NAD 1. 2. 3. 4. 5. 6. 7. 8. 9. AM Rod Antenna Antenna Terminals Coaxial Antenna Input Phono Input Phono Ground MM/MC Phono Selector CD Input Aux Input Tape Rec/Play 10. 11. 12. 13. 14. 15. 16. 17. Preamp Out, Main In Soft Clipping Speaker Impedance Bridging AC Line Cord AC Convenience Outlets (Not in U.K. model) Speakers A Speakers B 1 2 17 16 15 NAD ELECTRONICS, BOS1 (lN/l,ON!XJN/TOK INC. Y{) R s;:·~ ~;I~>~~> CAUTION: THE RISK TO REDUCE OF ELECTRIC SHOCK. DO NOT REMOVE COVER (OR BACK) NO USER-SERVICEABLE 4 1. 2. 3. 4. 5. 6. 7. 8. Power Phones Speaker Selector Bass Treble Bass Equalization Infrasonic Filter Defeat Mono 5 9. 10. 11. 12. 13. 14. 15. 16. 6 7 8 9 3 17. 18. 19. 20. 21. 22. 10 11 12 13 14 PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL Dyn Sep Defeat Tape Monitor Input Selector Low Level Loudness Compensation Volume/Balance TuningSearch Up/Down Tuning AM/FM Memory Enter Station Pre-Sets FM Stereo Indicator Soft Clipping Indicator Tuning Display 1 22 21 20 19 18 17 16 Stereo Recei"cr 7140 FA1 AM 3 4 ::. ENILR MJ,f':M IIIIIUllllm SPEAKER~~ ~III. c::Jc::::::::Jc::::::::Jc::::::::Jc::::::::J B OfF A+B BASS !"BURr: CD PH()NO rUNER AU); BASS INFRA DYN Sf:>' MONO DEFEA.T rAPE PHONES EO DEFf;:AT ~)NI100 2 3 4 5 678 9 2 10 11 12 13 14 15 switch. 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But the better approach is to install a connector on the coaxial cable, and plug it into the 750 socket. The antenna terminals are connected to the FM tuner circuit through an internal "balun" transformer that allows the use of either a "balanced" 300-ohm twin-lead antenna cable (connected to the two 3000 terminals) or an "unbalanced" 75-ohm coaxial cable (with its center conductor connected to one of the 3000 terminals and the cable shield connected to the Ground (G) terminal. However, a slight signal loss can occur in such a transformer. The 750 coaxial socket is connected directly to the FM tuner circuit, bypassing the transformer, and so this is the preferred input when the best possible input sensitivity is required. 4. PHONO INPUT. Plug the signal cables from your turntable into these jacks. If the cables or plugs are colorcoded, refer to your turntable's instruction manual to learn which cable or plug is for the Left channel (upper jack) and which for the Right (lower jack). Be careful to insert each plug fully into the socket so that the plug's metal skirt fits tightly over the exterior of the socket. If necessary, crimp the plug's metal skirt slightly so as to obtain a tight fit with the socket. 5. PHONO GROUND. If your turntable is equipped with a grounding wire (usually a green wire terminating in a U-shaped spade lug), connect it to this terminal. Turn the thumb-nut counter-clockwise, place the spade lug under the nut, and tighten the thumb-nut clockwise to secure the lug. If the grounding wire has no terminal lug, strip off a half-inch (1 to 2 em) of insulation to expose the bare wire, twist the wire strands tightly together, insert the wire through the small hole in the shaft of the Ground terminal, and tighten the thumb-nut to fasten the wire in place. If you encounter a persistent low-level hum or buzz in the sound, connect a wire from the Ground terminal to a true earth-ground, i.e., a copper-plated rod driven several feet into the earth. A substitute electrical ground may also prove effective: a cold-water pipe, a steam radiator, or the third hole of a modern electrical wall socket. 6. MM/MC PHONO SELECTOR. This switch sets the input sensitivity and gain of the phono preamplifier circuit. Set it according to the output level of your phono pickup cartridge. Set the switch at MM for cartridges of the moving magnet, induced magnet, moving flux, and moving iron (variable flux) types, and for "high output" moving-coil pickups, i.e., those with a rated output of 1.0 mV or greater. If your cartridge is a low-output moving-coil pickup (with a rated output less than 1.0 mV), set the switch at MC. Here is another way to determine the correct setting of the MM/MC switch. Begin by setting it to MM. After you have completed the installation and wiring of the receiver, playa record. You should obtain a satisfyingly loud volume level at VOLUME control settings between 9 o'clock and 3 o'clock. If you have to turn up the VOLUME control beyond 3 o'clock to get adequately loud sound, turn the volume back down and re-set the MM/MC switch to MC. 7. CD INPUT. Connect the audio signal cables from a digital Compact Disc player to these jacks. The input signal will be fed to the VOLUME control before reaching any active circuitry, so the amplifier's circuits cannot be overloaded by high-level signals from the digital player. If you don't have a CD player, any other line-level signal source (such as a spare tape deck) may be connected to the CD input. 8. AUX INPUT. These auxiliary jacks are for any "line level" signal source, such as a spare tape deck, the audio line output from a videocassette or videodisc player, or a television sound tuner. As with all of the other input/output jacks on this amplifier, the upper jack in each pair is for the Left channel and the lower jack is for the Right channel. 4 9. TAPE REC/PLAY. The tape connections may be used with recorders of all types: cassette, micro-cassette, openreel, digital, etc. To make recordings, connect a stereo patch cord from the amplifier's TAPE OUT (RECording) jacks to the recorder's LINE INPUT jacks (not to its microphone inputs). To play back tapes, connect a stereo patch cord from the recorder's LINE OUTPUT jacks to the amplifier's TAPE IN (PLAYback) input jacks. The TAPE REC/PLAY jacks may be used for connecting a signal-processing accessory instead of a tape recorder. Examples of such accessories include a dynamic range processor, a dynamic noise filter, a DBX disc decoder, or any other device whose operation depends on the setting of a signal threshold. Connect a patch cord from the TAPE OUT (REC) jacks to the processor's inputs, and another patch cord from the processor's outputs to the TAPE IN (PLAY) jacks. Other signal processing accessories, such as a graphic equalizer or the special equalizer supplied with some loudspeakers, may be connected either to the TAPE jacks or at the Preamp Out jacks. The choice is a matter of convenience. 10. PREAMP OUT, MAIN IN. Each channel of the amplifier is composed of two independent sections or stages: the control preamplifier (including the phono preamp and most front-panel controls), and the power amplifier (which provides the power to drive loudspeakers). In normal operation the preamp and power amp are connected together via factoryinstalled U-shaped metal jumpers that bridge the PRE-OUT and MAIN-IN jacks. Check to be sure that the jumpers are fully inserted into the jacks and that nothing is touching them. By removing the metal jumpers (after first switching OFF the POWER), you can connect various signal-processing accessories in the path between preamp and power amp: an equalizer, a time-delay ambience reproducer, a stereo image enhancer, an electronic crossover, etc. To use a signal processor, connect a stereo patch cord from the PRE-OUT jacks to the processor's line-level input jacks, and a second patch cord from the processor's output jacks to the amplifier's MAIN-IN jacks. NOTE: any signal processor whose operation depends on the setting of a threshold, such as a dynamic noise filter, should be connected to the TAPE REC/PLAY jacks-where the signals are unaffected by the amplifier's volume and tone controls-rather than the PREAMP OUT jacks. If you remove the metal jumpers, save them in case you may want to disconnect the signal processor and return to normal operation at a later time. If the jumpers should be lost, a conventional stereo patch cord can be used to connect PRE-OUT to MAIN-IN in each channel. This amplifier can be used as the heart of an elaborate audiophile sound system. The preamp output is capable of driving several power amplifiers simultaneously, or of driving the long signal cables required to connect to power amps which are located near the speakers (or to "powered" active loudspeakers with built-in power amplifiers). 11. SOFT CLIPPING. When any amplifier is overdriven beyond its specified power output it normally produces "hard clipping" of the signal with harsh distortion and power-supply buzz as the output transistors saturate. The NAD Soft Clipping circuit gently limits the output waveform and minimizes audible distortion when the amplifier is overdriven. If your listening involves moderate peak power levels, the Soft Clipping may be left OFF. But we recommend that it be switched ON when playing music at very high levels that might exceed the amplifier's power capacity. 12. IMPEDANCE. The impedance of a loudspeaker varies with frequency, and in many loudspeakers the impedance is lowest at the frequencies where the highest power demands occur in music. In the majority of "8 ohm" loudspeakers this I minimum impedance is from 4 to 6 ohms, and in "4 ohm" speakers the minimum is typically 3 ohms. If you connect two sets of speakers to the amplifier, their combined impedance is approximately half the impedance of eith ...