SX-`lD`ID

STEREO RECEIVER
SYX=1010
OPERATING INSTRUCTIONS
=>
=
"
. gin
; a
—
тео Tog fn 0 FRE ©
547 2204
——[— =
M PIONEER
LINE VOLTAGE AND FUSE AND REAR PANEL
Each design of LINE VOLTAGE and FUSE of this
model differs according to each destination to be
delivered.
How to operate the SX-1010 is quite the same for
each version. However, each rear panel differs
according to LINE VOLTAGE and FUSE designed
for each version.
Fig. A shows the LINE VOLTAGE of a 220V only
model.
Fig. B shows the LINE VOLTAGE and FUSE of a
5 line voltage model (110V, 120V, 130V, 220V,
240V) whose line voltage and fuse can be changed
and set as follows:
220V model
5 Line Voltage model
Hurd BE el a Fi REF
BF Ta лая
CHANGING LINE VOLTAGE SETTING AND
FUSE
To remove the fuse, turn the fuse cap located on
the line voltage selector in the direction indicated
by the arrow. Then remove the fuse plug from the
unit. Put the fuse plug back so that the proper line
voltage marking can be seen through the cut in the
edge of the plug. Whenever the position of the
selector is changed, check the rating of the fuse. A
2A fuse is to be used for either 220V or 240V
operation and a 4A fuse rating for 110V, 120V or
130V operation. If the rating of the fuse is correct,
replace cap.
FUSE REPLACEMENT
When the fuse blows, remove the fuse cap and
replace the fuse with a new one. Fig. C.
=] Fig. C
CONTENTS
Features . .......... inne... O Front Panel Facilities ...................10
Essentials You should Know ............. 4 How to Operate the Receiver ............. 12
Connection Diagram .. .................. 4 Versatile Jacks—for Today and
Stexe0 System Setup ................. a Pr оавна ни
Speaker Connections ................... 6 Malfunction . .ormoieras. 16
Antenna and Ground Connections ......... 7 Mounting Template . .............c...... 17
Stereo System Connections .............. 8 Specifications .............eeceedeua:a 18
a EE EA Lip
Es PON CER
FEATURES
FM Front End With Dual-Gate FET's, Buffer Amp
FM tuner's sensitivity, overload resistance (ability to receive
very strong signals without distortion), image rejection and
spurious rejection are determined chiefly by the front end.
In the SX-1010, latest components and circuit technology
have been employed to bring all these values close to their
theoretical limits: three dual-gate MOS FET's, RF amplifi-
cation, and the inclusion of a buffer amplifier between local
oscillator and mixer stage. In all performance character-
istics, the SX-1010's FM tuner compares favorably with the
world's most advanced specialized tuners.
It hardly needs to be mentioned that the FM dial is of
course divided into equal “linear” intervals and that dual
tuning meters — signal strength meter and zero-center meter
— are provided for easy, precise tuning.
Ceramic Filters And 1C’s In IF Stages For
Sharp Selectivity
A total of four ceramic filters in the IF (intermediate
frequency) stages give sharp selectivity and never need to be
realigned, Integrated circuits functioning as limiters provide
stable operation and excellent capture ratio (the ability to
distinguish between a wanted and an unwanted signal on
the same station band).
Quadrature Detection, Phase Lock Loop (PLL)
Stereo Demodulator
Detection of the frequency-modulated signal is performed
by the “quadrature” method with a balanced-bridge type
differential amp. This costly design assures linearity
throughout the frequency band and reduces distortion to
the minimum. In the MPX circuit, a phase-lock-loop (PLL)
circuit design is used to give clear, stable separation at any
audio frequency. The circuit is equipped with an IC
(replacing six transistors) in a bridge configuration.
All IC-Equipped AM Section With Linear Dial
Only very few receivers can boast a linear station dial even
on AM — the SX-1010 is one of them. The AM circuitry
uses integrated circuits in all stages for sensitive, stable and
clear reception.
Balanced Positive And Negative Power Supply
With Heavy-Duty Components
The power supply unit — backbone of any amplifier — is of
the most elaborate type such as used anywhere in home-use
audio equipment, with balanced dual polarity supply and
extra large 18,000uF capacitors. This results in a tremen-
dous reserve of power for transient peaks, but also elimi-
nates the irritating switching noise often encountered in
less professional designs.
PHONO Equalizer With Wide Dynamic Range
And Extremely Close Tolerances
The incoming phono signal from a turntable is equalized
precisely according to the international RIAA standard
playback curve — within 0.3 dB of the ideal. Moreover, the
phono inputs can accept relatively strong signal levels
without distortion (250mV rms), resulting in a wide
dynamic range. This is due to the circuit design with three
direct-coupled amplification stages including a differential
amp in the first stage.
Twin Tone Controls Permit Precise
“Shaping” Of Sound
The overall frequency response curve can be controlled in a
total of seven ways. Twin controls in the bass range permit
variation at 100Hz by £10dB in 2dB steps, and at 50Hz by
+5>dB in 2.5dB steps; similarly, the high controls give +10dB
correction in 2dB steps at 10kHz, and again +5dB correc-
tion at 20kHz in 2.5dB steps. All tone controls can be
removed from the circuit (by setting the TONE switch at
OFF) if desired, High and Low filters are provided for
solving specific noise problems, while the Loudness switch
boosts the very low and high frequencies at soft listening
volumes, giving a more natural sound contour. In one word:
the SX-1010 gives you complete mastery over what you
hear.
Direct-Coupled Power Amplifier Supplies High
Output Power With Minimum Distortion
An all-stage direct-coupled design with two differential amp
stages and three Darlington circuits, purely complementary
and without output capacitors (OCL}, the amplifier delivers
a floor-shaking — watts of music power (or 100W per
channel rms, between 20Hz and 20kHz, at under 0.1%
harmonic distortion). The power reserve is, in a single word,
abundant.
... Plus A Wealth Of Auxiliary Features
And Circuits
Dolby* inputs and outputs permit connection of an
outboard Dolby noise reduction unit, for example, to
receive Dolby-encoded FM programs.
Two tape monitor circuits allow two tape decks to be used
for recording, playback and tape-to-tape duplicating.
Microphone inputs on the front panel let you use the
SX-1010 as a public address amplifier,
Audio muting switch decreases the volume instantly by
20dB without having to turn back the volume control,
Indicator lamps light up in accordance with the functions
used, telling you at a glance what you're hearing and how.
Dimmer switch dims illumination of tuning dial, tuning
meters and indicator lamps, leaving only a softly glowing
light in the dark.
*The word ‘Dolby’ is a trademark of Dolby Laboratories Inc.
3
ESSENTIALS YOU SHOULD
KNOW
PLACEMENT OF YOUR RECEIVER
The SX-1010 is heavy and should always be handled
with great care. Equal care should be given to the
choice of its placement within your listening room.
Once you have chosen the best position, you can
proceed with connection of the speaker systems
and turntable. Be sure to avoid the following
locations, which can cause malfunctions:
® Places exposed to direct sunlight or close to
heating units or other sources of heat,
® Places with poor ventilation,
® Excessively humid or dusty locations,
® Sloping locations, those subject to vibration, or
otherwise unstable,
PROTECTION CIRCUIT
For some 3 to 6 seconds after the receiver is
switched ON, no sound will be heard. This is due
to the operation of protection circuits which are
designed to guard transistors and speakers from
possible damage due chiefly to the switching
transients, etc. Should the receiver remain silent
for considerably longer than this, first switch off,
and then check the speaker system connections.
Should the receiver suddenly go silent while you
are listening to it, if you can hear a continuous
series of “clicks” due to relay contacts opening and
closing within the receiver, this can be an indica-
tion of a short circuit in the speaker system
connections. Switch off, and re-check the speaker
system impedances, etc.
The protection circuit re-sets itself automatically,
so that normal functioning is resumed as soon as
the cause is removed.
CONNECTION DIAGRAM
OUTDOOR
FM ANTENNA
T-TYPE FM AM
ANTENNA
TI
ANTENNA
3000 feeder
я |
7501 1
coaxial :
cable |
РО.
GROUND
FM DE-EMPHASIS Switch (5 —
line voltage model only)
This switch is provided on sets
delivered to certain countries, IM
included on the rear panel of
your set, employ the switch in
event high frequencies seem
weak. Position the switch to
either B50 us or 75 us. Employ
the 25 us position only when
receiving a Dolby* system FM
broadcast (pre-emphasis: 25H
sec.). A Dolby NR Adapter Unit
{separately sold) is required in
this case. See adapter instruc-
tion manual for description of
connection and operation.
PRE/POWER AMP
The bridge/connecting plugs
between PRE OUT and POWER
IN jacks should always be left in
position in normal use, If they
are disconnected or removed, no
sound will come from the speak-
ers.
Always be sure to cut the power
supply before attempting to re-
move them,
As for the applications of the
PRE OUT and POWER IN jacks,
please refer to the section on
PRE OUT AND POWER IN
JACKS on page 9.
EEE "— —_—_— "_—_——m——————————— — " """""""—_"
PIONEER
CARTRIDGE TAPE DECK
TURNTABLE TURNTABLE TAPE PLAYER lopen-reel, cassette) TAPE DECK
LINE LINE LINE LINE
INPUT OUTPUT INPUT OUTPUT
Playback/Recording Cord (DIN-type)
co Connect to ground
© terminal of turntables,
tape decks etc.
SERS POLE A ru
PRE SUT POE wi A RT |,
ay CA Aa A Lo
TALA TOTAL POCA lam
| o | || (e
|
For connecting For coria ия!
4-channel discrete Dolby NR dr
FM broadcast adaptor adaptor
FUSE
For connecting
4-channel adaptor
—«@ ЕЁ
©
R CH
L CH R CH L CH R CH L CH
(A) (8) (с)
SPEAKER SYSTEMS
rr
SPEAKER OUTPUT TERMINALS
STE REO SYSTE M SETUP RIGHT CHANNEL LEFT CHANNEL
Your SX-1010 is ideally suited to form the heart of
a stereophonic reproduction system of the very
highest quality. Use it, as shown in Fig. 1, with the
speaker systems and other components of your
choice, including turntable, tape deck (either
open-reel or cassette type), etc. The SX-1010 can
also be used as part of the following systems:
e Multi-amplifier systems,
e Four-channel playback systems,
e Four-channel FM multiplex reception,
e Dolby system broadcasts, playback, and record-
© ® © ®
т RIGHT SPEAKER LEFT SPEAKER
В. SYSTEM SYSTEM
TAPE DECK Fig. 2
TURNTABLE (open-reel or cassette) NOTE:
CARTRIDGE When two sets of speaker systems are being used at the same time
TAPE PLAYER
(А + В, А + С, ог В + C), please ensure that the impedance of each
speaker system is not less than 85, If systems with impedances
below 892 are used, the protection circuit of the receiver may
operate to prevent audition.
sx-1010.| | |
Speaker Terminal and Lead-Wire Connections
a MICROPHONES 1, Depress the black lever on the speaker terminals
| and insert the lead from the negative (—) side
into the lower socket hole, and release the lever.
2. Lift up the red lever on the speaker terminals
and insert the lead from the positive (+) side
into the upper socket hole, and then release the
lever.
Fig. 1
pa Omm-— Remove insulation
ZZ) ad from wire end.
SPEAKER CONNECTIONS @ TT
=== 4 Twist stranded wire,
SPEAKER SYSTEMS CONNECTIONS
The receiver is equipped with three sets of speaker
terminals (A, B, and C). Use the A terminals for
the speakers in normal use.
As shown in Fig. 2, connect the terminals marked
R to the RH-speaker systems (the speaker which is (b)
on the right-hand side as viewed from the listening
position), and the terminals marked L to the
LH-speaker systems.
® As shown in Fig. 2, the upper (red) socket is the
positive (+) terminal, and the lower (black) is Fig. 3
the negative (—) terminal in each case.
In the same way, the speakers, too, have positive Speaker Placement
and negative polarity (+ and — terminals). Be The optimum stereo effect is obtained from a
sure to connect terminals of the same polarity two-channel stereo system when the two speaker
together. systems on the left and on the right are about the
same distance apart as they are from the listener,
forming the three comers of an equilateral triangle.
LEVER
LEVER
Speaker lead wire
ANTENNA AND GROUND
CONNECTIONS
FM ANTENNA CONNECTIONS
For the best results you should use an outdoor-
type FM antenna. The simple T-type antenna
supplied with the receiver may be satisfactorily
used in areas of high signal strength (for instance,
those very near to the FM station, or in an
all-wooden construction house).
Placement and Connection of FM Antenna
® Connect the feeder wire from the antenna to the
FM ANTENNA terminals on the receiver as
shown in Fig. 4.
® Please place the antenna for the best reception
while listening to the FM broadcast station as
described in “FM Reception’ on page 12.
Fig. 4
Direction of station
~
OUTDOOR
T-TYPE ANTENNA
FM ANTENNA y
7 “= ”
to FM ANT terminal Fig. 5
NOTE:
FM antennas are available in any type. Select the best type after
securing the advice of your audio dealer.
Making Connections with Coaxial Cable
In certain locations—in cities with high traffic
density, in industrial areas, and near high voltage
power lines—objectionable interference may be
present even with the use of a special-purpose FM
outdoor antenna. Please consult with your local
audio dealer on the advisability of connecting the
antenna and receiver with 75§) coaxial cable in
place of the feeder you are using. When using
coaxial cable, connections should be made as
shown in Fig. 6.
I PIONEER
A
- INNER
CONDUCTOR 6
OUTER
SHIELD
COAXIAL (BRAID)&
CABLE
(75-ohm)
(A) Strip the coaxial cable.
(B) Tighten all screws for a connection. Fig 6
AM ANTENNA CONNECTION
Under normal conditions it will be sufficient to
adjust the ferrite bar antenna mounted on the rear
panel of the receiver for optimum broadcast signal
reception as shown in Fig. 7 and in accordance
with the instructions given on page 12 “AM Recep-
tion.”
Should reception still be noisy or weak with the
bar antenna, an indoor lead antenna or outdoor
AM antenna must be fitted.
Placement and Connection of AM Antenna
e Connect the antenna lead wire to the receiver AM
ANTENNA terminal.
e Use vinyl-sheathed wire as shown in Fig. 7 for
the indoor lead antenna.
e For an outdoor AM antenna, use trees, etc., to
suspend the vinyl-sheathed wire as shown in
Fig. 7.
(А)
AM FERRITE >
ANTENNA AK
INDOOR AM LEAD ANTENNA OUTDOOR AM ANTENNA
(В) to AM ANT terminal— ‘CI
Fig. 7
GROUND CONNECTION
It is advisable, both on the grounds of safety and
the elimination of interference, to install a ground
wire wherever possible.
STEREO SYSTEM CONNECTIONS
TURNTABLE CONNECTIONS
The receiver is fitted with two phonograph input
jacks, PHONO 1 and PHONO 2, enabling two
turntables fitted with magnetic phono cartridges to
be connected.
® Connections between the turntable OUTPUT
plugs and the receiver PHONO input jacks
should be made as shown in Fig. 8, taking care
not to confuse LL & В channels. If, as in Fig. 8,
the turntable is fitted with a ground lead or plug.
this should be connected to the receiver GND
terminal.
NOTES:
I. When using a turntable fitted with two toncarms, the output
leads for each of the tonearms should be connected to the
respective PHONO input jacks (1 and 2).
2. When using a turntable fitted with a moving coil (MC) phono
cartridge, it is essential to use a special MC matching
transformer or head amplifier.
SX-1010°s PHONO input jacks
TURNTABLE's output jacks
Fig. 8
TAPE DECK CONNECTIONS
The provision of two sets of recording output jacks
(TAPE 1, 2 REC) and two sets of playback input
jacks (TAPE 1, 2 PB) plus a DIN-type recording/
playback connector (TAPE 2 REC/PB) means that,
in addition to normal recording and playback, two
tape decks can be used to record at the same time,
or to “dub” or duplicate recordings from one tape
deck to the other.
Use the connecting cord(s) provided with the tape
deck(s) to make the connections (see Fig. 9).
The tape deck can also be connected to the
ADAPTOR jacks (either 4-CHANNEL or DOLBY
NR noise reduction).
5X-1010's TAPE jacks
R CH
LINE LINE
For recording | INPUT OUTPUT
connection
For playback
connection
ax
р DECK's o
and output jacks Fig. 9
Connections for Recording
® The receiver output TAPE 1 REC jacks are
connected to the recording input jacks (LINE
INPUT) of the tape deck as shown in Fig, 9,
The upper jacks of each pair are the L (left)
channels and the lower are the R (right) chan-
nels. When the tape deck is provided with a
DIN-type connector for recording and playback,
use the optional recording/playback cord (e.g.
Pioneer model PP-101) to make the connection
with the TAPE 2 REC/PB DIN connector.
NOTES:
1. If the recording/playback cord connects both recording and
playback at the same time, so that there is no need to make
separate connections to either TAPE 2 REC output jacks or
TAPE 2 PB input jacks.
2, If the ADAPTOR OUT jacks are to be used, connect them to
the tape deck input (LINE INPUT) jacks.
® When using two tape decks, the second tape
deck should be connected to the receiver TAPE
2 REC output jacks. If, however, the first deck
has been connected to the DIN-type recording/
playback connector, the second deck should be
connected to the TAPE 1 REC output jacks.
SX-1010
ag - apes }
“ups | Ea
DIN-type Recording/Playback cord
(e.g. Pioneer model PP-101)
DIN-type
connector
TAPE DECK
Fig. 10
B
—o PIONEER
Connections for Playback
e Connect the receiver TAPE 1 PB input jacks to
the playback output jacks (LINE OUTPUT or
TAPE MONITOR) on the tape deck. The upper
jacks of each pair are the L (left) channels, and
the lower are the R (right) channels.
NOTE:
If the ADAPTOR IN jacks are to be used, connect them to the
tape deck output (LINE OUTPUT) jacks.
® When using two tape decks, the second tape
deck should be connected to the receiver TAPE
2 PB input jacks. If, however, the first deck has
been connected to the DIN-type recording/
playback connector (TAPE 2 REC/PB), the
second deck should be connected to the TAPE 1
PB input jacks.
USE OF THE AUX INPUT JACKS
These jacks are a set of spare input jacks. They can
be connected to cartridge tape players, television
sound multiplex tuners, or other forms of signal
output.
The upper of the two terminals is the L (left)
channel, and the lower is the R (right) channel.
USING THE PRE OUT AND POWER IN JACKS
If the connections between the PRE OUT and
POWER IN jacks shown in Fig. 11 are removed, the
power amplifier and pre-amplifier sections can
function separately.
By isolating the receiver pre-amplifier section, it is
possible to use it to drive a separate, high output
power amplifier or to build up a multi-amplifier
system as detailed below.
Connections for Setting up a Multi-Amplifier
System
By purchasing an electronic crossover network and
one or two additional power amplifiers, a two- or
three-way multi-amplifier system can be set up.
The multi-amplifier system splits up the audible
frequency range into different frequency bands,
operating amplifiers and speakers ideally suited to
each band. This results in reduced intermodulation
distortion and improved damping and crossover
characteristics. Use of the multi-amplifier system
enables construction of the ideal playback system.
Connections for a two-way multi-amplifier system
are as follows:
1. Remove both of the plugs bridging the PRE
OUT and POWER IN jacks.
2. Connect the PRE OUT jacks to the input jacks
of the crossover network,
3. Connect the POWER IN jacks to the LOW range
jacks of the crossover network.
4. Connect the HIGH range output jacks of the
crossover network to the input jacks of a
separately bought power amplifier for the high
frequency range.
5. Connect the speakers for the lower frequencies
to the receiver, and those for the higher frequen-
cies to the separate amplifier,
The levels of the different frequency ranges are
adjusted at the crossover network. For detailed
instructions on the use of the crossover network,
please refer to the instruction manual provided
with it.
Fig. 11
SPEAKER SYSTEMS
— 8g TWEETER
7 i
| ofr
|}
LEFT SI
000000 EFT SIDE
9000 oq TWEETER
ELECTRONIC :
sos |
K
O O L WOOFER
00 o
POWER AMPLIFIER 4
(HIGH-RANGE)
Fig. 12
FRONT PANEL FACILITIES
SPEAKER BUTTONS
Each of speaker systems A, B, and C is connected to each
of output terminals A, B, and C.
By pushing the following:
SPKR-A .... Speaker systems A into operation
SPKR-B .... Speaker systems B into operation
SPKR-C .... Speaker systems C into operation
NOTES:
1. When any two pairs of the buttons (A+ B, B+C, C+AjJare
depressed, the corresponding pairs of speaker systems will
come into operation, However, operating all three buttons
even though depressed at the same time is not possible.
2. Only when listening through headphones, press again the
SPKR button(s) in usé to OFF fundepressed) from the ON
position (pressed).
SIGNAL METER
For AM and FM station tunings.
AM tuning: Tune the dial pointer so that the SIGNAL
meter needle comes to the extreme right.
FM tuning: Both the SIGNAL and FM TUNING
meters work together. The optimum
point of the SIGNAL meter needle is the
same as in AM tuning. Then use the FM
TUNING meter.
G0 INDAEER BTERED AESEVEA Ado. BN. 0 |
id
POWER SWITCH
Turn this switch ON but wait for some 3 to 6 seconds,
during the silence of which the protection circuit elimi-
nates the unpleasant noise not imputed to a receiver fault.
For details, see “PROTECTION CIRCUIT” on page 4.
=> 1
D
PHONES (1, 2) OUTPUT JACKS
Accept two pairs of headphones,
BASS CONTROLS
Adjust bass tone quality.
100Hz ..... For the low frequencies below 400Hz,
Possible up to 10dB of increasing or
reducing at 100Hz in 2dB steps.
After adjustment by the 100Hz control,
further adjust frequencies below 80Hz by
this control, if necessary. Possible up to
5dB of increasing or reducing in bass
response at 50Hz in 2.5dB steps.
50Hz ......
LOW CUT, HIGH CUT BUTTONS
LOW. ...... When the low-pitched rumble (turntable
motor or other source) is obtrusive, de-
press the LOW CUT button to ON, In no
interference, leave it undepressed (OFF).
HIGH ...... When the high frequency scratch noise
(records or other source) is much, depress
this button to ON. In no interference,
leave it undepressed (OFF).
TONE SWITCH
When in the ON (up) position, this switch causes the
amplifier section to operate with a flat frequency regard-
less of the tone control settings. Use this switch to check
the audio characteristics of your listening room such as
when it is necessary to check the tone quality of phono
cartridges and speakers and also to particularly set the
tone controls to be assessed.
E
10
dE
}
AUDIO MUTING BUTTON —20dB —— —
Depress this button to mute the audio input to —20dB.
No need to turn down the VOLUME control on each
occasion for your convenience.
TREBLE CONTROLS
Adjust treble tone quality.
10KHz ..... For the high frequencies above 2.5kHz.
Possible up to 10dB of increasing or
reducing in treble response at 10kHz in
2dB steps.
20KHz ..... After adjustment by the 10KHz control,
further adjust frequencies above 12KHz
by this control, if necessary. Possible up
to 5dB of increasing or reducing in treble
response at 20kHz in 2.5dB steps.
TAPE DUPLICATE SWITCH
Leave this switch in the ON (down) position to duplicate
or edit a recorded tape using two tape decks. For normal
use, switch over to the OFF (up) position.
DE DIONGER
—FM TUNING METER
While getting the SIGNAL meter needle going to the right,
make fine adjustment with the FM TUNING meter whose
needle comes to the center (indicating the optimum
reception),
— FM STEREO INDICATOR
TUNING KNOB
0,207, IM, 16e
E + dt
[ra | moto | oo | RAT | A |
(Tam — EA ANCL
Cua ARAS FEY I.
= CHA
BALANCE CONTROL
Adjusts the balance between the sound volume from the
left and right speaker systems,
DOLBY NR ADAPTOR SWITCH
When employing Dolby Noise Reduction Adaptor, depress
this DOLBY NR ADAPTOR to ON.
—4CH ADAPTOR SWITCH
When using the 4-channel rear amplifier connected to the
4CH jacks on the rear panel, depress this 4CH ADAPTOR
to ON.
——TAPE MONITOR (1, 2) SWITCHES
Monitor the recorded sound while recording with a tape
deck. Also possible to play back tapes as follows:
| ES With a tape deck connected to the TAPE
1 jacks (REC and PB), either monitoring
of recording in progress or playing back is
possible,
2 1 ass u 4 With a tape deck connected to the TAPE
2 jacks (REC and PB or REC/PB con-
nector), the same as in 1 above is possi-
ble.
FUNCTION SELECTOR BUTTONS
For selecting the program source, push each button as
follows:
AM ....... For AM broadcast reception.
FM ....., For FM broadcast reception. The
STEREO indicator lights up when the
broadcast is in stereo.
For operating a turntable connected to
the PHONO 1 input jacks.
PHONO 2 ... For operating a turntable connected to
the PHONO 2 input jacks.
PHONO 1 . ..
MIC ....... For using a microphone. Not possible to
mix with other program source.
AUX ...... For listening to audio equipment (car-
tridge tape player, TV sound tuner, etc.)
connected to the AUX input jacks.
DIMMER SWITCH
Dims the brightness of the indicator light. Press again to
restore full brightness.
FM MUTING BUTTON
Leave this button undepressed (in thie ON position) while
tuning in FM stations. Inter-station noise may interfere
with FM reception while tuning between stations. To
suppress this noise, leave the MUTING button undepress-
ed (in the ON position). If the low signal strength is due
to distance from the transmitter or other influences,
depress this button, at which the weak station will be
heard with the MUTING "OFF."
—— MODE BUTTON
Leave this button undepressed (if necessary, depress this
to release it when already depressed) for STEREO
playback. For MONO playback, depress it. In this case
stereo signals for left and right channels will be mixed into
mono signal which will be heard from the center of both
speaker systems.
— LOUDNESS BUTTON
Depress this button to listen at low volume. The human
ear's frequency response varies according to the listening
volume. The depressed button compensates for hearing
response with emphasis on the bass and treble,
——— MIC INPUT JACKS
LLR....... For connecting the left and right channel
microphones,
NOTE:
Use the high impedance (above 20k5y) with 6mm diam. phone
plugs.
VOLUME CONTROL
Governs both the volume of sound outputs from the
speaker systems and from the headphones.
HOW TO OPERATE THE RECEIVER
PREPARING TO SWITCH POWER ON
Before switching on the power, please set the
various controls as follows:
® Set the VOLUME control to MIN (minimum—
fully anticlockwise).
® Set the BALANCE control to the midway
position.
® Turn the TAPE and ADAPTOR switches to OFF
(UP).
® Set the TREBLE and BASS controls to the
midway positions (the “0” positions).
e Turn the TONE switch ON (UP).
e Set the AUDIO MUTING button to OFF (un-
depressed).
e Set the MODE button to STEREO (released/
undepressed).
e Set the FM MUTING button to ON (released/
undepressed).
It is important to set these controls as indicated to
avoid any inadvertent overload on the receiver or
speakers, etc., when power is switched ON.
BROADCAST RECEPTION
FM Reception
1. Depress the FM button for FUNCTION selec-
tion.
2. Leave (or reset) the FM MUTING button to ON.
Note, however, that in areas of low signal
strength the signal may be suppressed. In this
case only the FM MUTING button should be
depressed to the OFF position.
3. Turn the TUNING knob to select your
station.
Best reception is obtained when the SIGNAL
meter needle deflects to the extreme right,
and the TUNING meter needle is exactly in the
center, as shown in Fig. 13. If the broadcast is
stereophonic, the STEREO indicator lamp will
come on: it will not illuminate for monophonic
broadcasts.
4. Adjust the loudness of the sound by means of
the VOLUME control, and use the BASS and
TREBLE controls to give the tone quality you
prefer.
CE _— _— — — — - - - -_—-—-_—_— " "_ — _ _ _—_—___——""
12
AM Reception
1. Depress the AM button for FUNCTION selec-
tion.
2. Turn the TUNING knob to select your
station. Best reception is obtained when the
SIGNAL meter needle deflects to the extreme
right (see Fig. 13).
3. Adjust the VOLUME, BASS, and TREBLE
controls for the listening level and tone quality
of your preference.
SIGNAL METER TUNING METER
(Both for AM and FM Reception! (Only for FM Reception)
Fig. 13
NOTE:
If, when listening to either FM or AM broadcasts, the sensitivity
seems poor, and interference is heavy, so that listening pleasure is
seriously affected, refer to the section "ANTENNA AND GROUND
CONNECTIONS," on page 7 and make any changes necessary.
RECORD PLAYING
1. Set the FUNCTION selector to either PHONO
1 or PHONO 2, dependent upon whether the
turntable you are using is connected to the
PHONO 1 or PHONO 2 input jacks, respec-
tively.
2. Operate the turntable to play the record.
3. Adjust the VOLUME, BASS, and TREBLE
controls for the listening level and tone quali-
ty of your preference.
NOTE:
In order to eliminate the unpleasant noise which can mark the
start of playing a record, depress the AUDIO MUTING -20
dB button, releasing it after the stylus has performed the
run-in, and then adjusting the VOLUME to give the sound
level of your choice.
USING THE AUX JACKS
When playing equipment to which the AUX jacks
are connected, operate as follows:
1. Set the FUNCTION selector by depressing the
AUX button.
2. Operate the audio equipment.
3. Adjust the VOLUME, BASS, and TREBLE
controls for the listening level and tone quality
of your preference,
USING THE MICROPHONES
1. Connect the microphones to the L (left-channel
and R (right-channel) MIC jacks.
2. Set the FUNCTION selector by depressing the
MIC button.
3. Set the MODE button to STEREO (released/
undepressed).
4. Adjust the sound level by turning the
VOLUME control to the right little by little.
The midway setting of the BASS and
TREBLE controls will usually be best.
NOTES:
i. It is readily possible for microphones, under certain conditions
of use, to give rise to “howling” feedback noise. Be careful not
to raise the volume too high when the microphones are close to
the speaker systems or in a room with a great deal of
resonance. It is most effective in using the TREBLE and BASS
controls at their “0” settings, or in switching the TONE switch
ON (UP).
2. When a microphone has only been connected to one of the
microphone jacks (either L or R), sound will only be heard
from the corresponding left-hand or right-hand speaker systems
as long as the MODE bution is ser at STEREO. For the sound
ro be heard from both speaker systems, the MONO mode
should be selected.
USING TAPE DECKS
Playback
1. According to the TAPE PB (1, 2), DOLBY NR
IN, 4CH IN jacks to which the tape deck is
connected, either the TAPE MONITOR 1 or 2
switches, or the ADAPTOR 4CH or DOLBY NR
switches should be put ON (see Figs. 14, 15).
2. Operate the tape deck controls to give playback.
3. Adjust the VOLUME, BASS, and TREBLE
controls for the listening level and tone quality
of your preference.
NOTE:
Turning the TAPE MONITOR switch ON enables tape playback
whatever the setting of the FUNCTION selector.
TAPE DECK 1 TAPE DECK 2 TAPE DECK 3 TAPE DECK 4
0 [+] ++ © HE an Lo! J os «в e
OUTI DOLBY
INR
TAPE 2 ACH
pg” UT
SIGNAL SIGNAL
—— —
TAPÉ | TAPE 2 ir DOLBY NR
MONITOR SWITCH SWITCH SWITCH
Fig. 14
Ts ION CER
APE —
QUPlyCATE monitor ADAPTOR
AH Cc Y A
RATTEN
As shown in Fig. 16, the receiver TAPE REC (1,
2), DOLBY NR OUT, and 4CH OUT jacks carry a
certain, fixed level output from the source selected
by the FUNCTION selector, which, once the tape
deck is connected to the appropriate jacks, enables
the selected source-to be recorded. The operation
is as follows:
1. Set the FUNCTION selector button for the
source to be recorded.
2. Play the selected program source.
3. Adjust the recording level by means of the
controls on the tape deck, and commence
recording.
The receiver VOLUME, BASS, and TREBLE con-
trols are completely inoperative—that is, they have
no effect on the recorded sound.
Fig. 15
Tape Monitoring
While a recording is being made with the three-head
deck, if the TAPE MONITOR ‘switch is turned ON,
the sound being recorded can be monitored through
the speaker systems.
In this case, both recording and playback connec-
tions must be made.
TAPE DECK 1 TAPE DECK 2 TAPE DECK 3
Rd Bd BX
- M -
{anid co a eo
E REC |
ADAPTOR (4CH, DOLBY МА!
N
REC
DUPLICATE
OFF ON
ON + 4 ON
wo] il | Т SIGNAL
, h —l
SIGNAL
*+— OFF OFF OFF
TAPE 1 MONITOR TAPE 2 MONITOR
SWITCH === SAT CH SWITCH =——
Fig. 16
13
ADAPTOR (ACH, DOLBY NR
DUPLICATING OR TAPE EDITING
RECORDED TAPES
By using two tape decks, a recording of a complete
FM broadcast, say, can be first made, and then
those items in it which you want for your
permanent “tape library” can be selected and
re-recorded on another tape.
1. Connect the two tape decks as shown in Fig. 17.
2. Set the TAPE DUPLICATE switch to the ON
position.
3. Select one of the tape decks (1 or 2) to play
back the pre-recorded tape, and use the other
tape deck to make the copy recording.
4. When recording with tape deck 1, TAPE MONI-
TOR switch 1 should be switched ON to
monitor the sound being recorded, and when
recording with tape deck 2, TAPE MONITOR
switch 2 should be switched ON for monitoring
(refer again to Fig. 17).
TAPE DECK 1 TAPE DECK 2
SIGNAL
i
OFF QUOFF O
TAPE 1 MONITOR TAPE 7 MONITOR ADAPTOR
WITCH SWITCH === SWITCH =—
Fig. 17
SIGNAL
lf —
VERSATILE JACKS—FOR
TODAY AND TOMORROW
USE OF THE ADAPTOR DOLBY NR JACKS
If a DOLBY adaptor is connected to the receiver
ADAPTOR DOLBY NR jacks, not only can FM
Dolby broadcasts be played back, but if a tape
deck is connected to the adaptor itself, Dolby
system recording and playback is possible.
Reception of FM Dolby Broadcasts
Reception and playback of Dolby system FM
broadcasts is done with connections made as
follows:
1. Connect the Dolby adaptor as shown in Fig. 18
to the ADAPTOR DOLBY NR IN and OUT
jacks:
2. Set the FUNCTION selector to FM by depress-
ing the FM button, and tune in to an FM
Dolby-system broadcast.
3. Turn the ADAPTOR DOLBY NR switch to ON.
DOLBY NR
ADAPTOR
IN OUT
our J POLBY] ¡Ny
FUNCTION
SELECTOR
SIGNAL
—
=D
DOLBY ENCODE
FM STEREO
BROADCAST
D
DOLBY NR SWITCH
SX-1010 ,
Fig. 18
Dolby System Recording and Playback
with Tape Decks Dolby Recording
1. As shown in Fig. 19, connect the Dolby adaptor
output jacks to the tape deck recording input
jacks (LINE INPUT).
2. Select the program source of your choice with
the FUNCTION selector.
Dolby Playback
1. Connect the tape deck playback output jacks
(LINE OUTPUT) to the input jacks of the
Dolby adaptor,
2. Turn the ADAPTOR DOLBY NR switch to ON,
and play back your Dolby-system recordings.
NOTE:
I. If you monitor the sound being recorded with the Dolby
adaptor, turn the ADAPTOR DOLEY NR switch ON.
2. For detailed instructions on connections, etc., for your Dolby
adaptor, please see the instruction manual provided with it.
YR
mK
Ory co)
LINE INPUT LINE OUTPUT
DOLBY NR
ADAPTOR
FUNCTION
SELECTOR SIGNAL
-—.
DOLEY NA SWITCH
5X-1010
Fig. 19
TETU EE PE ETES
14
SETTING UP A 4-CHANNEL SYSTEM
As shown in Fig. 20, a 4-channel system consists of
two pairs of left-hand and right-hand speakers, one
at the front, and the other at the rear. This gives a
whole new dimension of realism not attainable
with conventional 2-channel stereo. It offers the
sense of the acoustics of the hall—and the atmos-
phere and applause—where the recording was
made. The unique sense of “presence” of being
“actually there” which 4-channel stereo alone can
give, has to be experienced before it can be
appreciated.
The receiver will form the ideal heart of a
4-channel system, but you will also require four
speaker systems and a 4-channel decoder/power
amplifer (“decoder-amp” below) for the rear chan-
nels.
Operation
1. Connect the receiver ADAPTOR 4-CH OUT
jacks to the decoder-amp INPUT jacks.
2. Connect the receiver ADAPTOR 4-CH IN jacks
to the decoder-amp OUTPUT jacks.
3. Тит the 4CH ADAPTOR switch to ON,
4. You are now ready to enjoy the thrill of
4-channel reproduction.
4 CHANNEL
REAR
DECODER AMP TEAR
INPUT _L RIGHT
LEFT
OUTPUT
ADAPTOR 4 CHIN
A
ADAPTOR
4 CH OUT OUT IN
L
POWER | FRONT SPEAKER
oN AMP
RIGHT
ON
i
SIGNAL LEFT
À À
SX-1010 ADAPTOR 4 CH SWITCH”
Fig. 20
Placement of Your Speaker Systems
As shown in Fig. 21, two pairs of speaker systems
are located to the front left and right, and the rear
left and right (four in all). Connect the speakers
located in FRONT to the receiver, and the REAR
speakers to the power amplifier for the rear chan-
nels. It 1s also possible, according to the restrictions
of space or personal taste, to place the speakers as
shown in Fig. 21.
PIONEER
EN
— FRONT LEFT FRONT RIGHT
e, a
E . Де a
th ET Te
т AER но:
ss nee
5 Si
a i A QE a
a i eee
5
Well mar a e
Ht nh
ы E
CE
Cr re a a Rr
Fig. 21
USE OF THE 4CH MPX OUTPUT JACKS
Whenever 4-channel multiplex discrete FM broad-
casts may commence, the addition of a 4-channel
discrete FM broadcast adaptor (‘‘adaptor’ below)
will enable full 4-channel reproduction of the
broadcasts from your receiver.
1. The adaptor is connected as shown in Fig. 22 to
the 4CH MPX OUTPUT jacks of the receiver.
2. Connect the adaptor output to the receiver
ADAPTOR 4CH IN jacks.
3. Turn the 4CH ADAPTOR switch ON,
4. Depress the FM button for FUNCTION selec-
tion.
5. Tune in to the 4-channel discrete FM broadcast.
6. Adjust the VOLUME, BASS, and TREBLE
controls for the listening level and tone of your
preference.
NOTE:
For detailed instructions on connections, etc., see the instruction
manual with the adaptor.
4-CHANNEL
DISCRETE FM
BROADCAST ADAPTOR
4 CH OUTPUT
INPUT
REAR
REAR AMP SPEAKER
IM
ADAPTOR 4 CH
IN
4 CH
FRONT
SPEAKER
4-CHANNEL
DISCRETE
BROADCAST
TO FUNCTION LEFT
ADAPTOR 4CH
Fig. 22
15
Ce
CONDITIONS FREQUENTLY MISTAKEN FOR MALFUNCTION
Noise: There are a variety of noises relating to the
operation of a hi-fi unit. These are generally
divided into two types; (1) the unit is faulty (a
transistor or part has deteriorated) and (2) an
external source is adding to the unit.
When a hi-fi unit produces an unpleasant noise, it is
often assumed that the unit is faulty, but statistical
records indicate that the majority of noises pro-
duced in hi-fi acoustic units result from external
sources of noise: Due to the inherent high sensi-
tivity and the high fidelity in reproduction, the
unit amplifies and reproduces extraneous noises,
however small, into definite output noise. If your
receiver produces a noise, check according to the
following table and trace out the source of noise
for the appropriate corrective action.
SYMPTOM
==
SUSPECTED SOURCE OF NOISE
DIAGNOSIS AND REMEDY
Continuous or intermittent
EEE
+ Static (lightning)
« Fluorescent lamp, motor, or thermostat
may be in use in house or in the vicinity of
the house.
When a station is tuned in,
hum is mixed in the pro-
gram.
- Poor fluorescent lamp, motor, or electric
heater may be in use in house or near the
house,
In many cases, it is very difficult to remove the source
of noise. In order to make the radio input larger than
the noise level, set up a good outdoor antenna and
make a complete grounding,
Reversing the line plug may occasionally alleviate this
noise problem. Usually it is very difficult to eliminate
the noise.
Hissing sound noise in AM
(medium wave) reception,
+ The frequency of an adjacent station is
interfering with that of the station being
tuned in (10kHz beat interference).
TV set is on in the same house with the
receiver,
Static noise [in particular,
when automobiles run
close to the house).
* White noise generated from automobile
engines.
+ High frequency sewing machine or weld-
ing machine being used near your house.
mama
Impossible to remove such interference. If the case of
such noise is in the TV set, increase the distance be-
| tween the TV set and receiver.
| In an area surrounded by hills or high buildings, the
FM input signals are very weak. Thus the noise limiter
in the circuit loses its function. Set up an FM outdoor
antenna having many director elements.
WHEN LISTENING TO BROADCASTS
| Reception of FM stereo
program contains more
noise than FM mono pro:
gram.
Note that the service area covered by an
FM stereo broadcast is about 50% of that
of a regular mono broadcast.
Increasing FM input signal may alleviate this problem.
Use an exclusive FM outdoor antenna instead of the
indoor T-type antenna.
Hum or buzz. When
switched to radio recep-
tion, the noise disappears.
+ Poor connection of shielded wire. (a)
Jack connection is loose. (b)
Line cord of fluorescent lamp is near the
shielded wire. (e)
+ Poor grounding. (d)
Ham transmitting station or TV transmit-
ting station is near your house, (e)
+
+
+
Correct the conditions stated in (a), (b), (c) or (d). In
| case of le), report it to an official activity,
WHEN PLAYING RECORDS
| Output
tone quality is
poor and mixed with noise.
Treble is not clear.
« Stylus wears out. (a)
- Record wears out. (bl)
» Dust adheres to stylus. {c)
+ Stylus is improperly mounted. Id)
+ Stylus pressure is not proper. (e)
* The TREBLE level is too high.
| Check (a) through (e) and correct the condition.
Lower the TREBLE level,
WATCH FOR THE FOLLOWING CONDITIONS; THESE ARE ALSO APT TO BE MISTAKEN FOR MALFUNCTIONS.
EF =
="
SYM PTOM
SUSPECTED SOURCE OF NOISE
DIAGNOSIS AND REMEDY
Ti ЦН
Power is not turned on
although the power switch
is set to ON,
« Fuse blows, (a)
+ Line plug is loose, (b)
Check la) and (b) and correct the condition,
——l.—So— m =
16
In playing a record, in-
creasing the volume causes
howling.
{
|
« Distance between the turntable and the
speakers is too short.
* The place on which the turntable or
speakers are set is unstable.
Change the distance or rearrange the installation
increase of the unit and speakers. (Installing the
turntable on a firm, solid stand may alleviate this
problem.)
Do not enhance the BASS sound level excessively.
MOUNTING
TE —
PIONEER
TEMPLATE
=
©
a _
2 ®
o с?
>» e
| о
Г = 7 €
i
Cutout in shelf for ventilation : |
| | | i |
340 (13-3/8) 0 |
| =
410 (16-1/8) =
F В ei
= т
о 8 |
4-9.6$ (3/8) п ©
( 2 |
T
Ч
Amplifier is mounted.
500 (19-11/16)
ME
Front panel
The top of the shelf must not be
higher than the cutout.
Cutout for front panel mounting in cabinet (Horizontal)
¡Can also be used for vertical mounting)
|
4152 (6) — —
— "o"
ne
md Unit: mm (inch)
——
Pe —
sis
ti"
en
—
PP,
"RE
ge “— l(coe
Remove the four feet on the bottom plate of the unit.
After removing feet, fasten setscrews into holes from which feet were removed.
453 (17-13/16- ——
of unit.
ee
Washers _/
Setscrews
7
light Cl
Shelf (Panel) Slight Clearance
Use Má (150) setscrews of within 10mm (1/3) long for combining amps bottom
plate with any panel, allowing a slight clearance.
17
SPECIFICATIONS
Semiconductors
FETS ©. 4 LL ALL LL 111 3
(ee . 5
Transistors... . .. LL LL LL LL LL LA LL LL T3
Diodes ....111 1011 LL LA LL ad a a ALL LL LL ‚41
Amplifier 5 Section
100 watts per channel, min. RMS at 8 ohms or
105 watts per channel at 4 ohms from 20 Hertz to
20,000 Hertz, with no more than 0.1% total harmo-
nic distortion.
Continuous Power Qutput at 1,000 Hertz
(Both channels driven) ...... 110 watts per channel (8 ohms)
110 watts per channel (4 ohms)
Total Harmonic Distortion ............... No more than 0.1%
(20 Hertz to 20,000 Hertz) (Continuous Rated Power Output)
No more than 0.05%
(1 watt per channel Power Output, 8 ohms)
Intermodulation Distortion ............... No more than 0.1%
(Continuous Rated Power Output)
No more than 0.05%
(1 watt per channel Power Output, 8 ohms)
Frequency Response ............... 7 Hertz 100,000 Hertz
Input Sensitivity/Impedance
POWER AMP IN... LL. LL LL 1V/S0kQ
Output: Speaker ................ А, В, С, А + В, А + С, В+ С
Headphone ....................... Low impedance
Damping Factor (1,000 Hertz, 8 ohms) ........... More than 30
Hum / Noise
(1-HF, short-circuited, A Network). ........ More than 110dB
Residual Hum & Noise ....... No more than 1mV (0,13 y watts)
(8 ohms, Pre & Power-amplifier)
Preamplifier Section
Input Sensitivity/Impedance
PHONO | к ина, 2.5mV/50kQ2
PHONO 2 LL LL LL LL Le a a вк вине) 2.5mV/SOkQ
PHONO Overload Level (rms/p-p) ......... 250mV/700mV
MIC 1111121111 LL L La aa LL LL LL LL 2.0mV/50k$2
AUX ee 150mV/70k2
TAPEPB 1,2... ... i. . 150mV/70k2
TAPE PB 2 (DIN connector). ............ . 1S0mV/70kQ
Output Level/Impedance
TAPE REC 1,2 LL. 1211 La ae LL LA LL LL 150mV
TAPE REC 2 (DIN connector). . .. .......... 30mV/80kQ
PREOUT aa eanromoneoda . 1V/1kQ
Harmonic Distortion (20Hz~20kHz) ......... Less than 0.1%
Frequency Response * Measured pursuant to Federal Trade Commis-
PHONO (RIAA equalization). ........ 30Hz~15kHz +0.3dB sion’s Trade Regulation rule on Power Output
AUX, TAPEPB ............. ...... 10Hz ~40kHz*? dB Claims for Amplifiers.
ZA
16
DL PIONEER
Tone Control
BASS: MAIN... ... ........... +10dB (100Hz)
SUB .......... ........ у... *5dB (50Hz)
TREBLE: MAIN... ................. +10d8 (10kHz)
SUB... кв ве в, +5dB (20kHz)
Filter
LOWCUT ................... —8dB (SOHz) 6dB/oct.
HIGHCUT. .................. —9dB (10kHz) 6dB/oct.
Loudness Contour (Volume control set at
—40dB position). .......... +8dB (100Hz), +4dB (10kHz)
Hum & Noise (IHF, short-circuited, A Network)
PHONO. . . .............. ......... More than 70dB
MIC LL. aa anaaanaeaao, More than 65dB
AUX, TAPEPB ........ ............ More than 95dB
Muting ......... e eredoereronoado,r. —20dB
FM Section
Usable Sensitivity (IHF)............ e, 1.7uV
Capture Ratio (IHF) .. ........................ 1.0dB
Selectivity (IHF)... .................... ...... 90dB
Signal-to-Noise Ratio... ...................... 72dB
Image Rejection (98MHz). ...................... 110dB
IF Rejection (98MHz) . ...................... .. 110dB
Spurious Rejection ......... 2... aa ta LL 110dB
AM Suppression aa ta a AA, 55dB
Total Harmonic Distortion MONO ................ 0.2%
STEREO ............... 0.3%
Frequency Response ............... 20H2-1SkHz 19:2 dB
SOHz-10kHz +18: dB
Stereo Separation 1kHz ....................... 40dB
50Hz~10kHz. . ................ 30dB
Sub Carrier Suppression ,........... e... coa... 65dB
Antenna Input ........... e..eprcca eo 3009 Balanced
7582 Unbalanced
Muting o.oo a aa LL LA à ON-OFF
AM Section
Sensitivity (IHF, Ferrite antenna). . .. ............ 300uV/m
(IHF, Ext.antenna) . .................. 15uV
Selectivity . ............. neÑcsoaoreaeaara rev, 40dB
Signal-to-Noise Ratio..........eo_..oexereoroorern 50dB
Image Rejection . ........................ 0... 65dB
IF Rejection .......... 0.0. 85dB
Miscellaneous
Power Requirements .................. AC220V 50/60Hz
or 110, 120, 130, 220 and 240V (switchable) 50/60Hz
Power Consumption ..........eeeeeeeorororarenano 640W
Dimensions .............. 520 (W) x 175 (H) x 440 (D) mm
20-1/2 x 6-7/8 x 17-5/16 in.
Weight: Without Package. ............. 22.2kg (48 Ib 13 0z)
With Package . ............... 26.6kg (58 Ib 8 oz)
Furnished Parts
FM T-type Antenna... ................. uuu, 1
Operating Instructions ......................e.. 1 Note:
Fuse6A ................... (5-line voltage model only) Specifications and the design subject to possible
Fuse 3A ..... ............. 1 modification without notice due to improvements.
19
<75F00M698>
Printed in Japan
CARB.100-0>
PIONEER ELECTRONIC CORPORATION
4-1, 1-Chome, Meguro, Meguro-ku, Tokyo 153, Japan
U.S. PIONEER ELECTRONICS CORPORATION
75 Oxford Drive, Moonachie, New Jersey 07074 U.S.A.
PIONEER ELECTRONIC (EURDRE) N.V.
Meir-Center Meir 21, 2000 Antwerp, Belgium
PIONEER ELECTRONICS AUSTRALIA PTY. LTD.
256-8 City Road, South Melbourne, Victoria 3205, Australia

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project