Telefunken Magnetofon 77 User manual

More

Than

Just

Stereo

-

Magnetophon

77

358

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-

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IE LE

FUN

KEN

MORE

THAN

JUST STEREO -

MAGNETOPHON

77

Illustration 1:

Rotating

tape

guide

roller in

Magnetophon77.

The

latest

polls,

conducted

with

the

purpose

of

determining

"the

typical

tape

recorder

buyer",

show

a

very

interesting

result.

According

to the findings

of the

poll

there

are

two

basic

groups

of

people

who

buy

tape

recorders.

1. The

«user",·

who

shows no personal

initiative

with

his machine

but

uses it

only

for

recording

any

acoustic

entertainment

offered.

That

his

ent-

husiasm

for

the

tape

recorder

rapidly

wanes,

is

substantiated

by

the

fact

that

he

generally

buys

only

two

or

three

tapes.

Due

to this lack

of

keenness,

the

fact

that

he

owns

a

tape

recorder

can

hardly

be

considered

as

having

an

exemplary

effect

among

his circle of

acquaintances.

2.

The

tape

enthusiast,

sound

collector,

tape

corres-

pondent,

amateur,

player,

do-it-yourself

man,

call

him

what

you

will.

This

is the

man

who uses

his

tape

recorder

to the

fullest

possible

extent

and

elevates it

from

a

primitive

record

keeping

machine to a

highly

sensitive

instrument

with

boundless

possibilities.

This

is the

type

of

man

who

exchanges tapes

with

his friends,· dubs

tapes

Jorslideor.home

movieprogrammes,

makes

trick

and

playback

recordings,

records

complete

plays

and

reports:

keeps an

acoustic

diary

on his

children

from

the

day

they

are

born,

mixes,

trans-'

cribcs

and

cuts.

There

were

contradictory

opinions

regarding

the

proportionate

size of these

two

groups.

Pessimists

estimated

the

proportion

of

people

belonging

to

group

2 in

the

Federal

Republic

of

Germany

at

10%.

Then,

the

TELEFUNKEN

Magnetophon

76

fourtrack

tape

recorder

appeared

on

the

scene

and

immediately

started

on a

triumphal

progress

which,

for

home

tape

recorders,

is

outstanding.

Above

all,

the

possibility,

when

playing

back one track, of

being

able to

hear

in

perfect

synchronization

a

recording

made

previously

on

another

track,

proved

to be

ideally

suited

to

so

many

purposes

-

dubb-

ing,

playback

recordings,

learning

foreign languages

-

that

the

development

engineers .

adopted

the

Magnetophon

76 as a basis

from

which to

work

on

the

creation

of a

stereophonic

parallel

type,

the

Magnetophon

77.

The

idea

was to

retain

the

versa-

tility

of the

monaural

machine in

the

stereo

model

and,

if possible, to

extend

this

versatility

still

further.

The

degree of success achieved in

this

venture

can be seen here.

If

one looks

at

the forebears of the

present

models

Magneto

phon

75, 76

and

77, one sees

from

the

whole

series,

starting

with

the single-speed

Magneto-

phon

65

and

going

on

via

the

two-speed

Magneto-

phon

65 S

and

the ensuing

Magnetophon

65 X to

the

·present

Magnetophon

75,

with

its

improved

technical

concept

yet

practically

unchanged

outer

appearance,

that

there

is such a

thing

as ageless

design.

Further,

and

this is far

more

important

to

the

buyer,

one sees

that

the

retention

of a

proven

mechanical

construction

which enables

more

than

200,000 machines to be

made

without

retooling,

re-

flects in

the

selling

price.

Elec.trical and Mechanical Construction

The

Magnetophon

77 is a

full

stereo machine.

This

means

that

it is

not

only

equipped

for

the

playback

of

professionally

pre-recorded

four-track

stereo

tapes

but

also for

making

stereo

recordings.

It

contains,

therefore,

two

complete,

separate

record/playback

amplifiers.

If

the

Magnetophon

75 was so

popular

for

its

com-

height

guides to be

made.

In this

connection,

special

pact

design

and

resulting

handiness,

how

much

more

mention

must

be

made

of the

rotating

tape

guide

will

this

popularity

apply

to the

Magnetophon

77.

roller

(Ill.

1),

unobtrusively

introduced

by

TELE-

There are,

however,

in this machine,

twice

as

many

FUNKEN

some

time

ago in the

Magnetophon

75,

electrical

components

due

to

the

presence of

two

which in the

meantime

has

proved

itself

so

well

in

the

complete

amplifier

circuits.

Magnetophon

76

and

77.

Indeed,

this

device

(Ger-

man

Federal

Republic

Patent

No.

848,271

dated

For

reasons of

both

space

and

heating,

the

tran-

28/7/1950), is one of the

little

secrets which

contri-

sistorization

of the

input

stage,

already

started

with

bute

to the

crystal

clear

tone

quality

of the

TELE-

the

Magnetophon

76, has been

taken

a

step

further.

FUNKEN

Magnetophon

tape

recorders.

The

problem

As a result, each channel comprises

two

transistors,

of

obtaining

a free

running

tape

is

not

One which is

a

twin

triode

and

the

output

tube

and

appears

as sol

ved

by

simply

ensuring

that

tape

height

is

follows:

OC

603 -

OC

603 -

ECC

83 - EL 95.

controlled.

Rather

the

reverse

is

the

case as

the

In

order

not

to lose the

advantageous

signal-to-noise

tape,

which is

not

a

rigid

body

but

an elastic mass,

ratio

gained

by

the use of

hum-free,

low-noise

tran-

begins to

vibrate

longitudinally

due to the

rigidity

sistorized

twin

pre.

amp.

stages, in

that

section

of of the

height

guides.

These

longitudinal

vibrations

the

amplifier

fitted

with

tubes,

both

ECC

83 tubes are

audible

during

playback

as

wide

side

bands

to

are

heated

with

DC.

The

magnet

for

the

rubber

originally

clear

sounds.

This

phenomenon,

known

sheathed

pressure

rollers

is also

DC

operated

in as

"rustle

effect",

is

especially

audible

with

pure

or

order

to

avoid

disturbing

hum fields in the

vicinity

almost

pure

sinusoidal

oscillations,

e. g.

whistled

of

the

recording

head.

recordings.

The

most

effective

countermeasure

to

Naturally,

the

recording

head

- as is

the

case

with

longitudinal

vibration

is to

steady

the

tape

by

all

TELEFUNKEN

tape

recorders

- is

surrounded

by

means

of a flywheel mass

located

as

near

as possible

a

double

shield

of rnurnetal,

while,

in the

record

or to

the

head.

For

this reason it has

long

been

the

playback

position,

a

mumetal

flap swings

against

the

practice

with

studio

machines, to fit a

large

flywheel

head

from

the

front

thus

completing

the

shielding. mass

between

the

recording

head

and

the

playback

head.

A

simple

experiment

will

show

that

the

small

With

the

Magnetophon

77, as

with

the

Magneto-

flywheel

mass

represented

by the

tape

guide

roller

phon

76,

special

value

is.

placed

on the free

running

in the

Magnetophon

75, 76

and

77, serves also to

of the

tape.

The

patented

TELEFUNKEN

automatic

eliminate

longitudinal

vibration.

With

the

tape

tension

device

(German

Federal

Republic

running

at

1'/,

i.p.s.,

whistle

into

the

microphone

Patent

No.

840,014

dated

22/9/1950),

not

only

and,

during

playback,

hold

the

tape

guide

roller

ensures

that

tape

tension

during

rewind

is

constant-

back

with

a

match.

The

"rustle

effect"

will

be

ly

kept

below

300

gramms,

but

also,

independent

of

clearly

heard.

the

tape

diameter

of

the

LH

reel,

ensures

even

tension

along

the

entire

length

of

the

tape

which in Operation and Switch Possibilities

turn

effects

constantly

even

tape

pressure

against

the

head.

The

head

assembly

with

its

three

height

Here

too the

thoughtfulness

of the

development

guides, is

pre-assembled

as one

unit

as this system

engineer

can be

clearly

seen.

The

convenient

push-

enables

even

more

exact

adjustment

of

head

and

button

control

system,

taken

over

practically

un-

J5!.g--rphon~_--J

.JJ u,

earphone

IIIustration 2:

Controls of

Magnetaphan

77. v Remote control

Rodiow

A Full reel B Counter C Tope

speed

D Empty reel

Stop

button S

button T

F,\ Ploybock track

F, J selector butto

Start

Record trock

selector buttons E Splicing rail

Micro Rodio

G switch

ON/OFF,

H modulotion

control

Modulotion

indicator

Q, Q,

po N M L K, K,

Extension

speaker

Record releose ON/OFF switch for Bockword or Quick stop Microphone

connections, button built-in

speoker

forword rewind button inputs

2x2.5W

control

Illustration 3, Black schematic of

Magnetophon

77.

changed

from

the

Magnetophon

models

75

and

76,

allows

each of

the

amplifiers

to be

switched

over

separately

from

record

to

playback

and

vice

versa.

A

look

at

Ill. 2

will

make

clear

the

sensible

layout

for

the

LH

and

RH

channels,

respectively

the

upper

(1)

and

lower

(2)

tracks.

The

block

schematic

(Ill. 3),

shows

the

carefully

thought

out

operation

of

the

playback

track

selector

buttons.

In

the

position

shown,

neither

of

the

track

selector

buttons

is

pressed.

The

result

is

mixed

operation,

i. e.

the

separate

audio

frequencies

of channel l

and

channel

2

coming

from

the

tube

amplifiers

are

combined

and

led

to

both

output

stages

and

to

points

3

and

5 of

the

radio

connection.

This

can

be

easily

seen

from

the

lead

connections

and

switch

positions.

If

the

LH

playback

track

selector

button

(1) is

pressed,

the

audio

frequency

of

channel

1 goes

via

contacts

102-100

to

output

stage

1

and

to

point

3 of

the

radio

connection

then,

via

contacts

201-200,

to

output

stage

2

and

point

5 of

the

radio

connection.

The

audio

frequency

from

channel

2 is

interrupted

at

contacts

202

and

101.

Conversely,

when

the

RH

playback

track

selector

button

(2) is

pressed,

the

audio

frequency

from

channel

2 is led to

both

out-

put

stages

and

points

3

and

5 of

the

radio

connec-

tion

while

the

audio

frequency

from

channel

1

re-

mains

unused.

Pressing

both

buttons

allows

stereo

reproduction,

i. e.

the

audio

frequency

from

chan-

nel 1 goes to

output

stage

1

and

point

3 of

radio

connection

via

contacts

102-100

only,

while

the

audio

frequency

from

channel

2 goes to

output

stage

2

and

point

5 of

radio

connection

via

contacts

202-200

only.

In

practice,

the

four

possible

switch

posi

tions

represent:

(1)

Both

track

selector

buttons

up:

trick

operation,

upper

and

lower

tracks

mixed

via

the

two

output

stages.

(2)

LH

track

selector

button

pressed:

monaural

ope-

ration

of

upper

track

via

both

output

stages.

(3)

RH

track

selector

button

pressed:

monaural

ope-

ration

of

lower

track

via

both

output

stages.

(4)

Both

track

selector

buttons

pressed:

stereo

ope-

ration

of each

channel

via

its

own

output

stage.

Tricks

and Dodges

Now

for

a

few

words

about

the

many

possibilities

resulting

from

the

circuit

design

described

above

with

its

two

separately

controlled

amplifier

units.

The

aim

here

is

not

to

baffle

the

reader

with

a

multitude

of

instructions

of

which

he

can

make

neither

head

nor

tail

but

to

pass

on in

detail

some

typical

circuit

layouts

which

he

will

really

under-

stand

so

that

he

may

adapt

them

to his

own

pur-

poses.

First

place

is

given

to the

full-scale

demonstration

given

at

the

Frankfurt

Radio

Exhibition

and

the

Berlin

Industrial

Exhibition

with

the

prototype

models

of

the

Magnetophon

77.

This

demonstration

was

carried

out

in

and

around

the

glasswalled

studio

(Ill. 4)

and

was

not

intended

purely

for

the

entertainment

of

the

interested

audience

but

rather

as a

test

under

the

most

adverse

conditions,

namely,

continuous

operation

under

the

influence

of

dust

and

heat.

Despite

the

astonishment

among

the

wide-

eyed

lay

audience

as

the

result

of a

trick

duet

recording

which

gave

them

the

impression

that

one

was

singing

to

them

from

right

and

left

simultaneous-

ly,

the

circuit

used

was

very

simple.

To

record

the

first

voice,

an

ordinary

monaural

microphone

- D 19 B

-

was

plugged

into

microphone

input

K 1,

record

track

selector

button

R 1

pressed

and

correct

modu-

lation

adjusted

by

means

of

control

H.

After

the

start

button

had

been

pressed,

the

amateur

artist

sang

the

first

voice

into

the

microphone.

The

tape

was

then

rewound,

an

earphone

connected

to

output

U 1,

record

track

selector

button

R 2

pressed,

modu-

lation

set

via

eontrol

H

and

the

start

button

pressed.

The

artist

was

then

able

to

hear

in

the

earphone

the

voice

he

had

just

recorded

and

to

sing

the

second

voice

on

channel

2 in

perfect

synchronization.

The

tape

was

then

rewound

once

more,

both

playback

track

selector

buttons

F 1

and

F 2

pressed,

the

start

button

operated

and

out

came

the

stereo

trick

duet

to

surprise

the

audience

always

anew.

If

the

layman

who

has

not

been

let

in on

the

secret

of

the

trick

effect

described

above

is

astonished,

the

serious

technician

is

deeply

impressed

with

the

possi-

bility

of

transcribing

from

one

track

to

another

or

from

one

section

of

the

head

to

the

other.

The

cross-talk

damping

values

necessary

are

quite

con-

siderable

when

the

following

cycle

is

understood.

The

track

running

in

the

playback

position

delivers

about

1 mV

at

the

input

of

the

playback

amplifier.

The

sound

is

carried

from

the

output

of

the

play-

Illustrotion 5,

Connecting

diogram

for

Transcription

Coupler

77.

back

amplifier

to a

mixer

circuit,

mixed

with

an-

other

sound

-

otherwise

the

transcription

would

be

without

sense or

reason

-

and

led to

the

input

of

the

recording

amplifier

of the

other

track.

The

record-

ing

section

of

the

head

receives

roughly

100mV

from

its

amplifier

while,

as

stated

at

the

beginning,

there

is

only

1 mV

at

the

playback

section

of

the

head.

The

danger

of an

electrical

feedback

is,

therefore,

very

high.

To

eliminate

any

makeshift,

do-it-your-

self

connections

and

the

resulting

danger,

TELE-

FUNKEN

can

supply

a

carefully

developed

and

tested

transcription device, the "Transcription

Coupler

77",

(Ill. 5).

This

comprises

a

small

case

with

a

knurled

disc

control,

a

network

for

correction

of

frequency

response,

an

input

connection

and

two

fixed

leads.

One

of

the

leads

terminates

in an

earphone

plug

(1)

which

is

plugged

into

the

earphone

output

of

the

channel

to be

played

back

and

from

which

the

trans-

cription

is to be

made.

The

other

lead

terminates

in

a

standard

five

stereo

plug

(2)

which

should

be

plugged

into

microphone

in

put

0 1 of

the

Ma-

IIIustrotion 4:

Gloss-wolled studio

ot the Frankfurt

Radio Exhibition.

gnetophon

77.

The

standard

stereo

connection

(3)

of

the

Transcription

Coupler

will

take

stereo

micro-

phone

D 77 or

any

monaural

microphone.

Provision

is made, via an internal

connection

in the Trans-

cription

Coupler,

that

transcription

can

be

carried

out

without

having

to

continually

change

the

plug

(2)

from

one

microphone

connection

to

the

other

(Oland

0 2).

The

plug

(1)

must,

however,

be

changed

over

according

to

whether

transcription

is

to be

made

from

the

lower

to

the

upper

track

or

vice

versa.

The

actual

transcription

is

carried

out

as

follows.

After

pressing

the

correct

track

selector

button,

mo-

dulation

for

the

speaking

voice

over

the

microphone

is

adjusted

via

control

(4) on

the

Magnetophon

77.

Then,

after

pressing

the

start

button,

the

sound

from

the

track

to be

transcribed

is

faded

or

boosted

via

the

knurled

disc

on

the

Transcription

Coupler.

The

mixture

can

be

monitored

via

the

earphone

(6)

which

is

connected

to

the

recording

track.

The

so-called

"two

programme

opteration"

is

also

very

impressive.

This

can

be

carried

out

with

the

Magnetophon

77

without

any

extensive

preparation

or

complicated

equipment.

Light

music

is

recorded

on

the

upper

track

of a

tape

and

dance

music

on

the

lower

track.

Normally,

one

would

only

listen

to one

or

the

other

recording

and

press

playback

track

selector

button

1 or 2

accordingly.

Let

us

suppose

how-

ever,

that

on

this

occasion

there

is a

dinner

and

dance

being

given

in the house.

While

those

still

sea

ted

in

the

dining

room

arc

finishing

their

meal

and

enjoying

a

little

conversation,

others

arc

impa-

tiently

waiting

in

another

room

in

the

house

for

the

5

-dancing to

begin.

It

is

possible

to

keep

both

parties

happy.

The

tape

recorder

is

set

up

in

the

room

set

aside

for

dancing,

both

track

selector

buttons

pressed

and

an

extension

speaker

connected

to

speaker

con-

nection

(0:11),

placed

in

the

dining

room.

The

dancers

can

now

trip

the

light

fantastic

to

their

hearts

content

without

hearing

one

single

note

of

the

light

music

while

those

guests

still

at

table

can

enjoy

the

light

music

to

the

full

without

being

disturbed

by

the

dance

music.

This

is

not

a

miracle,

as

the

cross-talk

damping

of

the

Magnetophon

77,

even

with

this

type

of

operation

where

both

tracks

are

being

played

back

simultaneously,

is

still

> 46 db.

Just

now

the

simultaneous

reproduction

of

two

dif-

ferent

sound

recordings

for

two

different

purposes

was

described.

Now

we

come

to an

example

of the

simultaneous

recording

of two

different

sounds

for

the

purpose

of

timing

coordination.

For

quite

a

long

time

now

in various West German towns the

fire

brigade

have

adopted

the

system

of

recording

on

tape

all

incoming

reports.

Electrically

remote

controlled

tape

recorders

such as the

Magnetophon

75, 76

and

77

are

well

suited

to this

purpose

as the

tape

can

be

automatically

started

when

the

tele-

phone

receiver

is

picked

up,

by

means

of a

contact

on the

cradle

switch

of

the

phone.

By

means

of

this

system of recording

incoming

fire reports, it was,

for

example,

possible to

prove

that

in some cases

the

caller

was

so

confused

that

he

forgot

to

give

his

address.

This

independent

proof

was

of

great

importance

in cases

where

redress

was

demanded

from

the fire

brigade.

One

drawback

in

the

system,

however,

was

that

the

exact

time

of

reporting

the fire

could

not

be

proved,

a

fact

which was seized

upon

by

claimants

whose

property

had

been

damaged

by fire, as a

means

of

showing

the fire

brigade

to

have

been at

fault.

With

the

Magnetophon

77,

the

incoming

report

can be

recorded

on

track

1

while

the

exact

time

of

the call,

relayed

via

a

special

Post

Office

lead,

is

recorded

simultaneously

on

track

2.

Should

the

subject

of the

exact

time

of

reporting

the fire be a

matter

for

debate

at a

later

date,

the

exact

time

and

every

word

spoken

can be

heard

by

simultaneously

play-

ing

back

both

tracks.

lIIustrotion 8,

"Snopshot"

setting of 0 77 microphone.

After

these

examples,

which

have

mainly

dealt

with

the

monaural

uses of

the

Magnetophon

77, comes,

quite

justifiably,

the

question,

"How

is

the

Ma-

gnetophon

77 used for

stereo?"

Although

professio-

nally

pre-recorded

four-track

stereo

tapes

are

now

on

the

market,

the

keen

amateur

will

certainly

want

to

try

his

hand

at

recording

stereo

discs on

tape

himself.

Providing

that

due

attention

is

paid

the

copyright

law,

there

will

be no

objection

to

this.

Practically

all

present

day

stereo

record

players

are

fitted

with

the

standard

three-pin

plug,

adopted

from

tape

recorder

standards,

whereby,

as

shown

in

Ill.

6 a,

channel

1 is

connected

to pin

one,

ground

to

2

and

channel 2 to

3

of

the

plug.

This

plug

from

the

stereo

record

player

should

not

be

con-

nected

to

either

the

radio

or

microphone

inputs

of

the

Magnetophon

77 as this

would

result

in a

greatly

distorted

version

of channel 1

only

being

picked

up due to the

fact

that

the

record

player

has

an

output

voltage

of

approximately

1 V

while

the

radio

input

is

fitted

for

a

sensitivity

of

5-100

mV

and

the

microphone

input

for

2-50

mY.

One

must,

therefore,

use a

stereo/phono

coupling

with

a

circuit

as

shown

in

Ill.

6 b

which

simultaneously

divides

the

voltage

from

the

stereo

record

player

and

leads

it to the

correct

inputs,

namely,

points

1

and

4

of

the

radio

connection.

The

two

2.2

MQ

resistors,

to-

gether

with

the

50

kQ

input

resistors

of

the

radio

connection,

form

a

suitable

voltage

divider.

The

2.2

MQ

resistors can

even

be

arranged

in the

plug

Q--i

Illustration 60: Stereo record

player

circuit.

or

matching

piece

used

as the

phono

coupling.

From

a

technical

point

of

view,

nothing

now

stands

in

the

way

of

transcribing

stereo

records.

The

most

interesting

and

widest

field for the

amteur

offer,

without

doubt,

live

stereo

microphone

record-

ings.

The

stereo

microphone

D 77

(Ill.

7), consists

of

two

directional

microphones

mounted

one

above

the

other,

the

cardioid

response

patterns

of

which

can

be

varied

in an

angle

of

60-180°

for

XY

stereo-

Illustrotion 7,

Stereo microphone 0 77.

phony.

Apart

from

this,

the

simple

press

stud

conn-

ection

allows

the

microphones

to be

separated

easily

and

quickly

thus

permitting

actual

AB effect

stereo-

phony

with

an

appreciable

distance

between

the

two

microphones, Each of the

two

miqo{lhone,

halves is

fitted

with

a

threaded

stand

connection

and

the

price

of

the

microphone

includes

two

table

stands,

a 16

foot

connecting

lead

and

a

twin

trans-

former

unit

for

matching

the 200 Q

microphone

impedance

to the

microphone

input

of the

Magneto-

phon

77. A

complete

set

of

instructions

is

enclosed

with

each D 77

stereo

microphone.

In these

instruc-

Illustrotion 9,

Mognetophon 77.

2,2

MQ

3.

30---1

t==:

4 •

2.2

Mil

Illustration 6b,

Stereo/phono

coupling circuit.

tions

one

can,

for

example,

find the

rule

of

thumb

that,

for

XY

stereophony

the

speech

apertures,

marked

with

arrows,

of

both

microphones

should

point

towards.

the

outer

edges of the

sound

source

(Ill.

8),

and

that

the

distance

between

the

micro-

phone

and

the

sound

source

should

be

half

the

extent

of

the

sound

source.

The

result,

in

accordance

with

the

theory

of

our

old

friend

Pythagoras,

is the

"snapshot

setting"

of

the

D 77

stereo

microphone

at

90°.

This

setting

is

marked

with

red

dots.

The

many

possible

variations,

by

changing

the

angle

between

the

microphones

or

even

separating

the

two

systems

from

each

other,

will

certainly

be

very

heartily

welcomed

by

the

tape

enthusiast.

Because of the

low

impedance

cable

and

the

fact

that

the

transformer,

which is

located

close to the

Magnetophon

77, is a

plug-in

type,

the D 77

stereo

microphone

can

be

placed

as

far

away

from

the machine as

desired.

Complete

32

foot

extension

leads

are

included

in

the

range

of

accessories

available.

Now

for

stereo

playback.

It

is

amazing

when

one

considers

that

the

Magnetophon

77, for its size

and

moderate

price,

to

say

nothing

of the

stereo

record-

ing possibilities,

contains

two

complete

output

stages. Because

of

this,

it is sufficient for

stereo

playback

to

connect

the

speaker

housed

in the

lid

of

the case to

speaker

connection

u:J

1.

The

RH

channel

is

then

reproduced

via

the

built-in

speaker

of

the

Magnetophon

77

and

the

LH

channel

via

the

speaker

in the

lid.

Naturally,

it is also possible to

connect

a

stereo

radio

or

radio/phone

console to the

radio

conn-

ection

of

the

Magnctophon

77 by

means

of the

five

pole

stereo

audio

lead.

With

this

connection,

the

built-in

speaker

of

the

Magnetophon

77

should

be

switched

off.

Regardless

of

how

many-of'the

possrbilities grven

here

the

amateur

tries

out

for

himself,

he

will

con-

stantly

discover

anew

that

the

Magnetophon

will

inspire

still

better

tricks

and

even

more

original

ideas.

He

will

find, to his

satisfaction,

that

the

Magnetophon

77

'really

does

have

more

to

offer

than

just

stereo. E. F.

Warnke

Telefunken Magnetofon 77 User manual

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