Philips N 4450 Bedienungsanleitung

Andere Handbücher für N 4450

1

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fare

Cee

EES

SSN

nee

a

RN

=~

Sa

QV

==

—

e—

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LERYO)

—_——_,.,.

-Bedienungsanleitung

.

PHILIPS

Operating

instructions

Instrucciones

de

manejo

Istruzioni

rom

PHILIPS

—N4450

ts

PERLE?

Zee

ES

AB

emploi

Ve

=

ih

19

9S

4.75

MATIC

RE

Mode

MP

NOR

ECHO

AMP

1-4

ST

3-2

{VVIUUILUI

|

=

S

i

EEE

MN

*

4450

AUX

PHON

TUN

TAPE

Gebruiksaanwijzing

&

PHILIPS

k

‘

ae

oe

N

o

aN

NS

N

33

INTRODUCTION

Your

new

Hi-Fi

Stereo

tape

recorder/amplifier

N

4450

has

been

designed

with

great

care

and

precision

to

ensure

that

it

meets

the

highest

standards

of

quality

and

versatility.

This

allows

the

recorder

to

be

used

for

recording

purposes

where

superior

fidelity

is

required.

The

built-in

powerful

Hi-Fi

stereo

amplifier

assures

a

perfect

reproduction

of

these

recordings

and

may

also

form

the

basis

of

a

complete

stereo

system.

In

addition

to

quality

N

4450

also

offers

versatility:

the:

reverse

system

(recording

and

playback

in

either

direction)

and

several

special

effects

such

as

multiplay,

echo,

reverbe-

ration

and

sound

mixing.

Moreover,

the

recorder

incorporates

an

electric

timer

which

permits

the

recorder

to

be

started

and

stopped

in

the

recording

and

the

playback

mode

at

preset

times.

These

and

many

other

possibilities

are

described

in

these

Operating

Instructions,

which

we

recommend

you

to

read

very

attentively.

Part

I

of

the

Operating

Instructions

explains

to

the

more

interested

reader

how

sound

is

recorded

on

magnetic

tape:

magnetic

registration

of

sound.

It

provides

a

better

insight

into

the

operation

of

the

recorder

and

it

also

contains

inter-

esting

details

which

might

open

up

new

application

possi-

bilities.

Part

II

contains

the

actual

Instructions

for

Use

and

describes

the

operating

procedure.

If

you

are

anxious

to

try

out

your

new

recorder,

it

will

suffice

to

read

this

part

only.

We

wish

you

many

hours

of

listening

pleasure

with

your

new

Hi-Fi

Stereo

tape

recorder/amplifier

N

4450.

INDEX

Page

PART

I

“What

you

should

know”

.

56-60

1.

Magnetic

soundrecording

.

. .

.

.

...

.

56

1.

From

sound

to

electrical

vibrations

.

56

2.

From

electrical

vibrations

to

magnetic

field

strength

alternations

.

.

a)

ch.

Ge)

Ar

aed

Lot

She

ges

2

OG.

3.

Magnetising

of

the

tape

ae)

os

-.

.

56

4..From

magnetic

recording

back

to

electrical

vibrations

.

.

-..

56

5.

From

electrical

vibrations

back

to

sound

.

56-57

2.

Some

more

tape

recording

theory

.

. .

. . .

57

1.

Erasing

.

.

.

Beh

he Se

a

ea

OT

2.

Four-track

system

fa

GB

Soe

a

ek

a

oT

De

OtCTeOs

2s

ak

“ies

te Be ye

ows

Se

we

4.

Multiplay

.

. .

ate

So

Race

GP

ae eo

DOF

5.

Echo

and

reverberation

|

fod

Bivens

oe om

22 ey

sO

3.

Technicalfeatures

. .

.

.

2...

....

58

1.

HiFiQualiy

.

2.

2.0.

2.

2...

58

2.

Automaticreverse

.

.

.

.......

=.

58

3.

Sixheads

.

. . .

ni

&

“esas

358

4.

Before

and

after

tape

monitoring

ne

oo

ae

258

9.

Cueing

2 3

8

Se

ee

ee ee

a

SB

6.

Threemotors.

.

..........

=.

~

«58

7.

26.5-cmreels

.

.

.

.

i

ae oe

el

de

358

8.

Tape

tension

comparators

.

—

oe

a

&

58

9.

Programme

indicator

with

pre-selector

Se

ews

358

BO

TG

MEr

ox

ok se

A

cai

es

a

he

ee

a

BY

ASB

11.

Tip-touchkeys

.

.

.

2...

.

1.)

(CSO

12.

Hi-Fiamplifier

.

2.

2.

2...

.

2...)

(59

13.

Splicingjig

. . .

2.

«2

2...

es.)

59

14.Remotecontrol.

.

.........

=.

59

15.

Continuous

tapereel

.

. .

2.

.

1.

1...)

(SY

16.

Slide‘synchroniser

.

.

.

2.

2

2...

ee)

OSD

17.

Telephone

coil

.

.

.

2.

2.

2...

1.)

SD

Controls

and

connection

sockets...

...

=.

60

PART

II

’What

you

must

know”

61-68

1.

Preparing

the

recorderforuse

.

...

.

..

..

61

1.

Carryinghandle

. .

......

2.2...

~

«61

2.

Connectiontothe

mains

.

........~

464i

3.

Openingand

removingthe

cover.

.

. .

..

=.

61

4.

Switchingonandoff

.........

=.

«6421

5.

Reel

selector

switch(1)

.

........

4642

6.

Threadingthe

tape

. .

.

.......

61

7.

Function

selector

(12)

.

:

Déle

62

8.

Speed

selector(13)

.

.

. .

.......~

62

9.

Track

selector(11)

.

.

2...

..

..

.

-)

62

10.

Automatic

stop

.

.

bon

at ee ge ee

Moe

162:

11.

Normal/Reverse

switch

(14).

an

od

fae*

@.

“62

12.

Programme

indicator

with

pre-

selector

@)

.

2.

62

13.

Tip-touch

keys(16...22).

.

.

. .

.

2.

62

14.

Cueing

buttons

(5).

.

.

beta

«

663

15.

Speed

control

for

fast

winding

a

5)

be

Sap

Seta,

OS

16.

Timer

(39).

Sei:

Aira

Uv,

See

2.

Connection

sockets

.

BGG

ae ay

wee

ce Oe

ta

es,

168

1.

Inputselector(9)

2.

2.

2. 2.

2...

ew.

6B

2.

Connection

oe

Re

Bom

&

we

ky

wy

e064

3.

Recording

.

2. 2. 2.

2.

2.

2

ee

we

4

1.

Using

microphones

.

woe

eee

we

64-65

2.

Recordinglevel

.

.

.

65

3.

Selector

for

before/after

tape

monitoring

(10)

.

.

65

4.

Monitoring

during

ee

Bri

Sd

nes

2%

65

5.

Recording

.

oe

toe

ee

ew

«65-66

6.

Erasing

without

recording

.

: -

.

.

66

4.

Playing

back

and

using

the

amplifier

section

-.

.

66

1.

The

amplifier.

.

.

.

SR

ow AY Be

iow,

-

$66

2.

Playing

back

a

tape

programme

of

Byer

Ut

cies

2

66

3.

Using

N

4450

as

an

Sa

:

-

1.

«+»

66-67

5.

Special

facilities

.

.

.

RE

AS

ue

he

tt.

Beat

“67.

1.

Mixingsounds.

.

.

.

....

..

~~)

67

2.

Multiplay

. . . .

ey

ge

ae

Ge

a

Pa

ee

67

3.

Echo

and

reverberation

.

bie

Or

ee

ty

ke

hes

OR

6.

Splicing

jig

eS

eR

a

ee

4

ee

22

69-68

7.

Remotecontrol

.

.

.

2.

2...

2.

2.

«68

8

Continuous

tapereel

.

2.

2. 2.

2. 2.

2

2...)

(68

9.

Slide

synchroniser

.

.

. . .

......

68

10.Maintenance.

. .

.

2...

2.

2...

.

(88

PART

III

General

information

.

.

.

>.

69-70

1.

Optional

accessories.

.

. . .

.

2...

. .

69

2.

Inputsandoutputs

.

. .

.

..

...

..

«69

3.

Technical

data

.

. . . .

2.

.

2...)

OO

“65

PART

I

“WHAT

YOU

SHOULD

KNOW”

1.

MAGNETIC

SOUND

RECORDING

A

tape

recorder

serves

to

record

sound

on

an

audio

tape

and

to

reproduce

the

sound

thus

recorded

in

due

time,

preferably

with

the

greatest

possible

fidelity.

However,

before

the

sound

can

be

recorded

on

the

tape,

it

should

be

processed

to

suit

this

purpose.

The

following

Chapters

describe

in

a

concise

but

compre-

hensible

manner

the

process

of

recording

sound

on

magnetic

tape.

Each

Chapter

deals

with

part

of

this

process,

thus

following

the

sound

through

the

various

steps,

from

the

air

vibrations

which

are

recorded

on

the

tape

via

the

microphone

and

tape

recorder,

to

reproduction

via

the

loudspeaker.

1.1.

FROM

SOUND

TO

ELECTRICAL

VIBRATIONS

Sounds

that

can

be

percepted

by

the

ear

are

caused

by

alter-

nations

in

air

pressure;

these

are

changes

in

air

density

which

propagate

in

space

as

waves.

A

normal

air

flow

at

constant

pressure

(e.g.

wind)

is

not

yet

perceived

as

sound.

The

number

of

air-pressure

vibrations

per

second

determines

the

pitch

of

a

tone.

The

higher

the

number

of

vibrations,

the

higher

the

pitch

(frequency).

The

human

ear

can

perceive

approximately

20

to

16,000

vibrations

per

second.

One

vibration

per

second

is

called

“Hertz”

(after

the

well-known

physicist),

which

is

the

unit

of

frequency.

The

above-mentioned

sound

waves

may

be

reflected,

for

instance

by

bare

walls,

or

absorbed

for

example

by

curtains,

and

they

can

also

cause

an

object

to

vibrate

(e.g.

the

eardrum).

The

latter

property

is

employed

in

a

microphone.

A

microphone

is

a

device

which

converts

sound

into

an

electric

current

which

can

be

further

processed

by

the

tape

recorder.

This

principle

is

based

on

a

physical

law

which,

in

simplified

form,

states:

“Moving

a

magnet

inside

a

coil

(i.e.

a

change

in

magnetic

field),

causes

a

current

in

this

coil.”

The

intensity

of

the

current

changes

with

the

movement

of

the

magnet.

It

is

evident

that

a

similar

effect

is

obtained

when

the

coil

is

moved

around

the

magnet.

Modern

microphones

are

usually

based

on

this

principle:

A

coil

is

attached

to

a

diaphragm.

The

sound

causes

the

diaphragm

to

vibrate.

As

a

result,

the

coil

is

moved

in

the

magnetic

field

of

a

permanent

magnet

(the

so-called

electro-

dynamic

microphone).

When

the

diaphragm

and

coil

move

in

the

rhythm

of

the

alternations

in

air

pressure,

a

current

is

induced

in

the

coil

whose

intensity

and

frequency

vary

in

accordance

with

the

intensity

and

frequency

of

the

sound

vibrations.

This

“‘alternating

current”

is

a

faithful

representation

of

the

sound

and

can

now

be

applied

to

the

tape

recorder.

1.2.

FROM

ELECTRICAL

VIBRATIONS

TO

MAGNETIC

FIELD

STRENGTH

ALTERNATIONS

The

alternating

current

produced

by

the

microphone

is

,

amplified

several

times

in

the

tape

recorder.

The

degree

of

amplification

can

be

adjusted

with

the

recording

level

control

and

can

be

checked

with

the

recording

level

indicator.

This

is

necessary,

since

with

a

fixed

amplification

the

loudest

passages

could

be

distorted

and

during

the

soft

passages

too

much

noise

could

be

audible.

During

each

recording

the

re-

cording

amplifier

should

be

adjusted

so

that

at

the

loudest

passages

the

recording

level

indicator

deflects

to

100

%o;

this

is

the

limit

at

which

just

no

audible

distortion

will

occur.

When

the

recording

level

has

thus

been

set,

the

soft

passages

will

be

reproduced

clearly,

doing

full

justice

to

the

dynamic

56

properties

of

both

the

recorder

and

the

tape.

The

alternating

current

thus

amplified

now

reaches

the

recording

head

along

which

the

magnetic

audio

tape

is

fed.

The

actual

recording

process

is,

in

fact,

the

reverse

of

what

happens

in

the

microphone:

A

current

through

a

coil

causes

a

magnetic

field

to

develop

in

the

core

of

that

coil,

which

varies

in

accordance

with

the

current

intensity.

So,

if

the

current

is

an

alternating

current,

the

resultant

magnetic

field

will

be

a

so-called

alternating

field.

To

boost

the

magnetic

action

of

the

recording

head,

the

coil

is

wound

round

a

ring-shaped

iron

core,

which

contains

a

microscopically

small

slit,

the

so-called

air

gap.

Because

the

iron

coie

presents

only

a

very

low

resistance,

the

magnetic

lines

of

force

propagate

in

the

core

and

close

across

the

above-mentioned

air

gap,

which

they

bridge

in

the

form

of

an

arc.

These

lines

of

force

which

due

to

their

alternating

direction

and

strength

are

a

faithful

reproduction

of

the

alternating

current

and

thus

of

the

sound

to

be

recorded,

are

used

to

“write”

the

sound

onto

the

tape.

1.3.

MAGNETISING

OF

THE

TAPE

Modern

audio

tape

consists

of

a

base

of

a

synthetic

material

on

which

a

highly

uniform

layer

of

iron

oxide

is

coated.

This

coating

consists

of

many

microscopic

particles

of

iron

oxide

which

can

be

magnetised

individually.

When

the

tape

passes

the

air

gap

of

the

recording

head,

the

iron

oxide

particles

located

in

front

of

the

gap

are

magnetised

by

the

instantaneous

magnetic

field

strength.

When

the

whole

tape

has

passed,

it

contains

a

pattern

of

adjacent

iron-oxide

particles

that

are

differently

magnetised

and

have

the

same

or

opposite

polarity,

depending

on

the

strength

and

direction

of

the

magnetic

lines

of

force

by

which

they

have

been

magnetised

when

passing

the

re-

cording

head.

Since

the

magnetic

lines

of

force,

in

turn,

were

a

faithful

representation

of

the

sound

to’

be

recorded,

the

magnetisation

on

the

tape

is

also

representative

of

this

sound.

Audio

tapes

retain

the

information

once

recorded,

even

after

numerous

reproductions,

unless

they

are

exposed

to

another

strong

magnetic

field

(see

“ERASING”,

I.2.1.).

1.4.

FROM

MAGNETIC

RECORDING

BACK

TO

ELECTRICAL

VIBRATIONS

When

playing

back

a

magnetic

recording

on

a

tape,

the

tape

is

fed

past

the

playback

head

and

the

process

described

in

the

previous

Chapter

is

reversed.

When

passing

the

air

gap,

the

magnetised

particles

of

different

polarity

and

degree

of

magnetisation

induce

a

magnetic

field

in

the

iron

core

of

the

head

which

results

in

an

alternating

current

in

the

coil.

This

alternating

current,

which

is

still

representative

of

the

recorded

sound,

is

amplified

by

the

playback

amplifier

and

is

applied

to

the

loudspeaker.

‘

1.5.

FROM

ELECT

RICAL

VIBRATIONS

BACK

TO

SOUND

The

electrical

alternations

of

the

alternating

current

are

converted

into

sound

by

the

loudspeaker

which

is

in

fact

the

opposite

of

a

microphone.

The

alternating

current

from

the

playback

amplifier

is

fed

through

a

coil

attached

to

a

diaphragm,

which

is

located

in

a

strong

and

uniform

magnetic

field.

The

alternating

current

in

the

core

of

the

coil

produces

an

alternating

magnetic

field.

The

forces

of

this

magnetic

field

now

counteract

the

uniform

force

of

the

magnetic

field

of

the

loudspeaker

magnet,

so

that

the

coil

together

with

the

diaphragm

start

moving

in

the

rhythm

of

the

alternating

current.

The

diaphragm,

in

turn,

causes

the

air

to

vibrate,

thus

producing

the

sound

that

was

previously

recorded

via

the

microphone.

According

to

this

method,

sounds

can

be

recorded

on

magnetic

tape

at

any

desired

moment

and

reproduced

un-

modified

at

any

moment

afterwards.

2.

SOME

MORE

TAPE

RECORDING

THEORY

2.1.

ERASING

As

already

stated

in

Chapter

1.3,

the

tape

retains

the

re-

corded

information

until

it

is

exposed

to

another

strong

magnetic

field.

This

property

is

used

in

erasing.

An

existing

recording

is

erased

from

the

tape,

when

a

new

recording

is

made

on

the

same

part

of

the

tape.

This

can

be

repeated

indefinitely,

without

a

deterioration

in

quality

of

the

new

recording.

(However,

erasing

is

also

possible

without

making

a

new

recording,

by

not

applying

a

new

signal

to

be

recorded,

Chapter

IJ.3.6).

For

this

purpose,

the

recorder

is

fitted

with

a

so-called

erase

head,

past

which

the

tape

is

fed

before

it

reaches

the

recording

head.

This

erase

head

operates

as

follows:

Through

a

coil

wound

on

a

ring-shaped

iron

core,

an

alternating

current

is

fed

of

a

frequency

far

beyond

the

limit

of

audibility.

The

air

gap

in

the

iron

core

has

been

designed

so

that

the

magnetic

field

bridging

the

gap

is

dome-shaped.

When

a

magnetised

particle

of

the

tape

passes

the

erase

head,

it

is

initially

subject

to

increased

magnetisation,

after

which

the

intensity

subsequently

decreases

slowly

to

zero.

(The

increasing

and

decreasing

magnetisation

is

the

result

of

the

shape

of

the

magnetic

field;

the

magnetisation

is

caused

by

the

high

frequency

(RF)

alternating

current.)

The

relevant

particle

is

thus

initially

magnetised

with

increasing

and

then

with

decreasing

strength

and

is

magnetically

neutral

after

passing

the

air

gap:

The

recording

is

now

“erased”.

2.2.

FOUR-TRACK

SYSTEM

The

four-track

system

indicates

that

four

recordings

can

be

made

over

the

full

width

of

the

tape,

so

that

four

adjacent

“tracks”

of

recordings

are

obtained

on

the

tape.

These

can

be

four

mono

recordings

or

two

stereo

recordings,

since

in

the

case

of

stereo

we

have

essentially

two

separate

recordings.

Because

the

recorder

operates

in

accordance

with

the

reverse

principle,

it

incorporates

two

head:

systems

each

consisting

of

an

erase

head,

recording

head

and

play-

back

head.

One

system

is

used

when

the

tape

runs

to

the

ieft

and

the

other

when

it

runs

to

the

right.

Each

system

covers

two

tracks,

which

can

be

used

separately

(mono)

or

in

combination

(stereo)

both

for

recording

and

play-

back.

Depending

on

the

position

of

the

track

selector

you

use

track

1

and/or

3

when

the

tape

runs

to

the

right

and

track

2

and/or

4

when

the

tape

runs

to

the

left.

Recordings

made

on

another

four-track

recorder

can

be

played

back

on

your

recorder

using

the

reverse

system.

The

opposite

is

also

possible.

Stereo

recordings

made

on

a

twin-track

recorder

can

be

played

back

in

one

direction

only

and

mono

recordings

in

both

directions.

Recordings

made

on

your

recorder

can

be

played

back

on

a

twin-track

recorder,

if

only

tracks

1

and

3

are

used

and

tracks

4

and

2

are

empty

or

the

other

way

round.

2.3.

STEREO

When

listening

to,

for

example,

an

orchestra,

your

left

ear

perceives

the

sound

coming

from

the

left

slightly

sooner

and

louder

than

your

right

ear,

and

for

sound

coming

from

the

right

this

is

the

other

way

round.

The

sounds

from

the

middle

are

heard

simultaneously

and

equally

loud.

This

makes

it

possible

for

you

even

with

your

eyes

closed,

to

determine

the

direction

in

which

the

various

instruments

lie:

you

can

still

“see”

the

orchestra

in

front

of

you!

When

making

a

stereo

recording

of

an

orchestra,

two

micro-

phones

are

used

which

pick

up

the

sound

in

a

similar

way

as

your

ears.

The

sound

is

then

recorded

on

two

separate

tracks,

one

for

the

sound

picked

up

by

the

left

microphone

(left

channel)

and

one

for-the

sound

from

the

right

microphone

(right

channel).

When

this

stereo

recording

is

played

back

stereophonically,

these

tracks

are

separately

reproduced

via

two

separate

loudspeaker

enclosures,

one

for

the

left

channel

and

one

for

the

right

channel.

Again,

you

can

“see”’

the

orchestra

in

front

of

you.

With

your

stereo

tape

recorder

you

can

now

make

your

own

stereo

recordings,

for

example

of

music,

songs,

speech,

stereo

broadcasts

and

stereo

records,

and

reproduce

these

also

in

stereo.

It

is

obvious,

however,

that

you

cannot

make

stereo

recordings

of

e.g.

a

mono

broadcast

or

mono

record.

2.4.

MULTIPLAY

This

is

the

recording

of

a

synchronised

programme,

consisting

of

several

recordings

on

the

same

track,

which

renders

it

possible

for

instance

to

record

a

quartet

which

is

rendered

all

by

yourself.

While

making

e.g.

the

second

recording,

you

can

listen

to

the

first

recording

via

the

headphones,

the

first

recording

being

duplicated

simultaneously

and

mixed

with

the

second

recording

on

the

same

track.

By

repeating

this

several

times

a

combination

of

separate

but

synchronous

recordings

is

obtained

which

are

reproduced

together.

2.5.

ECHO

AND

REVERBERATION

When

recording

songs

or

music

in

e.g.

a

living

room,

rever-

beration

can

be

added

to

the

recording

to

create

the

im-

pression

that

the

recording

was

made

in

a

large

hall

or

church.

By

the

addition

of

echo,

very

special

effects

can

be

achieved.

With

your

recorder

echo

and

reverberation

recordings

can

be

made

in

a

simple

manner,

as

the

recorder

is

equipped

with

separate,

recording

and

playback

heads

which

are

mounted

in

line.

The

signal

just

recorded

is

then

fed

back

from

the

playback

head

to

the

recording

head

and

re-

recorded

together

with

the

original

signal.

The

effect

is

due

to

the

distance

between

the

two

heads

and

depends

on

the

tape

speed;

at

the

relatively

low

tape

speeds

of

4.75

and

9.5

cm/sec.,

echo

effects

are

obtained

and

at

the

higher

speed

of

19

cm/sec.

a

reverberation

effect.

57

3.

TECHNICAL

FEATURES

3.1.

Hi-Fi

QUALITY

The

amplifier

section

of

N

4450

as

well

as

the

recording

section

at

the

tape

speeds

19

and

9.5

cm/sec.

amply

com-

plies

with

the

requirements

of

the

Hi-Fi

standard

DIN

45

500.

This

DIN

standard

imposes

very

strict

requirements

as

regards

tape

speed

accuracy,

frequency

range,

signal/noise

ratio,

distortion

of

the

amplifier

etc.

The

recorder

has

been

designed

for

the

use

of

Philips’

high-output

low-noise

tapes

which

also

come

up

to

the

above-mentioned

DIN-standard.

For

best

results

it

is

therefore

recommended

to

use

only

this

tape

on

your

N

4450

recorder.

3.2.

AUTOMATIC

REVERSE

The

recorder

features

an

“automatic

reverse

system”.

This

means

that,

unlike

most

other

tape

recorders,

the

tape

can

run

from

left

to

right

as

well

as

from

right

to

left.

When

the

reverse

system

is

operative,

the

tape

after

running

from

left

to

right,

is

automatically

reversed

by

a

strip

of

switching

foil

at

the

end.

When

the

tape

subsequently

reaches

the

other

end,

the

recorder

is

stopped.

Automatic

reverse

operation

is

possible

during

playback

and

recording.

The

direction

can

also

be

changed

before

the

end

of

tape

is

reached

by

pressing

one

of

the

keys

“<]

LEFT”(16)

or

“RIGHT>

”

(19).

3.3.

SIX

HEADS

The

recorder

is

provided

with

a

total

of

6

magnetic

heads.

For

each

tape

transport

direction

a

separate

head

system

is

provided,

each

comprising

an

erase

head,

a

recording

head

and

a

playback

head.

Instead

of

the

usual

combined

recording/

playback

head,

this

recorder

has

a

separate

head

for

recording

and

for

playback.

The

main

advantage

of

this

is

that

the

two

heads

can

be

specially

designed

for

their

specific

function,

giving

optimum

results

both

for

recording

and

playback.

Another

advantage

is

that

due

to

the

separate

recording

and

playback

heads

and

preamplifiers

echo

and

reverberation

recordings

can

be

made

(see

2.5.)

and

so-called

after-tape

monitoring

(see

3.4.)

is

possible.

3.4.

BEFORE

AND

AFTER

TAPE

MONITORING

During

recording,

the

signal

can

be

monitored

in

two

ways:

1.

Before-tape

monitoring.

With

switch

(10)

in

position

“B”,

the

signal

to

be

recorded

is

fed

from

the

recording

amplifiers

to

the.

recording-level

indicators,

to

the

sockets

for

connection

of

headphones

and

monitor

amplifier

and

to

the

output

amplifiers.

This

allows

monitoring

of

the

signal

to

be

recorded

before

it is

actually

recorded

on

the

tape.

2.

After-tape

monitoring.

With

switch

(10)

in

position

“A”,

the

playback

head

scans

the

signal

just

recorded

by

the

re-

cording

head

and

feeds

it

to

the

playback

preamplifiers,

the

recording

level

indicators,

the

sockets

for

connection

of

headphones

and

monitor

amplifier

and

finally

to

the

output

amplifiers.

This

permits

you

to

check

the

result

(the

recording

just

made).

3.5.

CUEING

To

prevent

unnecessary

wear

of

the

tape

and

the

heads,

the

tape

is

lifted

clear

of

the

heads

during

fast

winding,

so

that

nothing

is

heard.

However,

if

during

fast

winding

one

of

the

cueing

buttons

(5)

is

depressed

(which

one

depends

on

the

direction

of

58

recording),

the

tape

is

applied

to

the

heads

and

the

recording

becomes

audible.

Although

the

high

winding

speed

and

changed

pitch

make

it

sound

very

unusual,

you

will

however

be

able

to

recognise

characteristic

parts

of

the

recording

after

some

practising.

This

makes

it

possible

to

stop

the

tape

at

these

points.

The

possibility

of

varying

the

winding

speed

with

the

speed

control

(15)

may

also

be

convenient

in

rapidly

locating

a

certain

passage

on

the

tape

during

cueing.

3.6.

THREE

MOTORS

The

recorder

is

fitted

with

three

motors.

Two

motors

serve

for

driving

the

two

reel

discs

and

the

third

one,

a

special

so-called

“‘Hall”-motor,

drives

the

two

capstans

and

thus

the

tape

during

playback

and

recording

on

both

directions.

The

use

of

one

separate

motor

for

the

tape-transport

functions

during

recording

and

playback

ensures

a

high

accuracy

and

reliability.

The

two

motors

for

the

reel

discs

ensure

a

high

winding

speed

during

fast

winding.

In

order

to

avoid

a

complex

mechanical

drive

system,

most

of

the

functions

are

electro-magnetically

controlled

by

means

of

relays.

3.7.

26.5-cm

REELS

This

recorder

accepts

reels

with

a

diameter

up

to

26.5

cm.

The

use

of

plastic

reels

is

preferred,

as

the

recorder

has

been

designed

for

this.

Metal

reels

are

heavier

than

plastic

reels

and

may

therefore

cause

problems

when

starting

and

stopping.

Due

to

the

difference

in

tractive

power

required

between

large

and

small

reels

the

recorder

is

provided

with

a

reel

selector

switch.

3.8.

TAPE

TENSION

COMPARATORS

To

the

left

and

right

of

the

tape

slot

(6),

two

tape

tension

comparators

(4)

and

two

guide

rollers

are

fitted.

Through

a

special

mechanism

the

tape

tension

comparators

maintain

a

constant

tape

tension

during

playback,

recording

and

fast

winding.

The

rotating

guide

rollers

ensure

that

the

tape

is

precisely

guided

along

its

path.

3.9.

PROGRAMME

INDICATOR

WITH

PRE-SELECTOR

The

programme

indicator

and

the

pre-selector

(3)

coupled

to

it

facilitate

the

rapid

location

of

a

certain

recording

on

the

tape.

When

the

programme

indicator

is

set

to

“0000”

at

the

beginning

of

the

tape

and

the

reading

is

taken

at

the

beginning

and

end

of

a

recording,

this

or

another

number

can

be

set

on

the

pre-selector.

The

tape

is

then

automat-

ically

stopped

when

the

programme

indicator

has

reached

the

pre-selector

setting.

This

pre-selection

facility

is

operative

when

the

tape

runs

to

the

left

and

to

the

right

and

can

be

used

during

playback

as

well

as

fast

winding.

However,

during

recording

the

device

is

inoperative

to

prevent

erroneous

interruptions.

3.10.

TIMER

The

recorder

incorporates

a

special

timer

(39),

which

allows

recording

or

playback

to

be

started

or

stopped

automatically

at

a

preset

time.

At

the

timer

you

can

set

the

correct

time

and

the

desired

starting

and

stopping

time.

When,

for

instance,

for

a

recording

one

of

the

start

keys,

the

record

key

and

the

pause

key

are

pressed,

recording

is

started

and

stopped

at

the

preset

times.

This

feature

permits

you

to

record

for

example

a

radio

programme

in

your

absence.

3.11.

TIP-TOUCH

KEYS

N

4450

is

operated

by

relay-controlled

electronic

tip-touch

keys

instead

of

the

conventional

mechanically-operated

push-buttons.

These

tip-touch

keys

respond

to

a

very

light

touch,

after

which

they

are

illuminated.

They

also

have

a

““memory”’,

which

means

that

e.g.

when

playback

is

interrupted

for

fast

winding,

the

relevant

start

key

remains

illuminated,

though

less

bright,

to

remind

you

of

the

direction

of

playback.

Another

advantage

of

these

keys

is

for

example,

during

play-

back

you

may

directly

press

the

start

key

for

the

other

direction

or

one

of

the

fast-winding

keys,

without

first

pressing

the

stop

key.

This

feature

also

ensures

that

when

different

keys

are

pressed

rapidly

after

each

other

the

recorder

and

the

tape

cannot

be

damaged,

as

the

last

command

is

always

carried

out.

In

conjunction

with

the

convenient

slide

potentio-

meters

for

recording

level,

volume,

balance

etc.

these

tip-

touch

keys

provide

for

true

ease

and

rapidity

of

operation.

3.12.

Hi-Fi

AMPLIFIER

The

N

4450

is

a

combination

of

a

Hi-Fi

tape

recorder

and

a

Hi-Fi

amplifier.

In

addition

to

reproduction

of

recordings

made

with

the

tape

recorder,

this

stereo

amplifier

can

also

be

used

for

amplifying

signals

from

all

other

sound

sources

connected

to

it,

such

as

microphone,

record

player,

tuner

etc.,

thus

forming

the

centre

of

a

complete

Hi-Fi

installation.

It

features

a

“SCRATCH”

(noise)

and

RUMBLE

filter

and

also

a

physiology

circuit

(“PHYS”)

which

boosts

the

low

and

high

tones

with

respect

to

the

mid

range.

The

controls

for

volume,

balance,

treble

and

bass

are

con-

veniently

operated

slide

potentiometers.

When

you

wish

to

use

the

amplifier

section

only

and

the

recording

section

is

not

needed,

you

can

render

the

tape

transport

inoperative

(thus

preventing

unnecessary

wear)

by

setting

the

function

selector

(12)

to

“AMP”.

The

amplifier

supplies

2x

20

Watts

continuous

power

(2

x

30

Watts

music

power)

and

is

provided

with

connections

for

loudspeaker

enclosures

with

an

impedance

between

4

and

8

ohms.

3.13.

SPLICING

JIG

Acces

to

the

jig for

editing

and

splicing

the

tape

(Fig.

9)

may

be

gained

by

removing

the

cover

below

the

tape

slot

in

a

forward

direction.

This

built-in

splicing

jig

consists

of

a

guide

slot

for the

tape,

two

tape

clips

and

an

oblique

guide

slot

for

the

anti-mag-

netic

tape

cutter.

It

has

the

advantage

that

the

tape

can

be

edited

with

the

reels

normally

placed

on

the

turntables.

A

very

useful

aid

in

tape-editing

is

the

Philips’

splicing

kit

SK

10

(optionally

available).

3.14.

REMOTE

CONTROL

All

tape

transport

functions

plus

the

recording

function

can

also

be

remote-controlled

with

remote

control

unit

N

6719.

This

remote

control

unit

is

an

optionally

extra

available

and

has

a

lead

of

approx.

7

m

length.

The

tip-touch

keys

on

the

remote

control

unit

correspond

to

the

tip-touch

keys

on

the

recorder

(keys

16

...

22).

The

keys

on

the

remote

control

unit

are

also

of

the

tip-touch

type,

which

illuminate

when

operated

and

have

a

“‘memory’’.

When

the

remute

control

unit

is

connected,

the

remote-control

keys

and

those

on

the

recorder

can

be

used

side

by

side.

The

unit

is

supplied

with

a

mounting

bracket

which

enables

the

unit

to

be

attached

to

a

cabinet,

an

easy-chair

or

a

wall.

3.15.

CONTINUOUS

TAPE

REEL

The

tape

recorder

can

be

used

in

conjunction

with

a

conti-

nuous

tape

reel

type

EL

1907/52

(CE

10).

A

programme

recorded

on

this

continuous

tape

reel

can

be

played

back

continuously

as

the

endless

tape

repeats

itself

indefinitely.

The

continuous

tape

reel

may

be

used,

for

instance,

to

repeat

commercials

in

department

stores

and

supermarkets.

3.16.

SLIDE

SYNCHRONISER

In

the

horizontal

position

of

the

recorder,

it

can

be

used

in

combination

with

slide

synchroniser

N

6400.

This

unit

allows

slides

to

be

synchronised

with

speech

and

music.

3.17.

TELEPHONE

COIL

With

the

aid

of

telephone

coil

N

6708

(not

available

in

Great

Britain),

you

can

record

telephone

conversations

with

this

recorder.

The

telephone

coil

is

then

connected

to

the

recorder

in

a

similar

way

as

a

microphone.

In

various

coun-

tries,

however,

recording

of

telephone

conversations

is

not

permitted

by

law.

Therefore,

should

you

wish

to

do

so,

we

recommend

that

you

first

ask

for

advice.

59

CONTROLS

AND

CONNECTION

SOCKETS

Fig.

1

1=

Reel

selector

switch

2=

Reel

spindles

with

rotatable

locking

tops

3=

Programme

indicator

with

pre-selector

“AUTOSTOP”

4=

Tape

tension

comparators

5=

Cueing

buttons

“<]

CUEING”

and

“CUEING

>”

6=

Tape

slot

7=

Recording

level

indicator

for

left

channel

““LEFT”

8=

Recording

level

indicator

for

right

channel

“RIGHT”

9=

Input

selector

“TUN

TAPE

AUX

PHON”

10=

Selector

for

before

and

after-tape

monitoring

“A

B”

11=

Track

selector

“1-4

ST

3-2”

12=

Function

selector

“MP

NOR

ECHO

AMP”

13=

Speed

selector

“19

9.5

4.75”

14=

Normal/reverse

switch

“NOR

REV”

15=

Speed

control

for

fast

winding

“FAST

MED

SLOW”

16=

Start

key

for

reverse

operation

“<]

LEFT”

17=

Record

key

“REC”

18=

Pause

key

“PAUSE”

19=

Start

key

for

forward

operation

“RIGHT

>”

20=

Fast

rewind

key

“

<<

WIND”

21=

Stop

key

“STOP”

22=

Fast

wind

key

“WINDP>”

23=

Roller

shutter

24=

Socket

for

stereo

or

mono

(left

channel)

microphone

“MICRO

ST

L”)

25=

Socket

for

mono

microphone

(right

channel)

“MICRO

R”

26=

Socket

for

tape

recorder

“TAPE”

27=

Socket

for

headphones

‘““HEADPH”

28=

Microphone

recording

level

control

(left

channel)

“MICRO

L”

29=

Microphone

recording

level

control

(right

channel)

“MICRO

R”

30=

Recording

level

control

for

all

other

input

sources

“RECORDING”

31=

Echo/multiplay

recording

level

control

“ECHO/MP”

32=

Volume

control

“VOLUME”

33=

Balance

control

“BALANCE”

34=

Bass

control

“BASS”

35=

Treble

control

“TREBLE”

36=

Push-button

for

scratch

filter

“SCRATCH”

37=

Push-button

for

rumble

filter

“RUMBLE”

38=

Push-button

for

physiology

filter

“PHYS”

39=

Timer

“START

TIME

STOP”

40=

On/off

switch

for

the

switching

function

of

the

timer

“TIMER

ON”

41=

Mains

switch

“MAINS

ON”

When

the

functions

“MP”,

“ECHO”

and

“AMP”

of

the

function

selector

(12),

position

“A”

of

the

before/after-tape

monitoring

switch

(10)

and

position

“REV”

of

the

normal/

reverse

switch

(14)

have

been

selected,

these

are

indicated

by

a

red

illumination

of

the

relevant

function.

This

enables

you

to

see

at

a

glance

which

function

has

been

chosen.

60

Fig.

2

42=

Slot

for

50-60

Hz

adjustment

for

timer

43

=

Socket

for

remote

control

“REMOTE”

44=

Socket

for

loudspeaker

enclosure,

right

channel

“LOUDSP

R”

45=

Socket

for

loudspeaker

enclosure,

left

channel

“LOUDSP

L”

46=

Socket

for

monitor

amplifier

“MONITOR”

47=

Socket

for

record

player

“PHONO”

48=

Socket

for

connection

of

other

auxiliary

equipment

“AUX”

49

=

Selector

for the

socket

for

record

player

(47)

“CRYST

DYN”

50=

Socket

for

tape

recorder

“TAPE

IN/OUT”

51=

Socket

for

tuner

“TUNER”

52=

Voltage

adapter

The

numbers

of

the

controls

and

sockets

are

repeated

throughout

the

text.

The

figures

illustrating

the

text

can

be

found

on

the

separate

sheet.

Please,

note

that

copying

of

gramophone

records

and

re-

cording

of

radio

programmes

is

only

permissible

in

so

far

as

copyrights

or

other

rights

of

third

parties

are

not

thereby

infringed.

PART

Il

“WHAT

YOU

MUST

KNOW”

1.

PREPARING

THE

RECORDER

FOR

USE

1.1.

CARRYING

HANDLE

Raising

the

handle:

Press

on

one

side

of

the

handle.

The

other

end

is

then

raised

and

the

handle

can

be

pulled

up

(Fig.

3).

Folding

in

the

handle:

Press

down

one

end

of

the

handle.

Then,

press

on

the

raised

end.

1.2.

CONNECTION

TO

THE

MAINS

Place

the

recorder

in

the

vertical

position

and

take

off the

lid

of

the

storage

compartment

in

the

back

by

pressing

the

catches.

Take

the

mains

lead

out

of

the

storage

compartment

and,

before

inserting

the

mains

plug

in

the

wall

socket,

check

that

the

value

on

the

voltage

adapter

(52)

opposite

the

triangle

corresponds

to

the

local

mains

voltage.

Should

this

not

be

the

case,

the

adapter

must

be

turned

with

a

coin

(anti-clockwise

from

position

220.or

clockwise

from

position

245)

until

the

correct

setting

is

opposite

the

triangle

and

a

click

is

heard

(Fig.

2).

In

this

way

the

recorder

can

be

set

to

mains

voltages

of

110

(100

-

120),

127

(115

-

130),

220

(200

-

230)

or

240

(230-

250)

Volts.

Except

for

the

timer,

(39),

switching

to

50

or

60

Hz

a.c.

is

not

necessary.

Now,

you

may

connect

the

mains

lead

to

the

mains

socket,

since

adaptation

to

the

correct

mains

frequency

for

the

timer

should

be

done

while

the

recorder

is

switched

on.

At

the

rear

of

the

recorder

a

slot

(42)

is

located

with

the

indications

50

and

60

Hz

on

either

side.

When

looking

into

the

recorder

through

this

slot,

you

see

the

timer

(39).

From

the

timer

a

lever

protrudes,

marked

with

grey

tape

at

the

back.

This

lever

should

point

towards

50

or

60

Hz

depending

on

the

local

mains

frequency.

When

changing

the

mains

frequency

setting

of

the

timer,

the

recorder

should

remain

switched

on.

Insert

a

thin

screwdriver

in

the

slot

(42)

and

push

the

lever

slowly

to

the

left

or

to

the

right

in

the

desired

position

until

it

is

felt

to

engage.

Take

care

that

the

screwdriver

is

not

inserted

too

far,

to

avoid

any

other

parts

being

touched

and

damaged.

Note:

The

lid

of

the

storage

compartment

has

an

opening

through

which

the

mains

lead

and

cciinecting

leads

can

be

led.

This

allows

the

storage

compartment

to

be

closed

while

the

recorder

is

in

use.

1.3.

OPENING

AND

REMOVING

THE

COVER

When

using

reels

of

18

cm

dia.

(7’’) or

smaller,

the

cover

need

not

be

removed.

For

larger

reels,

it

must

be

hinged

up

completely

or

taken

off.

When

the

recorder

is

not

in

use,

refit

the

cover

as

a

protection

against

dust.

Opening:

Open

the

two

catches

by

pushing

them

through

completely

and

releasing

them.

The

lower

part

of

the

cover

can

now

be

hinged

with

respect

to

the

upper

section.

It

is

also

possible

to

hinge

up

both

sections

and

place

them

on

top

of

the

recorder

(Fig.

4).

Removal:

Hinge

the

two

parts

together

and

hinge

them

90°

with

respect

to

the

recorder

(Fig.

5).

The

cover

can

now

be

pushed

to

the

right

out

of

the

hinges.

Refitting:

First

hinge

the

two

parts

together

and

place

the

hinge

pins

on

the

hinges

on

top

of

the

recorder.

Hold

the

cover

at

right

angles

to

the

recorder

(Fig.

5)

and

slip

it

into

the

hinges

towards

the

left.

Swing

the

two

sections

of

the

cover

open

and,

if

desired,

fasten

the

catches.

Note:

To

ensure

that

the

recorder

is

stable

when

used

in

the

vertical

position,

it

is

fitted

with

pull-out

feet.

1.4.

SWITCHING

ON

AND

OFF

Switching

on:

Press

the

mains

switch

(41):

the

selected

functions

and

the

recording-level

indicator(s)

(7)

and/or

(8)

-

depending

on

the

setting

of

the

track

selector

(11)

-

are

illuminated

and

the

timer

(39)

is

started.

Switching

off:

Press

the

mains

switch

(41)

again:

the

lights

extinguish

and

the

timer

stops.

Note:

Never

switch

off

the

recorder

while

the

tape

is

still

running.

In

that

case,

first

press

the

stop

button

(21).

1.5.

REEL

SELECTOR

SWITCH

(1)

The

reel

selector

switch

(1)

should

point

vertically

down-

wards

when

using

reels

with

a

diameter

of

21

cm

(8

1/2”)

or

larger

(max.

26.5

cm

or

10

1/2”).

When

using

reels

of

18

cm

dia.

(7)

or

smaller,

this

switch

should

be

turned

in

the

direction

of

the

arrow

until

a

click

is

heard.

Note:

When

using

reels

of

different

diameters,

the

largest

reel

determines

the

setting

of

the

reel

selector

switch.

However,

in

that

case

the

speed

control

for

fast

winding

(15)

should

not

be

used.

1.6.

THREADING

THE

TAPE

@

Set

the

reel

selector

switch

(1)

to

the

correct

position.

@

Place

the

full

reel

on

the

left

turntable

(when

the

tape

is

unwound,

the

full

reel

should

turn

anti-clockwise)

and

place

the

empty

reel

on

the

right-hand

turntable.

Ensure

that

the

reels

lie

perfectly

flat

on

the

turntables.

@

Pull

out

the

tops

of

the

reel

spindles

(2),

turn

them

60°

and

release

them.

The

reels

are

now

clamped

in

position

on

the

turntables.

©

Unwind

approx.

60cm

of

tape,

hold

it

taut

and

feed

the

tape

around

the

tape

tension

comparators

(4),

the

guide

rollers

and

through

the

tape

slot

(6).

@

Keeping

the

tape

taut,

insert

the

leading

end

between

the

flanges

of

the

empty

reel

until

the

tape

touches

the

hub

(Fig.

6).

©

Press

the

tape

end

onto

the

reel

hub

with

your

fingers

through

the

openings

in

the

reel

and

turn

the

reel

anti-clock-_

wise

until

the

right-hand

reel

grips

the

tape.

©

Press

the

start

key

“RIGHT

>”

(19)

and

keep

it

depressed

until

the

coloured

leader

tape

and

the

metal

switching

foil

have

passed

the

tape

slot

(see

“AUTOMATIC

STOP”

1.10).

Then

press

the

stop

key

(21)

and

set

the

programme

indi-

cator

(3)

to

“0000”

by

pressing

the

zero

reset

button.

On

the

take-up

reel

the

glossy

side

should

face

up

and

the

dull

side

should

face

down.

Note:

It

goes

without

saying

that

the

tape

may

also

be

threaded

from

right

to

left.

However,

for

clarity,

we

have

described

one

direction

only.

1.7.

FUNCTION

SELECTOR

(12)

With

function

selector

(12)

the

recorder

can

be

set

to

four

different

functions:

“MP”

(red)

for

multiplay

recordings;

“NOR”

for

(normal)

use

of

the

recording

section

(including

the

tape

transport)

plus

the

amplifier

section;

ECHO

(red)

for

echo

or

reverberation

recordings

(only

possible

during

recording);

“AMP”

(red)

(amplifier)

when

using

the

amplifier

section

only.

In

this

position

the

tape-transport

section

is

completely

switched

off;

the

keys

for

tape

transport

(16

...

22)

are

61