Yamaha CR-2020 Owner's manual

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Front panel numbers are explained on pages 6 and 7.
A FRONT PANEL
Rear panel numbers are explained on pages 8 and 9.
У REAR PANEL
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CR-2020 Receiver.
YAMAHA offers you thanks and congratulations on your choice of the
Embodying novel and useful features, it combines
superb broadcast reception with the finest audio quality, and 1s currently
setting new standards for receiver performance in is class.
1. All-in-One Excellence
Accurately matched performance specifications,
functions, and controls, give overall performance
which fully measures up to Yamaha's high tuner,
pre-, and power amp standards.
2. Noise-Distortion Clearance Range
This is the basic concept for the audio section.
The CR-2020 offers an extremely wide range of
output powers for which both noise and distortion
are below the rated value, for wide dynamic range
in actual use.
3. Direct Assessment of Differential Gain
This sophisticated technique enables Yamaha
to combine high station-getting ability, razor-sharp
tuning, and ultra-low distortion in the tuner
section.
4. Optimum Tuning System
The OTS system will take over from you the
fine-tuning needed to obtain minimum distortion
and maximum stereo separation, so that all FM
stereo programs are heard at their best.
5. Multi-Function Meters
Fast-response wide-level meters indicate power
output levels from 0.05 W to 200 W (for 8-ohm
speakers), with the right channel meter doubling
as signal strength and (on FM) signal quality
meter.
G. Super Low-Noise MC Head Amp
This IC unit makes the superior performance of
low output moving coil cartridges yours without
the cost of a separate step-up transformer or head
amplifier.
7. Comprehensive Tone/Filter Controls
Both Bass and Treble controls have switched
turnover frequencies {with defeat switch), and
there is also a mid-frequency ‘Presence’ control.
Dual High and Low Filter settings are provided.
8. Continuous Loudness Compensation
This Yamaha ‘special’ enables full compensa-
tion for the ears’ reduced sensitivity to bass and
treble frequencies at low listening levels, whatever
your normal maximum listening level.
и =
Front Panel and Controls .......... A
Rear Panel and Connections .............
Broadcast Reception . . ...............
Speakers and Headphones
Listeningto Records . . . ..............
The Special REC OUT Selector Switch . . . . .
PRE OUT/MAIN IN COUPLER
ON/OFF Switch. .................
Tape Playback and Recording ...........
Output Level Controls and Meters ........
Tone Controls
Filters and Mode Selection .............
Block Diagram . . ...................
Circuit Diagram... ............... .
Specifications
Trouble Shooting . ..................
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Warning: to prevent fire or shock hazard,
do not expose this set to rain or
moisture.
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PANA
The CR-2020 is a high performance AM/FM
stereo recelver, with excellent selectivity, sen-
sitivity, low distortion, and high output power.
This manual is required reading if you are to get
the best from its special features and controls.
=
Do not drop or other wise jar the CR-2020,
which is à precision electronic instrument.
Do not place the CR-2020 where it will be ex-
posed to direct sunlight, excessive heat (for in-
stance over a radiator), cold, moisture, or
dust.
Do not use chemical solvents (such as benzene
or alcohol) to remove traces of dirt. Wipe only
with a soft, slightly damp cloth.
Do not attempt to carry out internal adjust-
ments or repairs. Leave these to your local
service representative.
Do not assume your CR-2020 is faulty before
checking the ‘Trouble Shooting’ list on pages
28 to 29 for common operating errors.
Operate all switches and knobs in accordance
with the instructions. Avoid applying undue
force, which should never be necessary, and do
not attempt to use intermediate settings.
Note that the muting circuit keeps the CR-2020
silent for several seconds after switching ON, to
prevent the pops and clicks that can occur.
Do not connect other audio equipment to the
spare AC outlet sockets on the rear panel if
they will require more power than the outlets
are rated to provide.
Always check the main VOLUME setting before
returning the AUDIO MUTING switch to the
0 dB position. The sudden increase in level is
enough to damage most speakers with the 100
Watts rms which the CR-2020 provides if the
original level was too high.
Keep this manual in a safe place for future re-
ference, and refer to it frequently until you
are perfectly familiar with all CR-2020 controls
and functions.
ANG
Switch ON to connect the main electrical supply.
Leave OFF while familiarizing yourself with the
controls, and while connecting other audio equip-
ment.
2 VOLUME Control
Use this control to give the volume of sound that
you require. Always start with it turned fully to
the left (counter-clockwise) at the ‘0’ position
before turning it up to the volume level you
require.
® BALANCE Control
This controls the balance between the L and R
stereo channels. Set it to the center ‘5’ position,
at which there is a click stop, unless you need to
emphasize the sound from one or other of the
speakers.
ES AUDIO MUTINGS 0/-20 da Switeh
This gives a straight 20 dB reduction in listening
volume without having to adjust the VOLUME
control. Use it whenever operating selector or
other switches, and when lowering the phono
cartridge onto the record.
@ LOUDNESS Control
This boosts the extreme low and high frequencies
to compensate for our ears’ reduced sensitivity to
FI
§ POWER ORN/OFF Switch
@ PHONO 1
these frequencies at low volumes. Set it to the
FLAT position while the VOLUME control is set
to your normal listening level. Turning it counter-
clockwise will reduce the volume but retain the
natural balance between low and high frequencies.
O INPUT SELECTOR
This switch is used to select the program source of
your choice, whether PHONO, TUNER, one of
two TAPE decks, or AUX (for 8-track tape car-
tridge playback, etc).
Select PHONO terminals 1 or 2 with this switch
once the INPUT SELECTOR switch has been set
to PHONO. The PHONO 1 position offers a
choice of low output moving coil (MC) cartridges
or normal moving magnet (MM) types. PHONO 2
only handles MM cartridges.
© The FM Tuner Section Controls
TUNER FM/AM: this determines whether AM
(medium waveband) or FM stations will be re-
ceived.
OTS ON/OFF: in the ON position, the Optimum
Tuning System will correct any slight mis-tuning,
to assure optimum reception of FM stations. In
the OFF position, accurate manual tuning be-
comes necessary. Note that even in the ON posi-
tion, OTS only comes into effect when you have
released the tuning knob.
FM MUTING LEVEL: at the 3 uV setting inter-
station noise and weak signal strength stations will
be muted. Atthe 30 uV setting only those stations
| capable of good stereo reception will be heard.
FM MUTING ON/OFF MONO: the 3/30 pV set-
tings require this switch to be ON. In the OFF
MONO position all stations will be heard, but only
in monaural mode.
FM BLEND: this switch is used to reduce the hiss
noise that affects the weaker FM stereo stations.
DOLBY FM ADAPTOR: only if you have pur-
chased and fitted anadaptor for FM ‘Dolby’ broad-
casts should this switch be ON: without an
adaptor the ON position will turn your FM tuner
section off.
O TUNING Knob
This large tuning knob gives smooth and positive
station selection, with precision flywheel mecha-
nism.
1 FM/AM Tuning Scale
The upper scale gives FM station frequencies in
MHz and the lower scale gives AM frequencies in
kHz, with LEDs at the left indicating the scale in
use.
0) FM TURING METER
This is used when tuning in FM stations: the indi-
cator points to dead center when the station is
perfectly in tune.
This meter indicates the strength of the signal for
both AM and FM stations, and indicates FM inter-
ference by fluttering, with the amplitude of the
variation showing the extent of the interference.
It also doubles as an output level meter, see @
and 9D.
y BASS, PRIESENCE,
and TREBLE Controls
In addition to normal bass and treble controls,
there is PRESENCE control of the mid-frequencies.
OH TURNOVER FREQUENCY /
DEFEAT Switches
Select 125 or 500 Hz turnover frequencies (for
bass) and 2.5 or 8 kHz (for treble), or defeat all
tone controls including the mid-range PRESENCE
control with the DEFEAT switch.
1D LOW and HIGH FILTER Switches
These give a choice of 15 or 70 Hz low frequency
steep cut-off filters, and of 8 or 12 kHz for high
frequencies.
In addition to normal stereophonic audition you
can switch to reverse stereo, monaural (L + В), ог
to either left- or right-hand channel alone (L or R).
O SPEAKERS
With this you can select any one or any pair of
three sets of stereo speakers — or switch all off to
enjoy headphone listening.
O PHONES Jacks
Two headphone sockets are provided. Plugging in
does not mute the speakers, so use the OFF posi-
ton on the SPEAKERS switch. Remove the
plastic protective cover before attempting to plug
in. |
() LED indicators
These give visible indication of whether the
POWER is on, the TONE CONTROLS operative,
the AUDIO MUTING on, the FM BLEND on, also
indicating whether an FM stereo station is being
received, and whether the OTS is on.
® SP OUT Level M
These sensitive, wide-range meters measure the
output power for each channel from 0.05 W to
200 W. The right-hand meter @ also doubles as
the signal strength and quality meter (changing
over to this function when the tuning knob is
touched). The left-hand meter does not indicate
output power when the left-hand meter is in the
signal Q mode.
METER Switch
Use the SIGNAL Q position for continuous signal
strength and quality measurements. Use the SP
OUT setting for right-hand channel levels (Note:
the meter reverts back automatically when the
tuning knob is touched).
REC OUT Selector
This selects the program source which will be
recorded, just as the INPUT SELECTOR selects
which program source will be heard. In the
CR-2020 you can listen to one program while
recording another (copy a friend's tape while
listening to FM, etc.).
Ñ—_ A
A
ad SPEAKERS Terminals
The complete instructions for connecting speaker
systems to this receiver are given on page 14.
However, if you wish to hear what your receiver
.sounds like now, you can hook up your speakers
to the A terminals on the rear of your CR-2020.
Only use speakers with impedances between 8 and
16 ohms, and preferably rated to take 100 Watts,
If not, use the VOLUME control so that their
rated maximum input power is not exceeded on
‘the meter readings. Remember that the meters are
calibrated for 8 ohm speakers. Halve the value
for 16 ohms.
To connect the speakers, push the lever beneath
the terminals as shown in the diagram, align the
inner and outer terminal holes, and insert the
speaker wire into the holes. Then release the
lever, which clamps the wire.
Make sure that you connect the + terminal on the |
receiver to the + terminal on the speaker, and the
— terminal on the receiver to the — terminal on
the speaker. A mistake here will result in poor
bass response and an ill-defined stereo image.
Also make sure that you connect the left-hand
speaker to the left-hand channel, and the right-
hand similarly.
RPT Terminals
These are the terminals selected by the INPUT
SELECTOR and PHONO switches on the front
panel. Use the PHONO-1 terminals first, keeping
PHONO-2 as a spare. The shorting plugs in the
PHONO-2 terminals should be left in place unless
these terminals are used. The AUX terminals can
be used to connect an external tuner, or for 8-
track cartridge tape playback, etc.
O Ground [GRID] Terminals
Two ground terminals are provided for grounding
turntable units, etc. Please make sure that all such
units are firmly grounded: failure to connect the
ground leads can result in unpleasant hum.
€) TAPE PB and REC OUT Terminals
Two tape decks can be attached to these input
and output teminals. Recordings can be made on
both at the same time, of any source connected to
the CR-2020, and tapes can be dubbed from one
to the other in both directions. |
& DOLBY FIVi ADAPTOR Terminals
If you purchase an adaptor designed to enable you
to receive Dolby FM broadcasts, it should be con-
nected to these terminals, and the corresponding
switch on the front panel should also be depressed
during Dolby FM broadcasts.
O PRE OUT and MAIN IN Terminals
The preamplifier section output is always available
from the PRE OUT terminals, but unless the
COUPLER switch is OFF, the output from an-
other preamplifier cannot be fed to the power
(MAIN) section. The plastic guard is to stop you
switching off accidentally.
e AC QUTLETS
The top (200 W maximum) outlet is controlled by
the CR-2020 POWER switch. The two lower out-
lets (200 W maximum total) are unswitched. Use
them for other audio equipment but do not ex-
ceed the rated loads.
® ANTENNA CONNECTIONS
Detailed instructions on AM and FM reception are
given on pages 10 to 13, but a quick check of
CR-2020 functions can be carried out by connect-
ing the T-type internal (indoor) antenna provided
with the CR-2020 to the terminals marked 300 £2
BAL. Pin the two arms of the “T* at full stretch
to the ceiling or walls of your room after finding
“the best orientation. Note that such a quick check
can be carried out with all selector switches ver-
tical and all push switches in the out (non-de-
pressed) positions.
Bar Antenna for AM Reception
This internal antenna will usually be adequate for
satisfactory AM reception. It should be swung
away from the rear panel on the hinge provided.
(0) AC Electrical Power Line
Just plug in to a main power supply wall outlet
socket. Be sure the line is not placed where you
might trip over it.
(5
10
The T-type antenna provided is adequate only in
high signal strength areas under favorable condi-
tions. In other cases, an external multi-element
FM antenna is needed. If you cannot obtain satis-
factory reception with the T-type antenna after
trying it in different positions, and orienting it to
give the best reception for the weakest station to
‘which you will normally be listening, this is an
indication that you need an external FM antenna.
The external antenna should be located as close
as convenient to the CR-2020, and as high as pos-
sible. It should be oriented to give the highest
reading possible for the weakest station to which
“you will normally be listening. If this direction is
not too critical, you can orient the antenna for
minimum interference from automobile ignition,
etc.
If the antenna is intended for use with the shielded
coaxial cable which reduces losses and interference,
use the 75 £2 UNBAL terminals, and connect the
cable as shown. Antennas intended for 300 {2
BAL terminals (using feeder wire like that of the
internal antenna provided) can also be used with
coaxial cable, but a matching transformer is neces-
sary at the antenna. Coaxial cable is advisable
where the antenna must be located some distance
from the CR-2020, or where interference from
automobile ignition, etc., is troublesome.
1. Strip insulation from the outside of the braided
sheath, and bend back the metal braiding
outside the insulation. Expose the projecting
central core wire as shown, being careful not to
cut through any strands in the process.
2. Slacken the two retaining screws as shown, in-
sert the coaxial cable, and re-tighten the screws
so that the clip grips the exposed braided
sheath.
3. Connect the central core wire to the 75 © ter-
minal.
4. Ensure that the braiding does not come into
contact with the inner core.
. Set the INPUT SELECTOR to TUNER, and
the TUNER push-button to FM. Note that the
FM indicator at the left of the tuning scale is lit.
. All other push-buttons should be fully OUT
{i.e. non-depressed) and the switches and knobs
should be in the settings shown in the fold-out
diagram of the front panel.
. Touch the tuning knob and note that the
OTS/STATION light goes out. Also the central
meter will revert to its SIGNAL Q function.
. Tune for maximum signal strength on the
SIGNAL Q meter, ignoring any regular fluctua-
tions which may occur.
. Now tune to bring the FM TUNING meter
pointer to the exact center. This is the op-
timum tuning position, and should be carefully
set. Note that the OTS/STATION indicator
glows faintly. Also note whether the FM
STEREO indicator lamp lights: if it does, you
have tuned to a stereo broadcast.
. Release the tuning knob and the central meter
will cease to read signal levels. Also the
OTS/STATION lamp will glow brightly, indi-
cating that the OTS (Optimum Tuning System)
has gone into action to ensure that the op-
timum tuning position is maintained.
This push-button switch should normally be left in
the ON (non-depressed) position. If pushed into
the OFF position, it will over-ride the OTS cir-
cuits, allowing full manual tuning, but preventing
the automatic correction of slight mis-tuning and
any undue influence of changes in temperature
and humidity. Use the OFF position to tune in
weak stations near strong local stations which
might otherwise be ‘pulled in” by OTS.
When you are listening to a weak FM station in
stereo, there can be unpleasant high frequency
noise (a kind of *hiss’). If this hiss noise is bother-
ing you, push the FM BLEND switch in to the ON
position. At a slight sacrifice of the high frequency
inter-channel stereo separation, noise will be con-
siderably reduced. Note that the FM BLEND in-
dicator will light.
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If a further reduction is noise i$ desirable, press
the FM MUTING push-button to the OFF/MONO
position. You will be able to receive weak stations
with the lowest possible noise levels, but as the
name of the switch indicates, only in the monaural
mode. And although the on-station noise will be
reduced, you will notice much more ‘static’ inter-
ference between stations. This inter-station noise
is normally blanked out by the muting circuit
when ON.
If you decide that the weakest stations cannot give
you sufficient listening enjoyment, set the FM
MUTING LEVEL push-button on 3 uV. The
weakest stations will be cut out, with the inter-
station noise. If you wish to reduce the number of
stations even more, to those capable of good
stereo- reception, set the LEVEL to 30 uV. You
will be able to tune from stereo station to station,
sure of good quality reception, free of background
noise and remote, poor quality stations.
‘So-called ‘multipath’ waves, reflected from nearby
hills or tall buildings, can seriously degrade tonal
quality in FM reception. In addition to the obvious
deterioration in tonal quality, the SIGNAL Q
meter can also give you a clear visual indication of
the presence of this and other kinds of inter-
ference. The indication will fluctuate, in serious
cases quite considerably. Since the signal strength
indication is fairly linear, there is a very wide range
of signal strengths for which this indication is
available.
If you notice variations in the SIGNAL Q reading,
first switch the METER push-button @ to
SIGNAL Q, so that the meter continually indicates
signal strength, without you needing to touch the
tuning knob. Then try different antenna orienta-
tions. You will generally enjoy better tonal
quality if you orient the antenna to give a steady
reading, even if this level is a little lower than the
maximum when the indication is fluctuating.
ro
If you purchase a suitable ‘FM DOLBY" adaptor
designed to make the best of DOLBY -type broad-
casts, it should be plugged into the appropriate
pin-jacks on the rear panel, and the switch on the
front panel should be pushed in. Leave it OFF
(out) if you do not have an adaptor: mistakenly
pushing it ON will prevent normal audition of FM
programs.
1. Set the TUNER FM/AM switch to AM.
2. Set the tuning indicator to the station fre-
quency.
3. Adjust the tuning knob to give the maximum
SIGNAL meter reading.
4. Note that the FM TUNING meter does not
work for AM stations. |
The high efficiency ferrite bar antenna provided
with the CR-2020 is all that is required for satis-
factory reception except in low signal strength
areas, so that usually no external AM antenna will
be needed. The bar antenna is hinged to the rear
panel so that it can swing out: try swinging it
while watching the SIGNAL Q meter (remember
to switch the METER push-button to the SIGNAL
Q position so that you can remove your hand from
the tuning knob). Set it at the angle giving the
maximum reading for the weakest station to which
you will normally be listening.
If satisfactory reception cannot be obtained, try
connecting an external AM antenna to the AM
ANT terminal. Even better results will be ob-
tained if, at the same time, a good ground (or
‘earth’) connection can be made. A good connec-
tion can sometimes be made to a water pipe. How-
ever, NEVER attempt to make a ground connec-
tion to a gas pipe. Your dealer will advise you.
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14
The CR-2020 can handle three sets of speakers (A,
В, and C), with selection of any one or two sets by
the SPEAKERS switch on the front panel.
The CR-2020 is designed for speakers with im-
pedances between 8 and 16 ohms when connected
to either A, B, or C terminals. If two sets are to be
played at the same time, however, please use only
16 ohm speakers.
Use speakers rated to take the full 100 Watts of
output power, or set the VOLUME control so that
the rated maximum speaker input power is not ex-
ceeded, as indicated by the meter readings. Re-
member that the meters are calibrated for 8 ohm
speakers, so that with 8 ohm speakers the reading
must be and halved for 16 ohm speakers.
1. Strip the insulated covering from the speaker
connecting cable for approx. 1/2" or 10 mm,
and twist all stray ends together. If possible
apply solder to the exposed 1/2’ (10 mm).
Push the lever beneath the terminal, and align
the inner and outer terminal holes.
Then insert the wire fully home. Release the
lever, and the wire end will be fully and firmly
gripped, making a perfect connection.
2. Use the upper (A) terminals first. Be careful
that the terminals indentified by the + and —
signs above them are connected with the + and
— terminals on the speakers. A mistake will
result in poor bass response and ill-defined
stereo image. Also be sure to connect the left-
hand speaker to the L speaker terminals, and
the right-hand to the R terminals.
3. Repeat this with the B and C terminals if other
speakers are to be connected. In all cases make
sure that connections are fully and firmly made,
or you may not be able to get any sound from
one or more speakers.
First, remove the plastic phone jack guard.
Two pairs of stereo headphones may be connected
to the CR-2020 simultaneously, but inserting the
headphone jack plug does not switch off the
speakers, which must be switched off by using the
OFF position of the SPEAKERS selector switch.
Orthodynamic headphones of the Yamaha HP
series (HP-1 or 2) are recommended, but all
conventional headphones are also suitable.
AAD
The main AC supply plug of your turntable unit
may conveniently be inserted into the spare AC
outlet socket controlled by the CR-2020 POWER
switch. The output lead from the turntable unit
should be connected to the PHONO 1 terminals,
keeping the PHONO 2 terminals as spares. Check
that the L. and R pin plugs have been correctly in-
serted. Do not forget to connect the turntable
ground line to one of the two GND terminals on
the CR-2020.
Switch on the receiver POWER switch, and set the
INPUT SELECTOR switch to PHONO. The
PHONO switch offers a choice of MM, MC, and
PHONO 2 positions. Use the MM position for
moving magnet, moving iron, or induced magnet
cartridges. Use the MC position if your tonearm
is fitted with a low output moving coil cartridge.
If you use this position you will not need a step-up
transformer to boost the cartridge -output. Con-
sult your dealer if in doubt. The PHONO 2 ter-
minals should only be used with MM etc. (not
MC) cartridges. The shorting plugs in the PHONO
2 terminals should be left in place unless these
terminals are used. Note that PHONO input
plugs should never be connected or disconnected
while the POWER switch is ON.
Use the AUDIO MUTING push-button switch to
cut the volume instantly by 20 dB while changing
records or altering the PHONO switch, etc., with-
out having to turn down the volume each time.
Do not switch from the MM setting to the MC
setting while playing a record with a moving
magnet or other such cartridge: the sudden in-
crease in volume would seriously overload the
CR-2020, and result in quite unacceptable distor-
tion.
If you play monaural records, the signal-to-noise
ratio will be improved if you turn the MODE
selector switch to the monaural {(L + R) position.
Use either the 15 Hz or 70 Hz LOW filter to cut
out any low frequency rumble, and use BASS,
TREBLE and PRESENCE controls to give the best
tonal balance. Use the LOUDNESS volume con-
trol to reduce listening levels below your normal
maximum, not the main volume control.
15
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[TONER] [PHONO | AUX | TAPE I, TAPE 2]
INPUT SELECTOR
—
REC OUT SELECTOR
INPUT SELECTOR
TUNER
TAPE À
La _ AUX
—i bY PHOND TAE” A PHONG
coer
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REC OUT SELECTOR
TUNER
— PRE
OUT
16
Do not confuse the REC OUT and INPUT SE-
LECTOR switches. The INPUT SELECTOR
switch decides which program source you hear.
The REC OUT switch decides which one you
record. Yamaha receivers are at present unique
in offering independent choice of audition and
recording. Thus you can listen to a record while
tape recording direct from the AM/FM tuner
section, or while dubbing from one tape recorder
to another (set the INPUT switch to PHONO and
the REC OUT to TUNER, TAPE 1 » 2, or TAPE
2 » 1 positions). Alternatively you can tape
record a disc while listening to, say, an FM broad-
cast or a music tape played back on a second tape
deck (but be careful that you do not infringe
copyright laws in tape recording proprietary ma-
terial). Just set the REC OUT switch to PHONO
and the INPUT switch to TUNER or TAPE (1 or
2) respectively. |
When the REC OUT selector is set to the PRE
OUT position, the tape decks will record the
chosen program signal after it has been subject to
the tone, filter, and volume controls of the CR-
2020 preamplifier section.
After the program signal has passed through the
tone, filter, and volume controls it is fed to the
power amplifier section. ‘At the same time, it also
appears at the PRE OUT terminals on the rear
panel, where it is always available to drive a second
power amplifier, or for connection to an oscillo-
scope or electronic frequency divider unit, etc.
This is true whether the COUPLER switch is ON
or OFF. However, the MAIN IN terminals remain
isolated as long as the COUPLER switch is in the
ON position, so that the signal from the preampli-
fier section is amplified in the normal way. In the
OFF position the coupling between pre- and
power sections is broken, and any suitable signal
may be applied to the MAIN IN terminals for
amplification.
The plastic guard prevents this switch being mis-
takenly switched OFF. Switch it off only when
you wish to connect other preamplifiers or power
amplifiers for comparison, or when you wish to
interpose a graphic equalizer or other audio com-
ponent between the pre- and power sections.
BIS INS Jon
НОО
ВОО
100800080
17
"ООД
INPUT SELECTOR
| TUNER No
PHO
TAPE AN Fo
Le _ AUX
TAPE:
TAPE-| | TAPE-2
TAPE PB REC OUT TAPE FB REC OUT
Бесосо = 25 =)
5660
18
The output leads provided with the tape deck are
used to connect the deck LINE output terminals
to the TAPE PB terminals. Use the TAPE 1. ter-
minals for your main deck. Use the TAPE 2 ter-
minals for a second deck or as a spare pair. Set the
INPUT SELECTOR to TAPE 1 to play back tapes
{or to TAPE 2 if you are using the TAPE 2 ter-
minals, of course). Use the output level controls
on the deck or decks to adjust the playback level
so that there is no great change in volume level
when switching between TUNER and TAPE 1 or
2 terminals.
The tape-deck leads provided are used to connect
the deck LINE input terminals to the REC OUT
terminals. Again, you should use the TAPE 1
terminals for your main deck, keeping the TAPE
2 terminals for a second or spare pair. Note that
the INPUT SELECTOR switch setting has no
effect whatever upon the signal which will be
~ recorded via these terminals. The REC OUT ter-
minals’ signal is decided by the REC OUT selector
switch. If you refer to the description of the REC
OUT function on the previous page you will see
that recording of any of the program sources con-
nected to the CR-2020 is possible: just set the
REC OUT switch to TUNER, PHONO, or AUX,
respectively.
‘Recording of any of these sources can proceed
while that source, or any other, is selected for
audition by the [INPUT SELECTOR switch.
Monitoring of the recording while it is in progress
can be carried out, if you are using a three-head
deck designed for monitoring, by setting the
INPUT SELECTOR switch to the TAPE position,
1 or 2, via which you are recording. (Note: most
cassette tape decks have only two heads, and
monitoring is impossible; most open-reel decks
do have three heads, with one for monitoring.)
The level at which a recording is made is very im-
portant (see the instruction manual provided with
your tape recorder). Adjustments in level should
normally be made with the input level controls on
the tape deck. The CR-2020 tone, filter, and level
controls are only operative for the PRE OUT posi-
tion of the REC OUT switch. By using the PRE
OUT position you gain the convenience of being
able to set levels, and alter tonal balance of the
recording, using filters, etc., but you are limited
to the program source selected by the INPUT
SELECTOR switch. Also you will not be able to
monitor your recording. This, and the fact that
tone and filter controls inevitably introduce some
extra distortion (although very little in the CR-
2020!), means that you should normally record via
the other positions of the REC OUT switch, using
the PRE OUT setting only when it is really neces-
sary, for instance when level adjustment is essential
to prevent distortion, etc.
For this you will need two decks. Check care-
fully that the L (left) and R (right) channel pin-
Jacks are correctly connected before commencing
recording. To copy a tape from TAPE 1 to TAPE
2 terminals, use the TAPE 1 2 setting on the
REC OUT selector switch. Similarly, to copy
from TAPE 2 to TAPE 1, use the TAPE 2 » 1 set-
ting. In both cases you can compare the original
recording and the copy by switching the INPUT
SELECTOR between the TAPE 1 and TAPE 2
settings (provided, again, that you have decks
which allow you to monitor). Note that the
original and the copy are reversed when copying
in the opposite direction. Once you are satisfied
that the recording is proceeding satisfactorily,
you can turn the INPUT SELECTOR switch to
any other program source you wish to enjoy, and
the recording will not be affected. |
REC OUT SELECTOR
TU
NER
— 2 | PHOND
TAPE N V4
COPY AUX
~~ .
Low <
PRE
— QUT
TAPE
TAPE-! TAPE-2
TAPE FB REC OUT TAPE PE REC QUT
[OSO FiIDIOO)
—
>
Г
0 —10 —20 —30 —40 --50 ~60 —70
AUDIO
MUTING
Cd8 .
— AUDIO MUTING
Un °
a.
"2er LOUDNESS
Ríe
zh
=
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Response (dB) -
7 ка
20
AON
The CR-2020 features ganged volume controls in
positions both before and after the tone-control
circuits, in both channels, a total of four precision
ganged volme controls in all. This gives a con-
siderable gain in signal-to-noise ratio at normal
listening levels, as shown in the graph. The vertical
arrows show the gain over conventional volume
controls. The control is continuous, and the
stereo balance extremely precise, with an attenua-
tion curve that gives gently graduated volume
changes at all listening levels. Always start listen-
ing to a new program source with the volume
turned well down, and turn up as necessary.
This offers an instant reduction of 20 dB in level
without needing to touch the volume control. It
should be used whenever switching between dif-
ferent program sources, when raising and lowering
the cartridge stylus in record audition, and when
the level must be cut to answer the telephone, etc.
Take great care not to release the AUDIO MUT-
ING switch to the 0 dB position without reducing
the volume: a sudden increase of 20 dB above
normal listening levels might be enough to damage
your speakers. The indicator LED for AUDIO
MUTING is a visual reminder when this is ON.
The CR-2020 is unusual in providing a separate
volume control for continuous loudness compensa-
tion. Most receivers and amplifiers feature a loud-
ness switch designed to compensate for the re-
duced sensitivities of our ears to high and low fre-
quencies at low listening levels. However, the
CR-2020 improves on such on/off switches, which
can only offer a certain fixed degree of compensa-
tion at any given volume level, by enabling a de-
gree of loudness compensation which can be
matched to the listening situation — and listening
level — of the user. The graph on the left shows
the different degrees of compensation given at dif-
ferent settings.
First turn the LOUDNESS control fully clockwise
to the FLAT position, then adjust the main
volume control to the maximum listening level
you will normally be using. Make any further
adjustments to the tone controls at the maximum
speakers the reading should be divided by two (i.e.
a reading of 50 Watts is really only an output
power of 26 ter) |
level. Then use the LOUDNESS control, rather
than the main VOLUME control itself, to reduce
SP OUT SP /UT/SIGNAL Q
/ Pap ee
i i od” 74010 TEER ор a “wo
the listening level when necessary. The same tonal
TACOS
! s 9 20 501 ! 8 192050!
This push-button switch, immediately above the
balance wil be preserved at all levels.
These meters enable you to read the output power
levels of the CR-2020. Their response speed is
high enough to give accurate readings of output
levels. Note that instantaneous levels can-exceed
the nominal rated power of 100 Watts rms per
channel. / Note also that the meters are calibrated
accurately for output power into standard 8 ohm
speakers, but that corrections must be applied if
speakers with different impedances are used. For
4 ohm speakers the readings should be multiplied
by two (i.e. a reading of 50 Watts indicates an
output power of 100 Watts), and for 16 ohm ‘
power switch, should normally be in the SP OUT
position. Under these circumstances the left-hand
and center meters will normally indicate the levels
of the left and right hand channels outputs respec-
tively. However, as soon as the tuning knob is
touched, the central meter reverts to the SIGNAL
Q function described in the section on FM broad-
cast reception, and the left-hand meter ceases to
read.
When this switch is depressed, the meter on the
left will not register, and the central meter will
permanently indicate signal strength and signal
quality. It should therefore only be used when
you need to see these readings without having to
touch the tuning knob, for instance when watch-
ing for the antenna orientation which gives the
best signal strength or the greatest freedom from
the fluctuation that indicates interference wave-
forms.
1
|
||
TURNIVER FREQUENCY
BASS. TONE CONT TREBLE
SoDH DEFEAT ан.
5
12 о
TONE CONTROL TONE CONTROL
LE
BASS PREGENCE 7 je e
AT FLAT | by Ll
FL; , N >
2.
3
Response (dB)
Frequency (Hz)
Response (d8}
| | + + + +
|
|
| PRE
100
Frequency {Hz}
22
In addition to the normal bass and treble controls
provided on most amplifiers and receivers, there is
a special PRESENCE control for the mid-range
frequencies. The bass and treble controls, too,
have twin turnover frequencies, so that the degree
of tone control possible with the CR-2020 is un-
usually large. Be sure to depress the DEFEAT
button (to the ON position) or these controls wil)
not function. The TONE indicator LED gives
visual confirmation.
With the turnover frequency selection push-button
switches in the released (i.e. projecting) positions,
the bass and treble turnover frequencies are 500 Hz
and 2.5 kHz respectively, so that the control set-
ings have a marked influence at the extreme upper
and lower frequencies, and extending even down
into the mid-frequency range. Use these settings
for major corrections of tonal quality.
With both turnover frequency selector buttons
depressed, the effect of the two controls is limited
more closely to the frequency extremes, leaving
- the mid-range frequencies unaffected. Use the
8 kHz setting to tone down an over-brilliant record-
ing, or to compensate for a very ‘live’ listening
room (one with few sound-absorbent drapes or
soft furnishings and many hard, reflecting sur-
faces). Use the 125 Hz setting when you wish to
boost the very low bass region (bass drums, etc.)
without ‘thickening’ the tone of the lower mid-
range. The best way to try their effect is to
compare the settings by pressing and releasing the
DEFEAT push-button, so that any improvement
is instantly audible.
This control, which produces variations in the mid-
frequency response centered about 3 kHz, is ex-
tremely effective in giving control of program
source tonal character. Conventional bass and
treble controls barely extend their influence to the
important mid-range frequencies. The special
PRESENCE control offers direct control of these
frequencies, readily compensating for recordings
which have a ‘heavy’ or ‘thin’ mid-range charac-
teristic, and offering new possibilities for delicate
tonal coloration.
The filter circuits of the CR-2020 offer an un-
usually wide range of filter functions, combining"
a choice of two frequencies each for high and low
cut-off, with very steep cut-off attenuation slopes
(a full 12 dB/octave). This sharp slope is achieved
with extremely low distortion, so that unwanted
high and low frequencies can be eliminated with
the minimum degradation of tonal quality in the
important frequencies which carry most of the
musical signal.
The two frequencies available are 15 Hz and 70 Hz,
at which frequencies the cut-off attenuation has al-
ready reached 3 dB (a small but readily detectable
difference}, and below which the cut-off is very
sharp. The frequency response of the CR-2020 is
so flat, well into subsonic frequencies, that the
ultra-low signals arising from warped or eccentric
records can be amplified and fed to the speakers at
quite high levels. These signals can give rise to
cross-modulation distortion (a general ‘muddiness’
and lack of clarity), and in severe cases can seriously
overload the speakers. If the LOW filter is set at
15 Hz, these non-musical signals can be safely
eliminated at virtually no sacrifice in tonal quality
due to the low distortion circuitry used.
For the audible rumble that an aging (or not very
high quality) turntable can give, the higher fre-
quency of 70 Hz should be used, but there will
also be some loss of lower frequency signals
(drums and basses, etc).
The two HIGH frequency filters commence their
very rapid cut-off at 8 kHz or 12 kHz. They can
be used to cut out unwanted tape hiss or record
scratch {which becomes more obtrusive at higher
frequencies). The use of the 8 kHz filter involves
considerable sacrifice of the brilliant upper har-
monics which add character to brass and stringed
instruments. This is also true, but to a lesser ex-
tent, with the 12 kHz filter. Only you can decide
whether the program source is more enjoyable
with — or preferably without — these filters.
Use this to check the output from left and right-
hand channels independently, or to listen in
monaural instead of stereo. You can also correct
for a mistake in connecting L and R terminals by
reversing the stereo reproduction although it is
better to correct the connections.
Response (dB)
Frequency (Hz) 100
23
Г
SIGNAL Meret
DUT Level Meter Amp.
AL
LEVEL &
SIGNAL METER
SL
TUNING METER
A
Q
METER SWITCH
Balanced-Type Ratio Detector
Ceramic
Diflaremial DC Bulier
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TONE A
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PHONO >
PHONG 1
PRE OUT MAIN IN
HIGH FILTER
LGW FILTER
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FHONG Selector Switch INPUT SELECTOR
High Filter Low Fleer
=== === =
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TAPE-
TAPE-2
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REC QUT SELECTOR Switch PHONES
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Switch ; `
Inductance Circuit
TURNOVER FREQUENCY Selector Switch |
———
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REC OUT-1 `
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24
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25
AUDIO SECTION
Minimum EMS Output Power per Channel
100 Watts (8 ohms) form 20 to 20,000 Hz at no more than 0.05% Total Harmonic Distortion
Continuous RMS power
{both channels driven, 1 kHz)
105 Watts (8 e)
Signal-to-Noise Ratio (IHF-A Network)
Input Sensitivity/Impedance
Phono 1, 2 (MM)
2mV/47k2
Phono 1 (MC)
50 uV/10 ©
Aux, Tape 1, 2
120 т\//45 КО
Main In terminals
775 ;MV/100 kar
Phono 1, 2 (MM) 95 dB (for 10 mV, shorted)
Phono 1 (MC) 85 dB (250 nV, 50 £2 shorted)
Aux, Tape 100 dB (5.1 kQ2, shorted)
Main 112 dB (5.1 kQ, shorted)
Residual noise (at Vol Min) 0.045mV
Maximum Input Levels
Total Harmonic Distortion, 20 Hz to 20 kHz
Phono 1, 2 (MM)
230 mV {at 1 kHz)
Phono 1, 2 (MM) to Rec Out 0.01% 7.5 V output
Phono 1 (MC)
5 mV (at 1 kHz)
Phono 1 (MC) to Rec Out 0.05% 3 V output
Output Level/Impedance
Rec Out terminals (Phono)
120 mV/500 Q (rated)
15 V (max. 1 kHz)
Aux, Tape to Sp Out (8 2) 0.02% at 50 W
Main In to Sp Out (8 2) 0.015% at 50 W
iM Distortion Aux to Sp Out 0.05% at 100 W
Pre Out terminals (rated)
775 mV/0 — 2 k§2 (5 V max.)
Frequency Response
Noise-Distortion Clearance Range (NDCR) for 0.1% into 8 Q at 20 Hz to 20 kHz
Phono 1, 2 (NM, MC) RIAA deviation
+ 0.2 dB
From 100 mW to 100 Watts with Vol —20 dB (Phono Input (MM) to Sp Out)
Aux, Tape 1, 2 to Sp Out
10 Hz to 100 kHz + 2.5 dB
Main In to Sp Out
10 Hz to 100 kHz + 2.5 dB
Power bandwidth (IHF) 10 Hz to 50 kHz (at 0.05% THD)
Tone Control Characteristics
Bass turnover frequencies
125 and 500 Hz
Bass boost /cut
+ 15 dB at 20 Hz
Treble turnover frequencies
2.5 and 8 kHz
Treble boost/cut
+ 12 dB at 20 kHz
Presence boost/cut
+ 6 dB at 3 kHz
Filters and Loudness Control Characteristics
Low
15 and 70 Hz (12 dB/octave)
High
8 and 12 kHz (12 dB/octave)
Loudness control
Level-related equalization
Damping factor (at 1 kHz) 40 into 8 Q
Meter Range 100 mW to 200 W into 8 2
FM SECTION |
Tuning range | 88 to 108 MHz
Usable Sensitivity
300 © . 10.3 dBf/1.8 uV
75 2 10.3 dBf/0.9 uV
Quieting characteristics (for 50 dB signal-to-noise)
Mono 15.3 dBf (3.2 uV)
Stereo 37.2 dBf (40 nV)
26
Muting Levels
34.8 dB/30 pV and 14.8 dBf/3 uV
AM SECTION
Tuning Range
525 to 1,605 kHz
Sensitivity (IHF, bar antenna)
300 u V/m (49 dB/m)
Selectivity (1,000 kHz) 30 dB
Signal-to-Noise Ratio 50 dB (at 80 dB/m)
image Rejection (1,000 kHz) 55 dB
IF Rejection (1,000 kHz) 40 dB
Spurious Rejection (1,000 kHz) 55 dB
Total Harmonic Distortion
0.4% (at 80 dB/m)
Tuner Section Output Level/Impedance
FM (100% mod. at Rec Out)
AM (30% mod. at Rec Qut)
120 mV /6.5 k2
GENERAL
Semiconductors
109 Transistors, 6 ICs, 3 FETs, 58 Diodes,
7 Zener Diodes, 8 LEDs, 4 Ceramic Filters.
Power Supplies
U.S.A. and Canada AC 120 V, 60 Hz
Australia AC 240 V, 50 Hz
Other Areas 110/120/130/220/230/240V,
Switchable; 50/60 Hz.
Power Consumption
480 W (Aust. 690 W)
Dimensions (W x H x D)
540 x 167 x 415 mm
(21-1/4" x 6-9/16" x 16-5/16"")
Weight
19.3 kg (42 Ib 7 oz)
Image Rejection (98 MHz) 85dB
IF Rejection (98 MHz) 90 dB
Spurious Rejection (98 MHz) 100 dB
AM Suppression (HF) 65 dB
Capture Ratio 1.0 dB
Usable Selectivity (IHF) 80 dB
Signal-to-Noise Ratio (1HF)
Mono 77 dB
Stereo 73 dB a
Total Harmonic Distortion
Mono 100 Hz 0.08%
1 kHz 0.08%
6 kHz 0.15%
Stereo 100Hz 0.15%
1 kHz 0.1%
6 kHz 0.2%
Intermodulation Distortion (IHF)
Mono 0.05%
Stereo 0.1%
Sub-Carrier Suppression 60 dB
Stereo Separation
50 Hz 35 dB
1 kHz 50 dB
10 kHz 45 dB
| Frequency Response
50 Hz to 10 kHz + 0.3 dB
30 Hz to 15 kHz + 0.5 dB
10 Hz to 18 kHz + 0.5 —3.0 dB
27
SN
JANO
Before assuming that your CR-2020 is faulty, check the following trouble-shooting list, which details many steps
you can take yourself, without having to call a service representative.
AUDIO SECTION
Fault
No power although POWER switch is ON (POWER
LED unlit)
Cure
AC power line not plugged into supply socket.
AC main fuse has blown.
No sound although power is connected.
Volume too low.
INPUT SELECTOR in wrong position.
Input pin plugs incorrectly inserted, loose, or disconnected.
Speaker connections faulty.
SPEAKERS switch OFF,
PRE OUT/MAIN iN COUPLER switch in OFF position.
Plug firmly into the supply socket.
Contact your service rep. for a replacement.
Turn up volume. |
Check and change as necessary.
Check and insert fully in the correct positions.
Check and make good.
Set to correct position.
Switch back to ON.
Sound comes only, or mainly, from either L or R
speaker
Speaker connections faulty.
Input connections faulty.
BALANCE control not properly adjusted.
Check and make good.
Check and make good.
Set to give correct stereo balance.
Sound suddenly ceases during audition.
| The protective circuit has gone into operation.
Poor bass response and badly defined stereo image.
Check for incorrect (too tow) speaker impedances or short-
circuits and correct.
if the fault persists, switch off and wait briefly before switching
on again.
Contact your service rep. for replacement.
| Speaker + and — connections are incorrect.
A loud ‘humming’ is heard with, or instead of, the
record when attempting PHONO audition.
Either the pin-plugs from the phono cartridge are not firmly
plugged into the input sockets, or the braided shielding wire
is defective.
The volume control cannot be raised during record
audition without a loud ‘booming’ noise.
Reverse the connections to one speaker, not both.
Plug in firmly, replacing the defective shielding if necessary.
Check and make good the GND (ground) wire connection.
This is caused by acoustic feedback from the speakers to the
phono cartridge stylus.
Increase the separation between turntable unit and speakers,
avoiding locations directly in line with the speakers.
The volume is inadequate even when fully raised.
AC main fuse has blown.
|
|
|
|
The AUDIO MUTING switch is on.
Reduce the volume first, then switch the AUDIO MUTING off.
The tone controls have no effect.
Your tape recorder does not record the program you
are monitoring.
28
Push into the ON position.
Turn to the FLAT position {fully clockwise) and re-set main and
| The REC OUT selector is not set to the required program
source.
Turn to the required setting.
TUNER SECTION
Fault
Cause
Cure
A persistent hum pccurs when an AM station is tuned.
This modulation hum can affect whole areas where conditions
are unfavorable.
Sometimes changing the position of the CR-2020 will give an
improvement.
intermittent crackling or continuous background
‘roaring’ on AM.
Atmospheric electricity or electrical storms; possibly fluores-
cent lighting or other electrical equipment.
Difficult to eliminate, an externa! antenna and good ground
connection will give considerable improvement.
High pitched whistles, etc., particularly at night,
on AM.
Signals from adjacent stations are interfering with reception.
The CR-2020 is being operated near a TV set.
Nothing can be done to cut out this interference, but try
the 8 kHz filter.
Increase the distance between the TV and the CR-2020.
No FM broadcasts can be received.
The FM DOLBY adaptor switch is ON although you have
no adaptor.
Switch it off.
The desired station cannot be received at the correct
frequency on the dial.
The station strength is low, and the MUT ING circuit is
preventing audition.
Switch from 30 uV to 3 uV, or from 3 uV to off.
A stereo station is heard in mono.
The amplifier MODE switch is on L + R.
The FM MUTING switch is on OFF/FM MONO.
Switch to STEREO.
Switch to ON.
Occasional crackling interference (particularly with
remote, weak signal stations).
Electrical noise from automobiles, etc, or from other electrical
equipment.
Set up an external FM antenna, as high and as far from the
road as convenient, using coaxial cable: fit an interference
suppressor to the offending equipment.
Disturbing degree of ‘hiss’ noise when on FM stereo
stations.
FM stereo broadcasts are inherently more liable to this at
remote, low signal strength locations.
Set up an external FM antenna; if you are already using one,
orient it towards the station or replace with a more sensitive
array.
Alternatively or additionally, listen at FM BLEND or MUTING
OFF/FM MONO positions. |
Local stations suffer from unclear, distorted sound.
Signal input fromthe antenna for these stations is too strong.
Connect an attenuator between the AM antenna and the
CR-2020, or turn the antenna away from the strongest {closest)
station.
During stereo test transmissions, sounds which should
come from only one channel can be heard faintly over
the other.
This is known as crosstalk, and normally occurs to some extent.
Provided the sound level is very faint compared with the normal
level for that channel, no fault is indicated.
29
SINCE 1887
NIPPON GAKKI CO., LTD., HAMAMATSU, JAPAN
Printed in Japan 3®