Front Panel Controls - NAD 114 Manual Del Usuario

patch cord from processor's outputs to the TAPE 1 IN
jacks.
The tape connections may be used with recorders
of all types: cassette, micro-cassette, open-reel, digi-
tal, etc. To make recordings, connect a stereo patch
cord from the TAPE 1 OUT jacks of the 114 to the
recorder's LINE IN jacks (not its microphone inputs).
To play back tapes, connect a stereo patch cord from
the recorder's LINE OUT jacks to the TAPE 1 IN
jacks of the 114. (See Figure 2)
9. TAPE 2 INPUT/OUTPUT.
These jacks allow you to connect a second tape
recorder of any type, and the preamplifier is wired to
permit copying tapes from one recorder to the other.
Connect a cable from the TAPE 2 OUT jacks of the
114 to the recorder's LINE IN jacks, and another
cable from the recorder's LINE OUT jacks to the
TAPE 2 IN jacks.
10. PRE OUT 1 & 2.
Two pairs of RCA phono preamp output jacks are
provided for convenience. This is the normal output
from the preamplifier. Connect a stereo signal cable
from these jacks to the main input jacks on your
power amplifier.
The preamp has a low output impedance (220
ohms). It can drive several amplifiers connected in
parallel, and it can be used with long signal cables in
order to drive power amplifiers that are located near
the speakers (or "powered" speakers having built-in
power amplifiers).
If you have a special loudspeaker equalizer or
another signal processor that should be installed in
the signal path after the volume control, connect a
cable from either pair of the PRE OUT jacks to the
input of the processor, and a second cable from the
output of the processor to the main input of your
power amplifier.
11. AC LINE CORD.
After you complete all connections to the preampli-
fier, plug the AC line cord into a "live" AC socket.

FRONT PANEL CONTROLS

1. POWER
Press to switch on the power to the 114 (and to any
other products plugged into the SWITCHED conve-
nience outlets on the rear panel of 120V versions) .
To switch the power off, press the button again.
2. PHONES
Plug stereo headphones in here. The circuit will
provide proper drive signals for all conventional
stereo headphones regardless of their impedance,
with just one exception: electrostatic headphones
usually are supplied with an adapter unit which must
be connected directly to the speaker terminals on
your power amplifier.
Insertion of a plug into the PHONES socket auto-
matically mutes the signal at the PREAMP OUTPUT
jacks, silencing the loudspeakers. In order to resume
listening to loudspeakers you must unplug the head-
phones from the PHONES socket.
3. BASS.
The Bass control adjusts the relative level of the
low frequencies in the sound. The electrical
response of the preamplifier is flattest when the con-
trol is set in the detent at the 12 o'clock position.
Rotation of the knob to the right (clockwise) increases
the level of low-frequency sounds, and rotation
counter-clockwise decreases their level. Adjust the
Bass control to achieve the tonal balance that sounds
most natural to you.
At moderate rotations away from center the effect
of the Bass control is subtle, because its action is
confined to the lowest audible frequencies where sig-
nificant energy is seldom found in recordings. Only at
large rotations away from center is there a substantial
boost or cut at the mid-bass frequencies that are
common in music.
When the TONE DEFEAT button is engaged, the
Bass and treble circuits are bypassed.
4. TONE DEFEAT.
When this button is pressed the Bass and Treble
circuits are bypassed, restoring precisely flat frequen-
cy response. This provides a convenient way to eval-
uate settings of the Bass and Treble controls. By
adjusting the tone controls and then switching them in
and out of the signal path, you can easily evaluate
their effect on the musical sound.
5. TREBLE.
The Treble control adjusts the relative level of the
high frequencies in the sound. The response of the
preamplifier is flattest when the control is set in the
detent at the 12 o'clock position. Rotation of the
Treble control to the right (clockwise) increases the
level of high-frequency sounds, and rotation counter-
clockwise decreases their level. Adjust the Treble
control to achieve the tonal balance that sounds most
natural to you.
Boosting the Treble increases the brilliance and
clarity of details in the sound, but also makes any
noise more prominent. Turning down the Treble
makes the sound mellower while suppressing hiss
and record surface noise; but too much Treble roll-off
will make the sound dull.
6. BALANCE.
The Balance control adjusts the relative levels of
the left and right channels. It has no effect on record-
ings being made. A detent at the 12 o'clock position
marks the point of equal balance. Rotation of the
Balance control to the right (clockwise) decreases the
level of the left channel so that only the right channel
is heard, thus shifting the sonic image to the right.
Rotation of the control to the left shifts the sonic
image toward the left speaker.
GB
NAD
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