
switch in the SIMUL-SYNC position allows immediate monitoring of the selected
track for synchronization with any other track.
NOTE: To prevent switch noise from damaging your tapes or speakers, always
fully retard the OUTPUT level control for the head or channel to be
switched, before changing the switch position. Do not change switch
position while tape is in motion (recording or playback).
. Capstan:
Provides constant speed drive for tape.
. Pinch roller:
Engages tape to capstan at constant pressure.
Shut-off arm:
This arm automatically shuts off the tape transport when tape is completely
rewound or if the tape breaks during transport. Switch removes power when
it comes to rest at horizontal position.

ale
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14,
16.
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18,
1s
20.
OUTPUT level controls:
The
4
independent
output
controls
provide
complete
flexibility
during
play-
back
of
4
channel
tapes
or
SIMUL-SYNC
recordings.
They
also
control
the
output
volume
at
the
headphone
jacks.
_
MIC-LINE
recording
level
controls:
These
dual
concentric
knobs
control
the
recording
signal
levels
from
the
8
recording
inputs.
MIC/LINE
mixing
can
be
accomplished
by
varying
the
individual
input
levels.
VU meters:
Provide
individual
channel
monitoring
during
record
or
playback.
VU
meter
placement
corresponds
to
the
usual
speaker
geometry
for
4
channel
playback.
MICROPHONE
jacks:
Front
right
and
left,
Rear
right
and
left.
Input
impedance
600
ohms.
.
MONITOR
select
switches:
These
switches
perform
a
triple
function,
they
allow
you
to
monitor
either
the
source
signal
before
it
is
recorded,
or
the
signal
from
the
tape
after
it
is
recorded.
In
addition
they
select
the
signal
(tape
or
source)
to
be
displayed
on
the
VU
meters
and
to
be
present
at
the
headphone
receptacle.
PHONE
selector
switch
and
jack:
Phone
jack
accepts
any
standard
3
conductor
headphone
plug,
headset
im-
pedance
is
8
ohms.
The
PHONE
selector
switch
permits
monitoring
of
front
channels,
rear
channels
or
front
and
rear
channels
combined.
RECORD lights:
Illuminate
to
indicate
which
tracks
or
channels
are
in
the
recording
mode.
PLAY
button:
Selects
either
2-channel(stereo)
or
4-channel
operation
during
playback.
Switch
must
be
in
4-channel
position
for
4-channel
or
SIMUL-SYNC
recording.
In
2-channel
position
lower
2
VU
meter
lights
are
extinguished.
RECORD button:
This
button
in
conjunction
with
the
forward
play
button
p
places
the
deck
in
the
recording
mode.
RECORD
MODE
switches:
Allow
selection
of
channel
or
channels
to
be
recorded.

Zr;
225
23;
RECORD
BIAS
switch:
(See
BIAS
SETTING,
page
19
)
Selects
the
proper
bias
level
for
conventional
tapes
or
Low
Noise/High
Output tapes.
HIGH:
Used
when
recording
Low
Noise/High
Output
tapes
such
as
Scotch
203,
BASF
LP-~35LH
etc.
LOW
:
Used
when
recording
conventional
tapes
such
as
Scotch
150,
Sony
Super
150
etc.
Has no effect during playback.
POWER switch:
VU
meters
will
illuminate
when
this
switch
is
depressed.
To
turn
off
power, depress again and release.
Tape
transport
buttons,
Tape
mode
lever:
With
the
tape
mode
lever below
these
buttons
at
PLAY
and
the
»
depressed
the
tape
will
be
transported
from
left
to
right.
With
the
tape
mode
lever
at
FAST,
depressing
either
the
<
or
P
button
will
cause
the
tape
to
be
wound
rapidly
in
the
direction
of
the
arrow.
STOP
button;
stops
the
tape
in
any
mode
of
operation
and
also
disengages
the record mode.
PAUSE
;
temporarily
stops
the
tape
in
the
recording
mode
without
disengaging
the
recording
mode.
During
playback
(left
to
right
only)
you
may
engage
the
recording
mode
at
any
time
by
simultaneously
pressing
the
PB
and
the
RECORD
button.
This
feature
is
most
useful
for
editing
or
for
eliminating
unwanted
material.
$

REEL PLACEMENT (either reel)
]. Loosen the reel shaft tip fully CCW (counter-clockwise). See Ref.1 in the
picture below.
2. Match the inner 3 index tabs (Ref. 3) and the outer 3 index tabs (Ref. 2)
so they are aligned. This is done by turning the outer 3 index tabs slightly
CCW until the inner and outer index tabs are in a straight line with each
other.
3. With the fingers of both hands, grasp the reel and place the center hole
partially over the reel shaft up. (Ref. 1) Then gently rotate the reel CCW
while sliding the reel fully onto the turntable. When the outer 3 index tabs
(Ref. 2) are fully visible above the reel, you may proceed to step 4.
4, Carefully rotate the 3 outer index tabs (Ref.2) clockwise until they stop
(approximately 60 degrees or 1/6 of a revolution). Turn the reel shaft tip
(Ref. 1) clockwise approximately 3 revolutions until it is finger-tip tight.
Check that the outer index tabs are still in the clockwise position, about
mid-way ‘between the corresponding slots on the reel.
5. Repeat the above steps in the same sequence for the other reel.
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THREADING THE TAPE
Turn metal post in center of turntable fully counterclockwise to align the reel
index tabs, place full reel of tape on left turntable so that tape unwinds in
a counterclockwise direction. Rotate metal post clockwise to Tock reel into
position on turntable.
If large center (NAB 10-1/2") reels are to be used, insert the plastic ree]
adapters into the center of the metal reels before placing them on the turn-
tables, then secure as outlined above.
(The 3340 only)
Place an empty reel of the same size and hub diameter on the right reel turn-
table and lock the center post by turning it clockwise.
If large center (NAB 10-1/2") reels are to be used, insert the plastic reel
adapters into the center of the metal reels before placing them on the turn-
tables, then secure as outlined above. If standard center 10-1/2" reels (meta?)
are used, place a TEAC reel adjusting disc on each turntable before mounting
the metal reels. This will compensate for the slight difference in thickness
between metal and plastic reels.
Unwind a length of tape and thread it through each part in the order shown below;
]. over the left tension arm,
2. under the guide post,
3. across front face of head assembly,
4, between capstan and pinch roller,
5. under tape guide of shut-off lever,
6. Secure end of tape to empty reel, insert the end of the tape into the
notch of the reel, while holding tape against reel rotate the reel so as
to wind tape two or three times around the reel.
7. While holding left reel stationary, rotate the right reel counterclockwise
to take up slack in the tape. Take up tape slack until the shut-off lever
is brought to its full up position.
8. Place tape mode lever at PLAY position, tape will move from left to right
reel when Pp button is depressed.

PLAYBACK OPERATION
PLAYBACK OF 4-TRACK 4-CHANNEL STEREO TAPES
SN OM PW PF —-
. Thread tape on deck.
Set all SIMUL-SYNC switches to NORMAL position.
Set TAPE SPEED knob to speed at which tape was recorded.
Slide PLAY switch to 4 CHAN position.
Place all 4 MONITOR switches in TAPE position.
Move tape mode lever to PLAY position. Depress the p> button.
. When playback begins, reset index counter to zero. Advance the OUTPUT controls
until all 4 VU meters are indicating at or near the O VU area of the scale.
. Make final volume, tone and balance adjustments with the controls of the Front
and Rear power amplifiers.
. You may now wish to stop the tape, rewind it to zero on the index counter and
enjoy playback from the beginning.

PLAYBACK OF 4-TRACK, 2 CHANNEL STEREOPHONIC TAPES
}. Thread tape on deck.
2. Set all SIMUL-SYNC switches to NORMAL position.
3. Set TAPE SPEED knob to speed at which tape was recorded.
4. Slide the PLAY switch to the 2 CHAN position. Lower VU meter lights will
extinguish.
To use headphones, place PHONE switch in FRONT position.
Place the upper 2 MONITOR switches to TAPE position.
Move tape mode lever to PLAY position, depress the PB button.
When playback begins, reset index counter to zero. Advance the L-1] and R-3
OUTPUT controls so that VU meters indicate in the 0 VU area of the scale.
9. Make final volume, tone and balance adjustments with the controls of the
Front amplifier.
10. After completion of playback of the first 2 tracks, interchange the reels
between left and right turntables and playback the remaining 2 tracks.
Co “ss MH O
PLAYBACK OF 4-TRACK MONOPHONIC TAPES
In this mode only one of the Front audio channels will be operated at a time.
Normal playback sequence for monophonic tapes is, track 1, 4, 3 and finally 2.
In this operation only the Front amplifier is used and only the upper control
settings
of
the
2340/3340
will
be
operated.
PLAY
switch
must
be
in
the
2
CHAN
position.
Track 1 will be played first, the L-1 QUTPUT control will be advanced, the R-3
OUTPUT knob will be fully counterclockwise. Upon completion of track 1 the
reels are interchanged between left and right turntables, the tape started again
and playback of track 4 is now accomplished.
When track 4 has been played, reels are again interchanged however at this point
the L-1 OUTPUT knob is fully retarded and the R-3 OUTPUT control is set at mid
position. Tracks 3 and 2 are played back in the same manner as were tracks 1
and 4 above.

GENERAL RECORDING INFORMATION
A NOTE ABOUT 4-CHANNEL STEREO
The 2340/3340 combines the best features of high quality 4-track, 2-channel
operation with 4-channel stereo capability. To avoid any confusion between 4-track
stereo and 4-channel stereo, remember that conventional tape recordings for home
use have been standardized on a 4-track system; wherein the program material in
the forward mode (tracks 1 and 3) is different from the program material in the
reverse mode (tracks 4 and 2).:
Hence 4-track stereo is 2-channel stereo in both the forward and reverse mode.
<Q 2
1
3
aT Ree
ee cr a a
In 4-channel stereo, however, the program material is obtained from all 4 tracks
simul taneously.
Hence 4-channe] stereo is possible in the forward mode only.
—
Note: "Channel" refers to a separate, isolated information source, whereas "track"
refers to the recorded format on the tape itself. 4-track 2-channel stereo,
therefore, requires only one stereo amplifier system and two speakers;

4-channel stereo, on the other hand, requires two stereo amplifier systems
and four speakers.
_ eee
2 CH. STEREO TAPE DECK
OO 000
STEREO AMPLIFIER
SYSTEM
SPEAKER | SPEAKER 2°
tert
RIGHT
LEFT
REAR
RIGHT
REAR
TRACK
1(
FWD.)
TRACK
3(
FWD.)
TRACK
2
TRACK
4
TRACK
4
(REV,)
TRACK
2(REV.)
GENERAL TRACK INFORMATION
Sound
recordings
are
made
in
a
strip
on
the
magnetic
surface
of
a
recording
tape.
This
magnetized
strip
is
called
the
"Track".
The
full
tape
width
divided
by
two
is
called
"2"
track
recording,
and
the
full
tape
width
divided
into
quarters
is
called a "4" track recording.

@ "2" track recording
2-track recording is mainly employed in radio stations and professional recording
studios for stereo recording, in this case both tracks are recorded simultaneously
and in the same direction. 2-track recording in the home is usually done one track
at a time and is played back monaurally.
2 Track recording ( Monaural )
@ "4" track recording (Monophonic)
In this mode, each of the four tracks is recorded individually. At the end of the
tape the reels are interchanged between left and right and the next track is
recorded. The order in which the tracks are recorded is 1, 4, 3 and lastly 2.
Note: With tape threaded on the machine the tracks are numbered 1 through 4, from
the top to the bottom, viewed from the base side of the tape.
4-track recording gives maximum playback time however the benefits of stereo re-
production are lost.
4 Track recording ( Monaural )
@ 4" track recording (Stereophonic)
In this mode two tracks are recorded simultaneously, on the first pass of the tape,
tracks ] and 3 are recorded. The left and right reels are then interchanged and
tracks 2 and 4 are recorded. The left channel sound will be on tracks 1 and 4 and

the
right
channel
sound
will
be
on
tracks
2
and
3.
4-track
recording
in
stereo
will
provide
the
best
possible
stereophonic
reproduction
and
is
the
most
widely
used
recording
method
today.
4 Track recording ( Stereophonic)
@
"4"
track
recording
(4-CHANNEL
STEREO)
In
this
mode
all
4
tracks
are
recorded
simultaneously
from
left
to
right.
Each
track
contains
discrete
but
synchronized
program
material.
A
4
section
playback
head
is
utilized
and
4
amplifiers
and
4
speaker
systems
are
required.
Tracks
1
and
3
are
called
"Front"
left
and
right
respectively,
tracks
2
and
4
are
called
"Rear
left
and
right.
Front
and
rear
correspond
to
the
usual
speaker
placement
in
the
room
relative
to
the
position
of
the
audience.
4-channel
playback
provides
a
concert
hall
realism
and
presence
not
available
from
conventional
2
channel
stereo
systems.
4-track
4-channel
tapes
must
be
played
on
a
player
incorporating
a
4-track
head
and
four
independent
playback
amplifiers.
@ Playback compatibility
A
4-track
stereo
tape
deck
can
play
back
both
4-track
and
2-track
tapes
and
from
the
point
of
compatibility
has
the
widest
range
of
utilization.
When
playing
a
2-track
stereo
tape
on
a
4-track
recorder,
track
1
will
be
completely
covered
by
the
head,
track
2
however
will
be
slightly
off
alignment
but
stereo
can
still
be
enjoyed
by
compensating
for
the
slight
loss
of
2-track
volume
with
the
volume
or
balance
controls.
On
the
other
hand
a
4-track
tape
cannot
be
played
back
on
a
2-track(Monophonic)
recorder
as
both
tracks
1
and
2
will
be
reproduced
together
resulting
in
mixed
unintelligible
sound.

SKILLFUL SETTING OF RECORDING LEVEL
Two important factors are required in a good sound tape. A properly recorded
tape should provide a broad frequency response with a minimum of noise and
distortion. Although the frequency response is actually determined by the
tape deck performance characteristics and quality of the tape used, variation
of the recording level has a great affect on the end result.
In order to make a recording with mimimum noise, it is desirable to record
at the highest possible level just before distortion is introduced. Even
then it is not always necessary to record at the maximum volume level of the
music or to maintain the level meter indication at the dividing line between
the red and black zone (0 VU). It must be kept in mind that any tape will
suddenly increase in distortion, and recording sensitivity of the high notes
will slightly decrease when the recording level exceeds a certain point.
For this reason, a standard level of 0 dB is established with an ample margin of
safety taken into consideration. In actuality, it is best to become fully
acquainted with the performance of the tape and the deck you are using before
determining the operating level.
Experimentation while using the "monitor" feature will quickly acquaint you
with the best recording level for the type tape you are using.
Relation of noise to recording tape
Regular tape Low noise tape
Level meter reading Saturation point of tape
Standard i ;
= 10 cevel ; The inherent noise level is low
; in the tape itself of a low norse
Dynamic Range tape compared to conventional
standard types and moreover,
: since the saturation point 1s
an ie slightly higher, the recording
Residual sé of level can thus be raised by the
rae 4 tape and amplifier |: 224: ag Same amount