Harman Kardon 75+ Bedienungsanleitung

Andere Handbücher für 75+

2

Inhaltsverzeichnis

Andere Harman Kardon Empfänger Handbücher

Harman Kardon

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Harman Kardon

Harman Kardon AVR 254 Bedienungsanleitung

Harman Kardon

Harman Kardon AVR 230 Bedienungsanleitung

Harman Kardon

Harman Kardon AVR 230 Bedienungsanleitung

Harman Kardon

Harman Kardon AVR 144 Bedienungsanleitung

Harman Kardon

Harman Kardon BRUKSANVISNING AVR 355 Bedienungsanleitung

Harman Kardon

Harman Kardon HK 670 Bedienungsanleitung

Harman Kardon

Harman Kardon AVR 370 Bedienungsanleitung

Harman Kardon

Harman Kardon AVR 7300 Bedienungsanleitung

Harman Kardon

Harman Kardon AVR 7000 Bedienungsanleitung

Harman Kardon

Harman Kardon AVR 510 Bedienungsanleitung

Harman Kardon

Harman Kardon AVR 144 Service-Handbuch

Harman Kardon

Harman Kardon AVR 7000 Bedienungsanleitung

Harman Kardon

Harman Kardon AVR 435 Bedienungsanleitung

Harman Kardon

Harman Kardon AVR 350 Bedienungsanleitung

Harman Kardon

Harman Kardon BRUKSANVISNING AVR 255 Installations- und Betriebshandbuch

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Harman Kardon AVR 7200 Bedienungsanleitung

Harman Kardon

Harman Kardon AVR 645 Gebrauchs- und Wartungshandbuch

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Harman Kardon AVR 7500 Bedienungsanleitung

Harman Kardon

Harman Kardon AVR4000RDS Bedienungsanleitung

Harman Kardon

Harman Kardon AVR 110 Bedienungsanleitung

Harman Kardon

Harman Kardon AVR 2550 Bedienungsanleitung

Harman Kardon

Harman Kardon HK730 Bedienungsanleitung

Harman Kardon

Harman Kardon NOCTURNE 210 Bedienungsanleitung

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IMES

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BWI Eagle

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AMIMON

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Dual

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Sound Associates

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Sherwood

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Audio

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AllSee

AllSee PushShare PSRV1.1 Bedienungsanleitung

DEMAG

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Kramer

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Xpress

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Omega Engineering

Omega Engineering UWTC-REC3 Bedienungsanleitung

e-survey

e-survey E300 Pro Bedienungsanleitung

The

Harman/Kardon

Model

75+

AM

/Stereo

FM

Multichannel

Receiver

harman

/kardon

Instruction

Manual

THE

MUSIC

COMPANY

INTRODUCTION

You

are

now

the

owner

of

an

instrument

unique

in

concept

and

design.

The

Harman/Kardon

Model

75+

multichannel

receiver

encompasses

the

best

of

all

forms

of

music

reproduction.

It

may

be

installed

as

a

stereophonic

re-

ceiver

capable

of

delivering

clean,

articulate

sound

at

moderate

power

levels,

or

as

a

quadriphonic

receiver

that

can

fill

your

listening

room

with

spacious,

three

dimensional

sound.

When

you

listen

to

your

new

Harman/Kardon

multichannel

receiver

you

will

instantly

recognize

that

something

truly

phenomenal

is

taking

place.

The

sound,

which

normally

emerges

from

the

speaker

boxes,

will

lose

its

boundaries

and

will

emanate

from

all

over

the

room

recreating

the

scope,

depth

and

breadth

of

the

concert

hail.

The

walls

of

your

listening

room

will

seem

to

dis-

appear

and

you

will

find

yourself

surrounded

by

a

sound

field

that

has

the

same

ambience

and

spaciousness

which

marks

a

live

performance.

Stereo-

phonic

balance

and

perspective

will

be

retained,

but

now

there

will

be

the

addition

of

depth

which

will

project

you

into

the

middle

of

the

hall.

Applause,

for

example,

will

emerge

from

the

front sides

and

rear.

And

during

playback

of

a

live

concert

don't

be

too

startled

if

you

hear

someone

coughing

or

rustling

his

program

from

behind

you.

The

4-Channel

medium

is

even

more

dramatic

for

contemporary

music,

espe-

cially

if

the

music

was

originally

written

for

four

channel

reproduction.

Sounds

bounce

back

and

forth

from

the

corners

of

the

room

involving

you

completely

with

the

performance.

It’s

a

new

and

exhilarating

kind

of

sound

that

will

make

listening

to

music

a

new

experience.

The

Model

75+

bears

the

heritage

of

the

Harman/Kardon

trademark—

ultrawideband

frequency

response,

virtually

unmeasurable

distortion

and

all

of

the

required

conveniences

so

essential

for

the

ultimate

enjoyment

of

high

fidelity

reproduction.

We

urge

you

to

read

this

manual

carefully

prior

to

installing

and

operat-

ing

your

new

receiver.

The

Model

75+

is

not

a

complicated

instrument.

How-

ever,

there

are

certain

aspects

of

its

operation

which

should

be

understood

clearly

before

you

install

and

operate

it.

Happy

listening!

WARRANTY

and

SERVICE

POLICY

POLICY

We

warrant

this

receiver

to

be

free

from

defects

in

material

and

work-

manship

under

normal

use

and

service,

and

in

accordance

with

the

conditions

set

forth

below.

Should

a

defect

occur

within

the

period

specified,

and

pro-

vided

that

the

unit

is

returned

to

either

HARMAN/KARDON

or

an

authorized

HARMAN/KARDON

$9warranty

station,

transportation

prepaid,

and

which

our

examination

shall

disclose

to

our

satisfaction

to

be

defective,

we

will,

for

a

period

of

two

(2)

years

from

date

of

purchase,

either

replace

or

repair

and

install

any

defective

parts

of

the

receiver

free

of

charge.

EXCEPTIONS

This

warranty

does

not

include

any

obligation

as

to:

a}

repair

or

replacement

of

the

accessory

wooden

enclosure

due

to

damage

incurred

after

initial

delivery,

b)

transportation

charges

to

and

from

the

factory

or

an

authorized

warranty

station.

REGISTRATION:

To

obtain

service

under

the

terms

of

this

policy,

it

is

necessary

for

you

to

retain

your

ORIGINAL

BILL

of

SALE.

The

enclosed

registration

card

will

NOT

be

considered

proof

of

purchase.

In

the

event

your

equipment

requires

service

during

the

warranty

period,

only

presentation

of

your

original

bill

of

sale

fo

either

a

factory-authorized

repair

agency

or

the

factory,

itself,

will

insure

your

rights

under

the

policy,

as

outlined

in

this

manual.

This

warranty

is

not

applicable

to

any

instrument

which

shall

have

been

repaired

or

altered

in

any

way

so

as,

in

our

judgment,

to

affect

its

stability

or

reliability

or

has

been

subject

to

neglect,

misuse,

negligence,

or

accident;

or

which

has

had

the

serial

number

altered,

effaced

or

removed,

Neither

shall

this

warranty

apply

to

any

instrument

which

has

been

connected

other

than

in

accordance

with

instructions

furnished

by

us.

SERVICE

HARMAN/KARDON

has

«a

special

customer

service

division

to

answer

all

questions

pertinent

to

the

installation

and

operation

of

your

unit,

Please

feel

free

to

write

to

us

at

any

time

and

we

shall

endeavor

to

offer

prompt

and

complete

advice.

lf

your

problem

cannot

be

resolved

through

our

combined

efforts,

we

may

wish

to

refer

you

to

a

local

authorized

repair

agency

or

we

may

prefer

to

authorize

the

return

of

your

unit

to

the

factory.

In

the

event

it

must

be

returned,

on

authorization

form

and

proper

packing

instructions

will

be

forwarded

to

you.

This

authorization

form

MUST

BE

RETURNED

with

your

unit,

UNDER

NO

CIRCUMSTANCES

SHOULD

YOUR

UNIT

BE

SHIPPED

TO

THE

FACTORY

WITHOUT

PRIOR

AUTHORIZATION,

This

warranty

is

in

lieu

of

all

other

warranties,

expressed

or

implied,

and

of

all

other

obligations

or

liabilities

on

our

part,

and

we

neither

assume

nor

authorize

any

representative

or

other

person

to

assume

for

us

any

other

liabilily

in

connection

with

the

sale

of

this

instrument.

INSTALLATION

VENTILATION

Although

your

new

receiver

rarely

develops

high

heat,

it

is

recommended

that

you

leave

the

back

of

the

cabinet

open.

If

this

is

not

possible,

provide

several

large

holes

or

slots

as

low

and

as

high

up

in

the

cabinet

back

as

possible.

As

an

alternative,

holes

may

be

provided

in

the

sides,

bottom

or

top

of

the

cabinet.

Remember

that

really

effective

ventilation

requires

provision

for

cool

air

to

enter

at

the

bottom

and

hot

air

to

leave

at

the

top.

A

minimum

clearance

of

two

(2)

inches

should

be

allowed

on

each

side

and

in

the

rear,

between

the

chassis

and

the

cabinet,

and

three

(3)

inches

are

required

above

it.

Isolate

any

accessories

which

might

interfere

with

ventilation.

For

example,

do

not

drape

plastic

or

rubber

covered

interconnecting

cables

over

the

equip-

ment.

POWER

REQUIREMENTS

Connect

the

AC

line

cord

to

any

outlet

furnishing

117

volts,

60

Hz

AC

current.

The

voltage

may

vary

between

105

and

125

volts.

An

auxiliary

AC

power

outlet

is

provided

on

the

rear

panel

of

your

receiver.

Any

accessory

equipment

(tape

recorder,

phonograph

record

player,

etc.)

may

be

connected

to

this

receptacle

and

will

be

controlled

by

the

POWER

switch

on

the

front

panel.

FUSING

A

fuse

is

a

safety

device

used

to

protect

the

receiver

against

possible

damage

due

to

overload

or

short

circuits.

The

75+

receiver

employs

five

protective

fuses.

All

five

are

located

on

the

rear

panel.

The

AC

fuse

labeled

3A-3AG

Slo Blo

is

used

to

protect

the

power

supply

of

the

entire

system.

The

other

four

fuses

labeled

4A-3AG

LEFT,

RIGHT,

FRONT

and

BACK,

protect

the

output

stages

of

the

receiver.

The

output

of

your

receiver

has

been

designed

to

operate

with

a

MAXI-

MUM

of

4.0

amperes

of

current

in

each

channel.

Under

certain

conditions,

it

is

possible

to

draw

more

than

4.0

amperes

through

the

output

stage

which

would,

in

turn,

blow

the

speaker

fuses.

This

could

be

caused

by

using

multiple

speaker

systems

where

the

total

impedance

falls

below

4

ohms.

(See

‘'CON-

NECTING

THE

SPEAKERS’’).

In

the

event

of

fuse

failure,

replace

ONLY

with

the

same

fuse

type

used.

NEVER

replace

with

a

fuse

of

a

higher

rating.

To

do

so

will

NOT

protect

your

receiver

and

could

result

in

severe

damage

to

it

which

will

not

be

covered

under

the

warranty

policy.

SPEAKER

PLACEMENT

(See

Fig.

1)

The

speakers

will

be

referred

to

as

LEFT

and

RIGHT,

FRONT

and

BACK.

Placement

of

the

back

speakers

will

vary

with

your

room

size,

seating

arrange-

ment

and

acoustics.

At

times,

it

may

be

advantageous

to

place

the

back

speakers

in

line

with

the

listener,

either

aiming

them

at

the

listener,

the

rear

of

the

room

or

against

the

side

wall.

It

has

been

acknowledged

that

omni-

directional

speakers

(i.e.

Harman/Kardon

HK50)

serve

well

as

back

speakers

in

a

4-CH

setup

because

they

do

not

beam

the

sound

at

the

listener.

This

gives

the

illusion

of

far

greater

airiness

and

comes

closer

to

the

sound

at

a

live

con-

cert.

We

have

illustrated

several

ways

of

arranging

the

back

speakers.

Some

experimentation

may

be

required

before

you

obtain

optimum

sound

dispersion

and

total

surround

sound.

If

you

listen

predominantly

to

classical

music

it

is

recommended

to

reflect

the

back

speakers

off

the

walls,

or

aim

them

away

from

the

listener.

This

will

tend

to

soften

the

sound

and

create

a

more

natural

ambience.

If

you

listen

predominantly

to

contemporary

music

it

may

be

advan-

tageous

to

place

the

back

speakers

in

the

corners

and

beam

them

into

the

room.

CONNECTING

THE

SPEAKERS

Use

any

type

of

wire

to

connect

your

speakers

to

your

receiver.

However,

it

should

be

pointed

out

that

the

heavier

the

wire,

the

lower

the

loss

of

power.

Ordinary

lamp

cord,

or

zip

cord

as

it

is

sometimes

called,

is

excellent

for

this

application

since

it

can

be

dressed

easily

around

the

molding

and

it

is

usually

heavy

enough

to

extend

great

lengths

without

an

appreciable

loss

in

power.

Do

not

drive

tacks

or

staples

through

the

center

of

the

wire

since

this

can

result

in

a

short

circuit

which

would

either

cut

the

volume

level

down

considerably

or

short

out

the

sound

completely.

It

is

permissible

to

use

approximately

50-60

feet

of

heavy

gauge

speaker

connecting

wire

for

each

speaker

without

loss

of

volume.

CONNECT

YOUR

SPEAKERS

WITH

CARE,

AVOID

SHORTS.

DO

NOT

CON-

NECT

THE

SPEAKERS

WITH

THE

POWER

ON.

WORK

CAREFULLY

TRIMMING

ALL

LOOSE

WIRES

ON

THE

REAR

OF

THE

SPEAKERS

AND

RECEIVER.

THE

RE-

CEIVER

HAS

BEEN

DESIGNED

TO

PREVENT

DAMAGE

FROM

MOMENTARY

ACCIDENTAL

SHORTING.

HOWEVER,

REPETITIVE

SHORTING

CAN

DAMAGE

THE

OUTPUT

DEVICES.

The

75-4

connects

two

pairs

of

speaker

systems

for

the

front

channels,

and

another

two

pairs

for

the

back.

Any

pair

may

be

driven

independently

or

a

combination

of

two

pairs

may

be

driven,

as

selected

by

the

MAIN

and

REMOTE

Speaker

Switches.

Connect

them

to

the

receiver

as

instructed

in

the

diagrams

(Fig.

2

and

Fig.

3),

taking

care

not

to

confuse

the

FRONT

and

BACK,

LEFT

and

RIGHT

channels,

and

the

plus

and

minus

polarities.

Sufficient

care

should

be

taken

not

to

short

circuit

the

plus

and

minus

leads.

‘SPEAKER

IMPEDANCE

Each

speaker

system

connected

to

your

75+

must

possess

an

impedance

of

from

4

to

16

ohms.

Should

you

wish

to

drive

two

pairs

of

speaker

systems

simultaneously,

they

should

all

have

an

impedance

of

8

ohms

or

more.

FRONT

SPEAKERS

FRONT

SPEAKERS

FRONT

SPEAKERS

L

R

|

BACK

SPEAKERS

—>

|

|

LISTENER

| |

LISTENER

|

x

fs

pe

BACK

SPEAKERS

L

R

—-

|

LISTENER

|

—>

Et

BACK

SPEAKERS

FRONT

SPEAKERS

FRONT

SPEAKERS

FRONT

SPEAKERS

BACK

SPEAKERS

|

LISTENER

|

Loe

BACK

SPEAKERS

i

ee

L

BACK

SPEAKERS

R

|

LISTENER

|

|

LISTENER

|

Fig.

1

QUADRIPHONIC

OPERATION

(See

Fig.

2)

Refer

to

the

introductory

comments

under

the

heading

CONNECTING

THE

SPEAKERS.

T:

2.

3.

i

Connect

one

length

of

lamp

cord

to

the

LEFT

FRONT

speaker.

Attach

the

other

end

of

the

lamp

cord

to

the

MAIN,

FRONT

screw

terminals

marked

LEFT

+

and

—

on

the

rear

panel

of

your

receiver.

Similarly

connect

another

length

of

lamp

cord

to

your

RIGHT

FRONT

speaker.

Attach

the

other

end

of

the

lamp

cord

to

the

MAIN,

FRONT

terminals

marked

RIGHT

+

and

—

on

the

rear

panel

of

your

receiver.

Connect

a

length

of

lamp

cord

to

your

LEFT

BACK

speaker.

Attach

the

other

end

of

the

lamp

cord

to

the

MAIN,

BACK

terminals

marked

LEFT

+

and

—

on

the

rear

panel

of

your

receiver.

Connect

another

length

of

lamp

cord

to

your

RIGHT

BACK

speaker.

Attach

the

other

end

of

the

lamp

cord

to

the

MAIN,

BACK

terminals

marked

RIGHT

+

and

—

on

the

rear

panel

of

your

receiver.

Repeat

above

steps

to

connect

REMOTE

speakers.

FRONT

SPEAKERS

RIGHT

LEFT

ROPa

AZOWN

CAUTION

CONNECT

SPEAKERS

WITH

CARE.

AVOID

RIGHT

LEFT

BACK

SPEAKERS

STEREO

OPERATION

(See

Fig.

3)

Refer

to

the

introductory

comments

under

the

heading

CONNECTING

THE

SPEAKERS.

1.

Connect

one

length

of

lamp

cord

to

the

LEFT

FRONT

speaker.

2.

Attach

the

other

end

of

the

lamp

cord

to

the

MAIN,

FRONT

terminals

marked

LEFT

+

and

—

on

the

rear

panel

of

your

receiver.

Similarly

connect

another

length

of

lamp

cord

to

your

RIGHT

FRONT

speaker.

4,

Attach

the

other

end

of

the

lamp

cord

to

the

MAIN,

FRONT

terminals

marked

RIGHT

+

and

—

on

the

rear

panel

of

your

receiver.

5.

Repeat

above

steps

to

connect

REMOTE

speakers.

NOTE:

BE

CERTAIN

THAT

THE

STEREO/4-CH

SWITCH

LOCATED

ON

THE

REAR

PANEL

OF

THE

RECEIVER

IS

SET

IN

THE

STEREO

POSITION

FOR

DOUBLE

POWER

STEREO

OPERATION.

STEREO

SPEAKERS

LEFT

RIGHT

SPEAKERS

4-8—I6

OHMS

MAIN

his

\\

REMOTE

LEFT,

ALRIGHT

LEFT

RIGHT

+

fii

POHOKNKHVH

OF

ao

AzZODTA

CAUTION

CONNECT

SPEAKERS

WITH

CARE.

AVOID

SHORTS

STEREO

FIG-3

SPEAKER

PHASING

For

maximum

enjoyment

of

multichannel

sound,

it

is

important

to

have

the

four

speaker

systems

in

phase.

The

phase

relationship

must

be

correct,

not

only

between

the

front

left

and

right

speaker

systems,

the

back

left

and

right

speaker

systems,

but

also

between

the

front

and

back

channels.

When

connecting

each

speaker

system

to

the

receiver,

be

certain

to

main-

tain

plus

and

minus

polarities.

If

your

speakers

do

not

have

a

plus/minus

polarity

identification,

phasing

can

be

accomplished

by

the

following

procedure:

1.

After

connecting

your

speakers,

place

the

receiver

in

the

MONO

mode

of

operation

and

the

SOUND

FIELD

BALANCE

control

to

the

exact

top

center

position.

2.

Play

a

record,

tape

or

FM

broadcast

which

has

a

single

speaking

or

singing

voice,

or

a

solo

instrument.

3.

The

voice

or

instrument

should

appear

to

be

emerging

from

an

area

some-

where

in

the

center

of

the

two

speakers.

If

the

voice

seems

to

come

from

both

speakers

independently,

the

speakers

are

out

of

phase.

4.

|f

you

determine

that

your

speakers

are

out

of

phase,

merely

disconnect

the

leads

from

only

one

of

the

speakers

and

reverse

them.

Your

stereo

system

will

now

be

in

phase.

This

completes

the

phasing

of

a

pair

of

speakers

for

stereo

operation.

It

should

be

noted

that

it

is

not

necessary

to

match

the

impedance

of

the

speakers

to

the

receiver

since

the

75+

is

a

solid

state

instrument

and

can

accommodate

all

speakers

ranging

in

impedance

from

4

to

16

ohms

without

special

trans-

formers.

Repeat

this

process

for

all

additional

pairs

of

speakers

in

your

system.

OPERATING

PROCEDURE

Every

control

on

this

receiver

serves

a

specific

and

useful

function

and

is

important

for

the

proper

operation

of

your

stereo

or

4-Channel

system.

Read

this

section

carefully

so

you

can

take

full

advantage

of

all

the

per-

formance

capabilities

of

this

receiver.

SWITCHES

AND

CONTROLS

—

REAR

PANEL

STEREO/4-CH

SWITCH

The

75+

receiver

is

shipped

with

the

STEREO/4-CH

switch

in

the

4-CH

mode.

A

special

safety

latch

is

fitted

next

to

the

switch

to

prevent

throwing

the

switch

accidentally

while

the

receiver

is

turned

on.

If

you

plan

to

use

the

75+

as

a

DOUBLE-POWER

STEREO

receiver,

first

turn

off

the

unit,

remove

the

safety

latch

and

throw

the

STEREO/4-CH

switch

to

STEREO.

NOTE:

After

changing

position of

this

switch

ALWAYS

replace

the

safety

latch.

The

two

front

channels

now

have

the

capability

of

delivering

double

power

to

your

speakers.

NOTE:

WHEN

THE

STEREO/4-CH

SWITCH

iS

IN

THE

STEREO

POSITION

THE

BACK

SPEAKERS

ARE

INOPERATIVE.

IF

YOU

WISH

TO

USE

THE

RECEIVER

TO

POWER

ANY

BACK

SPEAKERS,

FIRST

TURN

OFF

THE

RECEIVER.

REMOVE

THE

LATCH

AND

THROW

THE

STEREO/4-CH

SWITCH

TO

4-CH,

REPLACE

THE

PROTECTIVE

LATCH.

STEREO

THRESHOLD

CONTROL

This

rear

panel

control

can

be

adjusted

to

determine

the

number

of

stereo

stations

the

tuner

will

reproduce

in

the

STEREO

FM

position

of

the

Function

Switch.

In

the

full

counterclockwise

position,

the

automatic

switching

circuits

have

maximum

sensitivity

and

all

stereo

stations

within

the

range

of

the

tuner

will

be

reproduced.

However,

due

to

weak

signals

(or

their

distance

from

your

an-

tenna)

some

stations

will

contain

noise

levels

which

degrade

performance

when

reproduced

in

stereo.

In

order

to

reproduce

these

stations

monophonically

(when

in

the

STEREO

FM

position

of

the

Function

Switch),

rotate

the

STEREO

THRESHOLD

control

clockwise

until

only

good

quality

stereo

stations

are

reproduced.

MUTING

THRESHOLD

CONTROL

This

rear

panel

control

adjusts

the

level

at

which

muting

action

will

take

place.

Minimum

muting

action

occurs

in

the

full

counterclockwise

position.

Maximum

muting

is

achieved

in

the

full

clockwise

position.

The

full

clockwise

position

will

also

eliminate

stations

with

poor

trans-

mission

quality.

The

control

should

be

adjusted

to

the

point

where

you

receive

only

those

stations

which

meet

your

standards

of

broadcast

quality.

SWITCHES

AND

CONTROLS

—

FRONT

PANEL

POWER

SWITCH

The

POWER

switch

performs

the

function

as

its

name

denotes.

lt

supplies

power

to

the

receiver.

When

the

pushbutton

is

depressed

to

turn

the

set

ON

the

power

light

will

illuminate.

HEADPHONE

JACKS

The

stereo

or

4-CH

headphone

receptacles

located

on

the

front

panel

of

your

75+

receiver

will

accept

any

type

of

headphone.

Stereo

phones

come

with

a

single

plug

which

should

be

connected

to

the

FRONT

receptacle.

4-CH

phones

come

with

two

plugs.

Connect

the

front

plug

to

the

FRONT

receptacle

and

the

back

plug

to

the

BACK

receptacle.

The

headphone

receptacles

are

“ON”

at

all

times.

To

listen

only

to

your

phones

without

having

your

speakers

on,

merely

set

the

SPEAKER

switches

on

the

front

row

of

pushbuttons

to

‘‘OFF”’.

MAIN

SPEAKER

SWITCH

In

order

to

hear

any

or

all

of

the

speakers

connected

fo

your

main

system,

this

switch

must

be

depressed.

When

in

the

‘‘'ON”’

position

all

speakers

connected

to

the

main

system

are

“ON”.

Should

you

desire

to

listen

to

stereo

or

4-CH

headphones

alone,

the

speakers

can

be

turned

off

at

your

discretion.

REMOTE

SPEAKER

SWITCH

In

order

to

hear

any

or

all

of

the

speakers

connected

to

your

remote

system,

this

switch

must

be

depressed.

When

in

the

““ON”

position

all

speakers

connected

to

the

remote

system

are

‘'ON”.

Should

you

desire

to

listen

to

stereo

or

4-CH

headphones

alone,

the

speakers

can

be

turned

off

at

your

discretion.

EXT

DOLBY

NR/TAPE

MON

2

SWITCH

When

an

FM

station

broadcasts

a

Dolby

encoded

program,

it

may

be

decoded

by

use

of

an

external

Dolby

processor,

If

you

use

an

external

proces-

sor,

the

Dolby

switch

when

depressed,

will

decode

an

encoded

program.

lf

the

Dolby

button

is

depressed

without

an

external

processor

connected,

you

will

get

zero

output

from

your

speaker

system.

Dolby

IN

receptacles

may

be

used

as

a

2-channel

Tape

Monitor

provided

you

are

not

using

the

Dolby

Function.

TAPE

MON

SWITCH

If

your

4-CH

tape

recorder

has

a

special

monitoring

feature,

depressing

this

switch

“IN”

will

permit

you

to

monitor

your

tapes

a

split

second

after

they

are

recorded,

When

not

in

use

this

switch

must

be

in

the

‘‘'OUT’’

position,

otherwise

it

will

defeat

the

output

of

the

receiver.

This

switch

and

associated

rear

panel

receptacles

can

also

be

used

as

an

additional

set

of

stereo

or

4-CH

high

level

inputs.

CONTOUR

SWITCH

One

of

the

limitations

of

human

hearing

is

its

tendency

to

lose

sensitivity

to

the

very

low

pitched

sounds

as

the

program

sound

level

is

reduced,

It

is

this

characteristic

(known

as

the

Fletcher-Munson

effect)

which

causes

one

to

play

music

programs

at

high

listening

levels

in

order

to

experience

the

full

rich

tone

available

from

fine

modern

recordings.

The

Harman/Kardon

CONTOUR

switch

compensates

for

this

effect,

thereby

eliminating

high

listening

levels

as

a

requisite

for

full

enjoyment

of

reproduced

music.

For

warm,

full-bodied

reproduction

at

low

listening

levels,

throw

the

CONTOUR

switch

to

the

IN

position.

At

high

levels,

the

CONTOUR

switch

has

no

effect.

FM

MUTING

SWITCH

The

purpose

of

the

muting

circuit

is

to

reduce

audible

noise

when

tuning

from

station

to

station.

Since

very

weak

signals

may

be

muted

at

the

same

time,

the

front

panel

FM

MUTING

switch

may

be

used

to

defeat

the

muting

circuit

on

weak

signals.

To

reduce

interstation

noise,

throw

the

MUTING

switch

'‘ON’’.

To

defeat

the

circuit,

throw

the

switch

‘‘OFF’’.

HIGH

CUT

SWITCH

The

HIGH

CUT

filter

has

been

designed

to

reduce

the

high

frequency

response

of

your

receiver,

This

will

reduce

annoying

record

scratch,

tape

hiss,

FM

background

noise,

etc.

LOW

CUT

SWITCH

At

times,

record

changers,

turntables

and

even

some

FM

stations

produce

an

objectionable

low

frequency

signal

that

is

strong

enough

to

be

introduced

into

the

playback

system.

This

is

known

as

rumble

and

can

be

cancelled

out

by

the

special

low

frequency

cut

off

filter

network

included

in

this

receiver.

When-

ever

rumble

is

present

depress

the

LOW

CUT

switch.

FUNCTION

SWITCH

This

switch

selects

the

desired

program

source

to

be

heard

through

your

music

system.

PHONO

Use

these

positions

for

all

mono,

stereo

or

SQ

matrix

records.

Any

standard

stereo

record

player

can

play

SQ

matrix

discs

without

special

modifications.

The

SQ

disc

is

completely

compatible

with

stereo

systems

and

can

be

played

on

any

quality

record

changer

or

manual

turntable

using

a

high

compliance

magnetic

pickup.

Your

existing

record

player

connected

to

the

LEFT

and

RIGHT,

PHONO

input

receptacles

will

play

your

mono,

stereo

and

SQ

records.

In

order

to

play

SQ

discs

in

4-CH

the

mode

switch

must

be

placed

in

either

the

SQ

matrix

1

or

SQ

matrix

2

positions.

STEREO

FM

This

is

the

normal

listening

position

for

all

monophonic

or

stereophonic

FM

broadcasts.

In

this

position

the

stereo

indicator

light

and

automatic

switch-

ing

circuit

built

ino

your

receiver

are

operative.

For

further

details

refer

to

paragraph

on

‘'SELECTING

MONOPHONIC

OR

FM

STEREO

BROADCAST”’.

Should

you

receive

a

weak

stereo

signal

whose

quality

has

been

degraded

by

noise

or

poor

signal

conditions,

and

you

wish

to

listen

fo

this

stereo

broad-

cast

monophonically,

switch

to

the

FM

position.

FM

In

this

position

you

can

listen

to

stereophonic

broadcasts

monophonically

while

monophonic

broadcasts

will

appear

unchanged.

DISCRETE

FM/AUX

In

this

position,

the

addition

of

an

accessory

4-CH

decoder

will

permit

the

reception

of

discrete

FM.

This

position,

when

not

being

used

for

discrete

FM,

may

be

used

as

an

additional

4-CH/AUX

position.

As

soon

as

an

FM

broadcast

system

has

been

selected,

Harman/Kardon

will

be

in

the

position

of

supplying

an

appropriate

decoder.

DISCRETE

PHONO/AUX

This

selects

the

four

discrete

phono/aux

receptacles

on

the

rear

panel

for

playback

through

your

system

{tape

recorder,

cartridge

player,

discrete

phono

system)

with

appropriate

decoder.

This

quadriphonic

system

is

different

than

the

SQ

matrix

design

and

re-

quires

a

special

decoder

between

your

phonograph

and

Harman/Kardon

75+

receiver.

Your

phonograph

should

employ

a

high

compliance,

low

tip-mass

phono

cartridge

capable

of

extending

in

frequency

response

to

beyond

45,000

Hertz

to

play

back

the

CD-4

disc.

The

special

decoder

should

be

connected

to

the

LEFT

and

RIGHT

FRONT/BACK

DISCRETE

PHONO/AUX

receptacles

located

on

the

rear

panel

of

the

75+.

(Refer

to

‘‘Connecting

a

Stereo

Record

Player

with

RCA

Decoder”’).

Harman/Kardon

intends

to

manufacture

a

decoder

for

use

with

the

RCA

discrete

system.

For

additional

information

on

this

system

and

the

availability

of

the

Harman/Kardon

discrete

phono

decoder,

write

to

our

Customer

Service

Department.

AM

This

selects

the

AM

section

of

your

receiver.

BASS

&

TREBLE

CONTROLS

These

controls

are

employed

to

set

the

tonal

balance

of

your

stereo

or

quad

system.

The

Bass

control

adjusts

the

low

frequencies,

either

strengthening

or

diminishing

the

intensity

of

these

sounds.

The

Treble

control

adjusts

the

higher

frequencies

in

the

same

manner

—

either

strengthening

or

diminishing

the

sound.

In

most

instances

these

controls

will

be

set

to

the

‘‘flat’’

or

center

position.

If

bass

or

treble

adjustment

is

necessary,

do

not

rotate

these

controls

to

their

maximum

settings.

This

may

introduce

distortion

especially

if

your

speakers

cannot

handle

the

power

of

the

boosted

sound.

These

controls

should

be

used

sparingly

and

with

the

knowledge

that

live

music

is

neither

excessively

sharp

or

boomy.

You

may

adjust

both

the

BASS

and

TREBLE

for

front

and

back

pairs

of

speakers

simultaneously

or

individually.

The

inner

knobs

adjust

the

front

speakers

and

the

outer

knobs,

the

back

speakers.

In

order

to

adjust

both

pairs,

turn

either

inner

or

outer

knob.

In

order

to

adjust

front

or

back

only,

hold

one

knob

while

adjusting

the

other.

MODE

SWITCH

This

switch

allows

you

to

select

the

proper

mode

of

operation

for

the

various

sources

available.

MONO

In

this

position,

all

program

sources

will

be

reproduced

in

the

monophonic

mode.

lf

an

external

monophonic

source

(one

channel)

is

used

it

MUST

be

con-

nected

to

the

appropriate

LEFT

FRONT

input

receptacles

in

order

to

reproduce

sound

in

all

speakers.

The

1]

mode

indicator

light

will

be

illuminated

indicating

a

monophonic

mode

of

operation.

STEREO

In

this

position,

all

stereophonic

program

sources

will

be

reproduced

in

the

STEREO

mode.

All

pairs

of

speakers

(one

LEFT

and

one

RIGHT)

connected

to

the

FRONT

terminals

will

reproduce

stereo

program

material.

With

the

STEREO/4-CH

REAR

PANEL

SWITCH

in

4-CH

position,

speakers

connected

to

the

BACK

ter-

minals

will

also

reproduce

stereo

in

each

pair.

In

the

STEREO

position,

the

mode

irdicator

light

will

be

illuminated

indicating

a

stereophonic

mode

of

operation.

SQ

MATRIX

1/2

These

positions

may

be

used

to

reproduce

all

SQ

program

material.

In

the

SQ

MATRIX

1

and

SQ

MATRIX

2

positions

the

2

4]

mode

indicator

lights

will

be

illuminated.

These

lights

denote

the

methods

used

from

the

source

material

to

the

recording,

to

reproduction.

The

SQ

MATRIX

2

position

performs

the

same

function

as

the

SQ

MATRIX

1

position

except

that

it

changes

the

relationship

of

separation

between

the

LEFT

and

RIGHT

and

FRONT

and

BACK

speakers.

When

in

this

position

the

separation

between

LEFT

and

RIGHT

will

be

partially

reduced

from

that

obtained

in

the

normal

SQ

MATRIX

|

position

and

the

separation

between

FRONT

and

BACK

will

be

slightly

increased.

When

reproducing

full

orchestral

material,

the

mode

selector

should

be

in

the

SQ

MATRIX

1

position.

When

reproducing

individual

instruments

or

soloists

the

mode

selector

switch

should

be

in

the

SQ

MATRIX

2

position.

INTEGRATED

AMPLIFIERS

SPEAKERS

LEFT

FRONT

LEFT

BACK

RIGHT

BACK

RIGHT

FRONT

ENHANCED

STEREO

This

position

should

be

used

to

enhance

(convert)

any

stereo

source

into

spatially

expanded

sound.

When

playing

any

stereo

source,

if

your

75+

has

been

installed

utilizing

four

or

eight

speakers,

the

sound

will

emerge

from

each

speaker

filling

the

room

with

sound

that

is

almost

as

exciting

as

authentic

4-CH.

It

may

also

be

used

to

spatially

enhance

a

monophonic

source.

In

this

position

the

4

|

mode

indicator

lights

will

be

illuminated,

denoting

stereo

to

4-CH

operation.

INTEGRATED

AMPLIFIERS

SPEAKERS

4-CH

DISCRETE

In

order

to

utilize

this

position

you

MUST

have

a

four

channel

source

con-

nected

to

the

system.

In

this

position

4

|

4]

mode

indicator

lights

will

be

illuminated

denoting

4-CH

to

4-CH

operation,

INTEGRATED

AMPLIFIERS

SPEAKERS

VOLUME

CONTROL

THE

VOLUME

control

adjusts

the

signal

level

of

any

program

material

connected

to

your

receiver.

It

is

a

four

section

control

which

simultaneously

adjusts

all

channels,

and

its

close

tracking

specifications

insure

that

the

relative

volume

level

of

each

channel

will

be

identical.

SOUND

FIELD

BALANCE

Your

75+

incorporates

a

unique

four

channel

continuously

variable

balance

control.

The

nature

of

stereo

or

4-CH

reproduction

is

such

that

it

requires

identical

channels

to

attain

the

highest

degree

of

faithfulness

and

spatial

distribution.

Any

variation

in

the

efficiency

of

any

channel

as

compared

to

the

others

will

disturb

this

relationship.

Since

there

may

be

slight

differences

between

program

material,

room

acoustics,

efc.,

your

receiver

includes

a

control

to

balance

all

channels,

Sufficient

range

is

covered

by

this

control

to

permit

rebalancing

of

the

overall

system

even

in

cases

where

major

unbalance

exists.

This

control

may

be

set

anywhere

within

its

range

to

attain

system

balance.

It

does

not

necessarily

have

to

be

set

in

the

exact

center

position.

When

the

BALANCE

control

is

properly

set,

the

apparent

sound

source

will

lie

in

a

broad

area

between

all

speakers.

LEFT

&

RIGHT

FRONT

SPEAKER

BALANCING

LF

(BACK

SPEAKERS

OFF)

pF

RIGHT

FRONT

&

RIGHT

BACK

BD

SPEAKER

BALANCING

(LEFT

FRONT

&

BACK

SPEAKERS

OFF)

LEFT

FRONT

&

LEFT

BACK

SPEAKER

BALANCING

@@

{RIGHT

FRONT

&

BACK

SPEAKERS

OFF)

LB

LEFT

&

RIGHT

BACK

RB

SPEAKER

BALANCING

(FRONT

SPEAKERS

OFF)

TUNING

The

tuning

knob,

located

on

the

right

side

of

the

receiver

is

used

to

select

the

desired

station

when

your

FUNCTION

switch

is

in

the

FM,

STEREO

FM,

or

AM

position.

SELECTING

MONOPHONIC

OR

FM

STEREO

BROADCAST

Under

normal

use

for

all

FM

broadcasts

the

function

selector

switch

should

be

placed

in

the

STEREO

FM

position.

Your

receiver

is

equipped

with

a

stereo

sensing

circuit

which

will

auto-

matically

determine

whether

your

unit

is

receiving

monophonic

or

stereophonic

broadcasts,

and

then

automatically

adjust

the

mode

of

operation.

If

the

station

is

transmitting

stereo,

your

receiver

will

automatically

switch

on

the

multiplex

section

and

you

will

hear

the

broadcast

in

full

stereo.

Should

the

station

conclude

broadcasting

in

stereo,

your

receiver

will

automatically

switch

back

to

monophonic

reception.

Should

you

receive

a

weak

stereo

signal

whose

quality

has

been

degraded

by

noise

or

poor

signal

conditions,

and

you

wish

to

listen

to

this

stereo

broad-

cast

monophonically,

place

the

function

selector

switch

in

the

FM

position.

STEREO

INDICATOR

A

stereo

indicator

is

located

adjacent

to

the

tuning

meter

and

operates

in

conjunction

with

the

STEREO

FM

position

of

the

Function

switch.

The

indica-

tor

visually

shows

the

reproduction

of

FM

stereo

through

your

receiver.

To

tune

for

FM

stereo

proceed

as

follows:

1.

Place

the

function

selector

switch

in

the

STEREO

FM

position.

2.

Tune

to

the

station

of

your

choice

using

your

tuning

meter

for

precise

and

accurate

tuning.

Your

stereo

indicator

will

now

show

if

you

are

tuned

to

a

stereo

program.

If

the

indicator

is

off,

the

program

you

are

listening

to

is

being

broadcast

monophonically.

TUNING

METER

Your

Receiver

incorporates

a

D'Arsonval

movement

tuning

meter

for

precise

and

accurate

tuning.

The

FM

balance

meter

is

designed

to

operate

on

a

null

or

‘‘zero’’

center

principle.

Therefore,

the

meter

pointer

should

always

be

at

the

dead

center

position

of

your

meter

dial

for

optimum

listening

performance.

To

accomplish

this,

rotate

your

tuning

knob

slowly,

in

one

direction

towards

the

station

of

your

choice.

As

you

tune

through

the

station

you

will

notice

the

pointer

swinging

from

the

left

or

right

past

the

zero

center.

THE

CORRECT

POINT

for

minimum

distor-

tion

and

optimum

FM

reception

is

when

the

pointer

is

resting

at

the

‘‘zero”

center

position.

When

used

in

the

AM

position,

simply

tune

for

maximum

indication.

DIAL

SCALE

The

dial

scale

on

your

receiver

is

marked

with

three

scales,

namely,

an

FM

frequency

scale

(88-108

MHz),

a

logging

scale

(0-100),

and

an

AM

frequency

scale.

Since

most

FM

stations

operate

at

frequencies

which

are

not

whole

num-

bers

(such

as

96

MHz

as

compared

to

96.3

MHz),

ideally,

each

megahertz

division

on

the

frequency

scale

should

be

divided

into

10

parts

to

enable

the

user

to

Pinpoint

the

location

of

the

station.

This

would

require

a

dial

scale

which

would

be

longer

than

the

front

panel.

The

logging

scale

which

is

divided

into

100

equal

parts

provides

a

means

of

finding

your

favorite

station,

once

you

have

noted

its

position

on

the

logging’

scale.

For

example,

in

New

York

City,

WQXR

operates

at

96.3

MHz.

After

locating

this

station

through

the

use

of

the

frequency

scale

(between

96

and

98

MHz),

you

find

that

the

pointer

may

fall

on

4.2

on

the

logging

scale.

Make

a

note

of

this

setting,

For

future

tuning

to

WQXR

simply

set

the

pointer

to

4.2

on

the

logging

scale.

EQUALIZATION

In

order

to

achieve

good

reproduction

of

the

wide

range

of

frequencies

in

music

and

to

make

necessary

adjustment

for

the

limitations

of

the

recording

technique,

record

manufacturers

have

found

it

necessary

to

modify

the

actual

frequency

response

of

the

music

while

it

is

being

recorded.

Thus,

to

avoid

overcutting

and

consequent

distortion,

a

measured

and

deliberate

reduction

is

effected

in

low

frequency

response

by

selecting

a

‘turnover

frequency”

and

recording

attenuated

response

below

that

point.

To

assure

optimum

signal

to

noise

at

the

high

frequency

end

when

the

record

is

played

at

home,

the

highs

are

deliberately

exaggerated

during

the

recording

process.

A

measured

and

deliberate

boost

is

affected

above

a

certain

frequency.

This

combination

of

deliberate

exaggeration

at

the

low

and

high

ends

of

the

frequency

spectrum

can

be

expressed

in

a

recording

curve.

When

the

record

is

played

a

mirror

image

of

that

curve

should

be

available

so

that

the

ideal

‘‘flat’’

response

may

be

achieved.

The

PHONO

position of

the

function

switch

automatically

introduces

the

proper

equalization.

HUM

AND

NOISE

In

any

high

fidelity

installation,

hum

may

be

caused

by

the

interconnection

of

a

record

player,

tuner

and

amplifier,

as

a

result

of

the

cables

and

different

grounds,

If

hum

is

experienced

with

your

receiver,

disconnect

everything

but

the

speakers

from

the

receiver.

If

hum

persists,

reverse

the

AC

line

cord.

Plug

in

the

record

player

and

if

hum

appears,

reverse

the

record

player

power

plug

and

connect

a

single

lead

from

the

record

player

chassis

to

the

ground

post

on

the

rear

of

the

receiver

chassis.

Connect

your

other

devices

in

this

manner.

CAUTION:

Hum

may

also

be

induced

by

defective

connecting

cables

or

by

running

these

cables

too

close

to

a

strong

AC

field.