Page 1 Page 2 LOOK HOW EASY IT IS TO CONNECT YOUR

Page 1 Page 2 LOOK HOW EASY IT IS TO CONNECT YOUR
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LOOK HOW EASY IT IS TO CONNECT YOUR STEREO TUNER-AMPLIFIER
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D-340B-1A -1
LOOK HOW EASY IT IS TO OPERATE YOUR 340-B, STEREO TUNER-AMPLIFIER
This simplified photo-guide shows how to use your new tuner-
amplifier. A similar guide on the reverse side shows how to connect
the tuner-amplifier to the rest- of your music system. However,
TUNING METER
For best listening adjust the
tuning dial so that you get the
highest possible reading on the
- Meter. (see pages 18 and 5)
INPUT
Phono — For phonograph rec-
ords.
FM — Use this position most
of the time. The tuner will
automatically switch to stereo
if you are tuned to a stereo
broadcast (a light will indicate
this). If the program is mono-
phonic, the tuner will instantly
switch to that mode of opera-
tion. The tuner does all the
thinking for you.
FM Sub. Ch. Filter — To re-
ceive FM stereo broadcasts
when some background noise
Is present.
Extra — For any device con-
nected to the extra inputs on
back. (see page 12)
IMPORTANT NOTE
To further simplify the opera-
tion of your 3408, the INPUT
switch has been changed from
that illustrated on pages 12
and 19 of the instruction book.
The only difference in opera-
tion of your new 340B relates
to listening to FM mono and
stereo broadcasts. Refer to
page 18 “Scott Auto-Sensor
Circuit 1340, 380 Series)". All
instructions are the same ex-
cept instead of turning the
INPUT switch to Automatic
Stereo, turn it to FM position.
This engages the Auto-Sensor
Circuit as described. On page
19 “Listening to regular FM
Monophonic Broadcasts”, all
instructions remain the same
except that If you wish to have
monophonic sound all the
time, simply turn the SELEC-
TOR switch to Mono position.
SELECTOR
For all stereophonic program
material, set to Stereo position.
Other positions are for mono-
phonic material, or for balanc-
ing E (see page 14
and
STEREO INDICATOR
Goes on when tuned to a stereo
broadcast.
SCRATCH
To reduce high frequency
noises such as record surface
noise, (see page 16)
RUMBLE
To reduce low frequency noises
such as turntable rumble, (see
page 16)
MONITOR
To listen to tape played on a
regular Tape Recorder. (see
page 16)
This switch can also be used
to monitor a recording when
used with a tape recorder with
separate playback and record
heads. (see page 16)
LOW LEVEL OUTPUT
To connect a set of low imped-
ance stereo headphones. (see
TREBLE
we strongly suggest that you read the complete instruction book
thoroughly. Only then will you get the utmost enjoyment and
maximum performance from this superb instrument.
Modifies high frequency
sounds. Set to suit your taste.
(see page 15)
TUNING KNOB
To select the desired FM sta-
tion. (see page 17)
BALANCE
To make one speaker louder
than the other. Permits you to
adjust for unequal sounds
caused by room acoustics or
faulty program material. (see
page 14)
LOUDNESS
Makes system louder or softer
to suit your taste. (see page 14)
POWER
To turn the tuner-amplifier on
or off. Will also supply power to
any device connected to
switched AC outlet on the back.
(see page 11)
SPEAKERS
You can turn off the speakers
if you want to use your head-
phones and not disturb others.
(see page 16)
Р
in “Loud.” position introduces a
circuit that boosts the extreme
page 8)
BASS
Modifies low frequency —
Pe to suit your taste, (see page
high notes and low notes for
listening at low levels, and is
out of operation automatically
at loud levels. “Vol.” position
removes circuit completely,
(see page 14)
D-340B-1A -1
FM MULTIPLEX STEREO
ORCHESTRA > STEREO TUNER _ AMPLIFIER
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MONOPHONIC
FM TUNER :
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IF
AMPLIFIER ee
SPEAKER
A
AT
INTRODUCTION HOW FM STEREO (MULTIPLEX)
Your new tuner-amplifier represents a significant breakthrough
in the design of quality music reproducing equipment for the home.
Frequently manufacturers have been forced to sacrifice some part of
the best possible performance in order to combine a stereo tuner and
stereo amplifier on one chassis. There is no compromise in your new
Scott tuner-amplifier. The remarkable design and unique features
that make separate Scott tuners and amplifiers outstanding are fully
represented in this combination unit.
In the next few sections you will read about Scott leadership in
both amplifiers and tuners. The sum of this leadership is the Scott
tuner-amplifier; representing the ultimate in performance, ap-
pearance, and operating convenience. We are sure you will find this
background material of interest.
Although your tuner-amplifier is a simple instrument for any
member of the family to operate, to obtain the maximum enjoyment
read this entire instruction booklet carefully and thoroughly. You
will find it well worth the time. I
WORKS
Multiplexing is a method of broadcasting two or more signals
from one FM transmitter. This means that a single FM station can
broadcast both the left and right channels of a stereophonic program
from records, tapes, or live performances.
Humans are capable of hearing sounds between about 20 and
20,000 cycles per second. Any sound above 20,000 cycles per second
is referred to as “supersonic” because it is above the range of human
hearing.
Most good FM tuners are capable of reproducing these super-
sonic frequencies above 20,000 cycles per second (“cps” for short).
Though you cannot hear them, these supersonic frequencies are used
very effectively for multiplex. At a frequency of 38,000 cycles per
second (cps), high above the sounds you can hear, the second (stereo
information) signal is added on. While you can’t hear this second
signal, your FM tuner can, and, if equipped for multiplex, will con-
vert this into sound you can hear — stereo sound. |
This second signal is not either the left or right channel. If it
were, a listener with a monophonic tuner would hear only half of the
program. Instead (see diagram pg. 1), a method is used that pro-
vides the full monophonic signal (left plus right) for the listener
with a regular FM tuner, and stereo for the listener with multiplex
equipment. The stereo quality depends on how well the multiplex
tuner handles the second signal (stereo information). If very little
of the second signal is being properly processed, there will be poor
stereo quality (poor separation between the left and right channels).
Simply having sound from both speakers does not necessarily mean
you have stereo.
Conventional narrow-band tuners cannot give the fine stereo
quality obtained with Scott Wide-Band tuners. As the FCC pointed
out, the approved multiplex stereo system “. . . like any multiplex
transmission system, will increase energy transmission at the edges
of the channel involved. Accordingly for optimum stereophonic recep-
tion, the (tuner’s) bandwidth . . . must be considerably greater than
that of monophonic (tuners) ....” *Scott tuners have always had the
wider IF bandwidth needed.
Since stereo FM broadcasts are such an abundant source of high
quality program material, many listeners will want to make off-the-
air stereo tape recordings. In many instances, however, conventional
multiplex circuitry causes interference with a tape recorder, result-
ing in whistles and beeps being recorded on the tape. Scott multiplex
units incorporate the expensive filters needed to prevent this inter-
ference. Scott equipment can be used with any tape recorder.
New FM Stereo will bring you thrilling broadcasts of world
famous symphony orchestras and opera companies . . . intimate closg-
ups of jazz in stereo . .. dramatic presentations with life-like move-
ment. You will hear the wonderful new sound of FM multiplex stereo
in your home . . . and using Scott equipment, you will be able to make
flawless off-the-air stereo tape recordings.
*See paragraph 36, FCC Report and Order, Docket No. 13506,4/19/61.
2
HERE'S WHAT MAKES SCOTT
TUNERS SO OUTSTANDING
FM stereo multiplex reception makes more severe demands on
a tuner than regular monophonic reception. You will undoubtedly
enjoy your new Scott tuner much more if you have some understand-
ing of the unique engineering that makes these tuners so outstanding.
Below are some of the various factors that go into the design of a
Scott tuner.
Usable sensitivity — indicates
a tuner’s ability to receive weak
signals with very low hum, noise
and distortion. Scott’s high usable
sensitivity is in part due to the sil-
ver-and copper-plated front end on
Scott tuners. The high conductivity
of these metals preserves the full
quality of even the weakest signals
without introducing the noise, hum
or distortion of conventional tun-
ers.
Instead of inexpensive steel
chassis, Scott uses electrolytic alu-
minum with copper cladding in the
critical IF and multiplex sections.
Copper is a far better conductor
than steel and eliminates the losses
ordinarily associated with that
metal. Aluminum, being non-mag-
netic, tends to reduce hum and
noise, giving Scott tuners an excep-
tionally high signal-to-noise ratio.
COPPER
Selectivity — is the ability to completely separate stations on
nearby channels. Scott’s Wide-Band IF’s most closely approach the
ideal by amplifying the desired signal and completely rejecting all
nearby stations. Scott tuners separate stations that conventional
narrow-band tuners would pass by.
Freedom from drift — a tuner
must stay on station without wan-
dering (or drifting). Narrow-band
tuners use undesirable automatic
frequency control (AFC) to pre-
vent drifting. AFC introduces con-
siderable distortion and reduces
bass response. AFC also reduces
selectivity because its magneticlike
attraction towards stronger sta-
tions pulls away from nearby weak
ones. Scott tuners utilize Wide-
Band design rather than AFC to
eliminate drift, bringing vou the
full range broadcast without intro-
ducing distortion.
Stereo separation with low dis-
tortion — a must for good FM
stereo reception. Conventional nar-
row-band tuners inherently cannot
give as fine stereo quality as Wide-
Band tuners. Scott-developed, Time
Switching Multiplex circuitry pro-
vides full frequency response with
extremely low distortion. Stereo
separation far exceeds specifica-
tions established by the Federal
Communications Commission.
HERE'S WHAT MAKES SCOTT
AMPLIFIERS SO OUTSTANDING
The first true high fidelity amplifier was Scott’s world famous
210A which appeared in 1947. This remarkable instrument intro-
duced a score of unusual design features which today are accepted
and used by all manufacturers. The engineering innovations in the
210A are typical of H. H. Scott, a company which has continued to
pioneer in the audio field. The exceptional design and careful manu-
facture that went into the 210A have been proven over the years...
most are still in service, — working perfectly.
Scott’s philosophy is not only to develop new and better instru-
ments, but also to produce equipment that will last. There is no
built-in obsolescence in Scott products. Here are a few of the “extras”
Scott has included in your new tuner-amplifier:
e Non-magnetic electrolytic aluminum is used as chassis material
on all Scott components rather than low cost steel. Aluminum acts
as a shield against induced hum, and is an ideal heat dissipator
guaranteeing long life and cool operation of the vital output stages.
» To avoid unpleasant hum and noise, Scott uses specially selected
preamplifier tubes.
e All Scott amplifier sections are 100% stable with any type of load
or With no load. You never have to worry about harming your
tuner-amplifier if a speaker wire is disconnected.
e The oversized output transformers in all Scott amplifier sections
mean that you will get plenty of output power at the low frequen-
cies where power is really needed. Any amplifier can meet its rated
specifications in the midrange. It is in the vital low frequency
region that Scott stands out as the leader.
e All Scott amplifier sections incorporate a subsonic sharp cutoff
filter. This prevents all noise and rumble below 20 cps from enter-
ing the amplifier stage and causing the amplifier to waste its power
on undesirable noises. By concentrating on the audible range, a
3
Scott amplifier gives usable power far in excess of its conservative
rating.
¢ All components and parts are carefully checked. They are used far
below their rated values. You can be sure that your new Scott
tuner-amplifier will meet its specifications, both now and for years
to come.
INSTALLATION
Your Scott tuner-amplifier can
be placed on a table or bookshelf,
in existing furniture like an end-
table, buffet, or room divider, or in
a specially designed equipment cab-
inet. A handsome hand rubbed
wood accessory case is available
from your dealer in finishes to
blend with your decor.
Wherever it is placed, adequate provision should be made for
ventilation. If this is not done, the life of the internal components
will be appreciably shortened. By adequate ventilation we mean
about 4” of space above and behind the unit where air may circulate
freely, or, if it is installed in a cabinet, the cabinet should have an
open back. Airspace of 14” or open shelving should exist underneath.
г
=
=
E
To help disperse heat rapidly, Scott employs aluminum in the
construction of the chassis and panel. Aluminum is an excellent
conductor of heat. Therefore, the panel may seem warm to the
touch. As long as the unit is adequately ventilated, this is of no
consequence.
The tuner-amplifier should always be mounted horizontally be-
cause of the necessity for proper heat dissipation. If vertical mount-
ing is desired, forced air ventilation with a fan is a must. Fans spe-
cially designed for this purpose can be obtained from your dealer.
4
CONNECTIONS
TO A STEREO SPEAKER SYSTEM
Terminal strips for speaker connections are located on the rear
of your tuner-amplifier. The screws marked Right are for connecting
the right-hand speaker (as you face them from your listening area),
the ones marked Left are for the left hand speaker. Every speaker
is rated by its manufacturer at a certain impedance. This informa-
tion is either marked on the speaker or can be supplied by your
dealer. You will note that there are screws marked 4, 8, and 16 on
the terminal strips. These numbers indicate the correct connection
to the loudspeaker, and permit you to match the output of your
amplifier to the impedance of the speaker.
When making connections, you can use almost any type of wire
if the lengths are under 50 feet. We highly recommend ordinary
lamp wire (+22 wire according to the electrical code). If you want
to run the wire under a rug you can also use flat TV antenna wire.
If you plan to use wire lengths considerably in excess of 50 feet, it
is advisable to use #18 wire to prevent excessive losses of power.
When attaching the wire to the
tuner-amplifier or the speaker be
certain that strands of wire from
one screw do not accidentally touch
strands on any other screw or the
speaker will not perform properly.
MAKING After the speakers are connected
CONNECTIONS they should be properly phased to
TO SPEAKER give a well-spread stereo effect with
TERMINALS full bass. Phasing instructions are
to be found at the back of this
manual.
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Your tuner-amplifier includes two terminal strips on the rear.
The upper strip is designed solely for setting the unit to match the
impedance of your speaker. Connect the cables with the spade lugs
on the end to the terminal screw (either 4, 8, or 16) that most
closely coincides with the rated impedance of your speaker. One
cable and set of screws are for the right speaker and one for the left
speaker. By having two sets, you can match impedances properly
even if you are using speakers with different impedances.
The bottom terminal strip is for connecting the speaker wire.
Connect one end of the speaker wire to the two terminals on your
left hand speaker or speaker enclosure. Connect the other end to
the “0” and “H” terminals for the left channel. Repeat for the
right hand speaker.
If you only own one speaker system and plan to add a second
speaker for stereo at a later date treat the single speaker as a left
channel speaker and operate the amplifier with the Selector in the
Bal L. position at all times. It is not safe to operate conventional
amplifiers without a speaker load. However, all Scott amplifier sec-
tions are completely stable with resistive, capacitative, inductive, or
no load. You need never fear injury to your tuner-amplifier by using
it with no load on the right channel. Do not attempt to parallel the
outputs. Such a procedure may reduce the power output and increase
the distortion.
TO THE FM ANTENNA
ГО] Го]
An FM dipole antenna is supplied with the unit. In strong signal
areas this should be more than adequate to pull in most of the FM
stations available. Antenna connections are made to the terminal
strip marked “Antenna” located on the back panel. The dipole leads
are connected to the screws marked “G” and “FM-300 ohms” respec-
tively as shown. The dipole should then be opened to full “T” and
positioned to give the strongest signal possible on the tuning indi-
cator on the front. (See page 18)
i
nm
The dipole may have to be shifted slightly when trying to receive
stations at different directions from the listener. A compromise posi-
tion can usually be found that will work best for most of the stations
desired. Generally, the higher the dipole can be placed, the stronger
the signal. If you wish to place the dipole further away than its pres-
ent lead length permits, you can purchase from your dealer additional
lengths of 300 ohm antenna wire to connect between the dipole and
the antenna terminals.
In fringe areas, or areas of
high interference, an external di-
rectional antenna may be neces-
sary. This is particularly true with
multiplex stereo reception. Reflec-
tions from hills or nearby tall
buildings can cause annoying dis-
tortion. There are many fine yagi
FM antennas available which will
provide strong signal and reduce
interference, thus enhancing the range of the tuner. The remarkable
sensitivity of your Scott tuner-amplifier, when combined with a good
antenna, will permit you to receive an astonishing number of distant
FM stations, either monophonically or in stereo.
In areas of extremely high noise, such as a busy highway, the
following system is suggested:
Mount a yagi antenna at some point as far removed from the
source of the disturbance as possible. Connect a 300 ohm to 72 ohm
transformer on the mast, and run 72 ohm shielded antenna lead-in
wire to the tuner-amplifier. The lead-in should not be more than 50
feet in length, if possible. Since the yagi antenna is extremely direc-
tional, it is important that it be positioned for the best reception of
desired stations. In areas where stations are available in diverse
directions, an antenna rotator is suggested.
6
TO AN AM ANTENNA (380 SERIES)
On the top rear of your 380 yow'll find an AM loop antenna. This
will provide a fair amount of signal and will permit you to listen to
most local AM stations clearly. However, your AM reception can
be tremendously improved by doing any of the following:
1. Take the AC line cord and wrap it around the loop antenna
several times before connecting into an AC outlet.
2. Take one of the speaker wires from your amplifier and wrap
it around the loop antenna several times before re-connecting it to
the amplifier.
3. Take the FM antenna lead and wrap it around the loop an-
tenna several times before re-connecting it to the FM terminals.
4. Unscrew the loop antenna from the chassis and move it away
from the tuner. Try setting it in different positions and by looking
at the meter find one that gives a stronger signal.
5. Disconnect the strap on the AM Loop terminal strip on the
back. Connect a long single strand of lamp or dell wire to the AM
serew. Run the other end of this long piece of wire to some point
outside the house, preferably on or near the roof.
When trying any of these suggestions, use the tuning meter on the
front panel to judge whatever improvement has been made in signal
Strength, LAX7O
AM ©. FM-300 ohms | | | 1 f ||
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AM LOOP
TO A CENTER CHANNEL SPEAKER OR
MONOPHONIC EXTENSION SPEAKERS
One of the many exclusive stereo features pioneered by H. H.
Scott is the derived third (or center) channel. This extra output is
used in conjunction with an auxiliary amplifier to fulfill several
important needs: 1. It gives fuller sound, particularly in large rooms
where it is necessary to separate speakers by more than eight feet.
2. It allows ideal seating for full stereo in a much greater portion
of your listening room giving you greater freedom in placement of
speakers and furniture. 3. It lets you feed a full monophonic signal
to single extension speaker systems in other rooms like kitchen,
den, porch, bedroom or bath. With an ordinary two channel system
you feed just half the signal to an extension speaker.
(340, 380, 345 Series)
Derived Center Channel Preamp Output Jack (340,
380, Series)
Connect a shielded audio cable from the Derived Center Channel
Output jack (labeled “Der. Ctr. Ch.”) on the back of your Scott tuner-
amplifier to the input of a separate
power amplifier. Use the 1.5 volt
input if it is an H. H. Scott power
amplifier and a high level input
(such as tuner, extra, etc.) on any
complete amplifiers. Set the level
control so that the center channel
loudspeaker's sound is lower in vol-
ume as compared with the left and
right stereophonic speakers. If the
center channel is driving extension speakers, the separate loudspeak-
ers can be equalized by using individual “T” pads on each speaker.
A “T” pad is a specially designed level control that is readily avail-
able from your dealer.
The center channel output.is controlled by all the front panel
controls, therefore, the auxiliary amplifier should have a volume or
level control to be able to obtain the proper balance. It is essential
that the center channel speaker be in phase with the right and left
channel speakers for proper operation. See section on phasing found
later in the manual.
Powered Center Channel Output
ea to be derived cen-
ter channel output described above,
CTR. CH. a paper et peer output
= = capable of directly driving center
% X NN channel or extension speakers with-
as out a separate power amplifier is
on the back of the speaker system. Connect the other end to the “O”
7
and “H” terminals under Center Channel (on the same strip that you
connected the right and left speakers). If this output is to be used as
a center channel, then the speaker should be in phase with the right
and left speakers. Phasing instructions will be found in the back of
the manual.
LOW LEVEL STEREO OUTPUT JACK
(B40, 380, 345 Series)
A low level, low impedance output jack is located on the front
panel. This jack will accept the standard three-conductor phone
plugs found on most popular low impedance stereo headphones.
- When using this jack, make sure that the plug is pushed in firmly.
When the headphone plug is
inserted in the front panel Low
Level Output jack, the Speakers
switch on the front panel can be
switched to OFF position. This
LOW LEVEL will “ey cut off sound from
the loudspeakers, permitting use
OUTPUT ‚ of the Low Level Output jack.
This allows you to monitor tape
recordings without any sound from
the loudspeaker systems; abso-
lutely necessary when recording
from a microphone. If desired, the
speakers and the Low Level Out-
put jack may be used simultane-
ously.
CONNECTING TO LOW LEVEL INPUTS
Stereo Record Player with Magnetic Cartridge (340,
380, 345 Series)
Magnetic cartridges are generally considered the best for
faithful reproduction of the sound in the record groove. However,
their electrical output is very small, on the order of a few millivolts
(thousandths of a volt). The output is so small that your amplifier
incorporates a special circuit known as a preamplifier section,
specially designed to give this tiny signal a large boost before it
goes into the regular power amplifier section.
There is a wide variation in output from one make and model
of magnetic cartridge to another. Some cartridges produce outputs
as low as 3 millivolts while others are over 12 millivolts. If the pre-
amplifier is designed to amplify only a 3 millivolt signal, a 12
millivolt cartridge will overload the amplifier and create too much
volume (at higher distortion). On the other hand, using a 3 millivolt
cartridge with an input designed for 12, will not provide adequate
listening volume.
Scott engineers have solved this problem by designing two dif-
ferent sets of inputs — one designed for low output magnetic car-
tridges and one designed for high output magnetic cartridges. If
your cartridge has an output of 6 millivolts or less, use the Mag
Low inputs. If it has an output of 7 millivolts or higher, use Mag
High. Most cartridges will be used in the Mag High inputs.
Information on cartridge output is undoubtedly listed in the
literature that came with it. If it is not, your dealer can supply the
needed information.
To connect a turntable or changer utilizing a magnetic stereo
cartridge, connect the shielded leads from the player to the Magnetic
inputs on the back of the amplifier. Check the instructions provided
by the record player manufacturer to be certain that you are inserting
the left channel lead into the left input of the amplifier and the right
input into the right channel. *
Stereo Record Player with Ceramic or Crystal
Cartridge (340, 380, 345 Series)
A ceramic or crystal cartridge differs from a magnetic cartridge
in the amount of output generated. Whereas a magnetic cartridge
produces a signal of a few thousandths of a volt, a ceramic or
crystal cartridge is capable of outputs of at least one half volt.
(340 and 380 series)
When using a ceramic or crystal cartridge, the inputs marked
Ceramic on the rear of the amplifier should be used. The lead carry-
* Use either Mag High or Low. Do not use both Mag High and
Low at the same time.
ing the left channel information should be connected to the Left Chan-
nel Ceramic input; the lead carrying the right channel information
should be connected to the Right Channel Ceramic input.
Either the ceramic or magnetic high and low inputs may be used;
not all three at the same time. In other words, if you are using a
ceramic cartridge connected to the Ceramic inputs, neither Magnetic
High or Magnetic Low may be used.
(345 series) Connect to the Extra Input on the back of the
tuner-amplifier.
Monophonic Record Player
The instructions outlined above are equally valid here. The only
difference is that there will be only one lead to connect and this should
be inserted in the Left input. To play a monophonic record so it is
heard over both loudspeakers, turn the Selector switch to L. Input.
Stereo Tape Deck (380, 345 Series)
A tape deck is a machine without playback preamplifiers. The
signal is fed directly from the tape
heads without any additional am-
plification. A very small electrical
signal is produced similar to that
TAPE obtained from a magnetic phono-
HEAD graph cartridge. With your Scott
tuner-amplifier you can connect
both a tape deck and a record
player, and select either from the
front panel.
(380 series) Connect the leads to the Tape Head input on the
back panel. To listen to tape, move the Equalization switch to the
NAB tape position. This will switch the input from phono to tape
head. - The Input switch must be in the Phono position in order to
listen to either the tape head or record player.
9
(345 series) After connecting the leads to the tape head inputs
you may listen to tape by turning the Input switch to Tape Hd.
position.
GROUNDING YOUR RECORD PLAYER
OR TAPE DECK
Many turntables, changers, and tape decks must be grounded
to reduce hum to unobjectionable levels. A copper colored screw
will be found on the top rear of your tuner-amplifier. A few turns with
a screwdriver will loosen it. Connect any grounding wires to this
screw, and then tighten. Carefully read all the instructions pro-
vided with your cartridge, record player, or tape deck relating to
hum reduction. If unusual problems present themselves write to the
address given at the back of this manual.
EXTRA INPUT (340, 380, 345 Series)
An extra stereo input is provided for any other high level source
you may wish to connect. You can
45 connect a second tape recorder,
ceramic microphone, or sound from
your TV set, If this extra source is
4 EXTRA a stereophonic device with two
leads, connect the left channel lead
to the left channel Extra input and
Af X the other to the right channel Ex-
tra input. Set the Input switch to
Extra. If it is a monophonic device with only one lead, connect it to
the left channel Extra input. To listen to this latter signal over both
speakers you should turn the Selector switch to L. Input position
and the Input to the Extra position.
10
= mr err = Br me ol i Co | a nd
CONNECTING YOUR TAPE RECORDER
To Make Tape Recordings (340, 380, 345 Series)
Your Scott tuner-amplifier has a special set of outputs which per-
mit you to record any signal pass-
ing through the unit. You can make
tapes from your records or off-the-
alr from FM. The tape recorder
output is completely unaffected by
the volume and tone controls of the
tuner-amplifier. If you want to turn
the volume down to “0”, you can
and it will not affect the output
to the tape recorder.
Connect an audio cable from the left channel Recorder Output
on the tuner-amplifier to the left input of the tape recorder. Repeat
for the right channel. Some tape recorders have both a high level (or
tuner) input and a low level (or microphone) input. Use the high
level input for all connections from the tuner-amplifier. If there is any
question, refer to the recorder instructions and follow accordingly.
If you have a monophonic tape recorder, connect the left channel
Recorder Output to the tape recorder.
To Play-back Tape (340. 380, 345 Series)
(For stereo tape recorders with their own playback preamplifiers.)
Connect an audio cable from
the left channel output to the left
channel Recorder Input jack on
your tuner-amplifier. Repeat for
the right channel, In order to listen
to the tapes, slide the tape Monitor
switch on the front panel to the
IN position. When the tape Monitor
switch is in this position, it com-
pletely bypasses the Input switch and permits you to hear the tapes
regardless of the position of that switch. When you are finished listen-
ing to the tapes, immediately return the tape Monitor switch to the
OUT position so that the Input switch becomes operative again.
If you are listening to a monophonic tape recorder connect the
tape recorder’s output cable to the left channel Recorder Input jack.
Use the tape Monitor switch as described above, but in addition, turn
the Selector switch to L. Input so that the sound can be heard over
both speakers.
If your tape recorder has a separate record and playback head,
it may be possible to monitor the tape while you are making a record-
ing. This will be described in the section on MONITOR.
POWER (340, 380, 345 Series)
The power cord should be plugged into any 105 to 125 volt,
50 or 60 cycle AC source (wall outlet). Do not attempt to use with
a DC outlet.
There are two accessory AC
outlets on the rear panel. One of
the outlets is controlled by the
front panel On-Off Switch and is
colored black. Your tuner, tape
deck or recorder may be plugged
into this outlet. When you turn off
your amplifier anything plugged
into this outlet will automatically
be turned off as well.
The second accessory AC outlet (colored red) remains “live”
as long as the amplifier itself is plugged in. It is suggested that
your record player be connected to this outlet. This will insure that
no rumble-producing “flat spot” will occur in your record player if
=
J UGS
—
Me re
mi
you turn the amplifier off before the record player has completed its
cycle. When this output is used you must independently shut off the
device plugged into it.
HOW TO USE YOUR
TUNER-AMPLIFIER
AMPLIFIER SECTION
Your new Scott tuner-amplifier has a wide variety of controls.
Yet, it is extremely easy to operate. Most of the controls are only used
occasionally. The two indispensable operating features are the Input
switch and the Volume (or Loudness) control. The former permits
you to choose between different sources, such as phono or tuner. The
latter allows you to vary the overall loudness to suit your taste.
Become familiar with these immediately.
(340, 345 series)
A separate on-off switch is provided. This permits you to leave
all the front panel controls in their normal operating position without
having to reset them. When the amplifier is turned on, power will also
be provided to any instruments connected to the switched accessory
outlet on the back.
(380 series)
To-turn tuner-amplifier on, rotate Loudness control clockwise.
Power will also be provided to any instruments connected to the
switched accessory outlet on the back.
Choosing the Source
NOTE: To listen to (or play back) a tape recording, slide the tape
Monitor switch to the IN position. In this position, the Input switch
is completely bypassed. Immediately return the tape Monitor to OUT
as soon as you are finished with the tape. Otherwise, it will be im-
possible to listen to any other source. Anytime the amplifier appears
11
to be inoperative, check to make sure someone hasn’t accidentally
left the tape Monitor switch in the IN position.
(340, 380 series)
This can be quickly determined by observing the light beside the
word “Monitor” on the tuning dial. The light will be on only if the
Monitor switch is in the IN position.
(340, 380, series) - (345 series)
INPUT INPUT
AUTOMATIC
STEREO PHONO
EM MONO—— | [Ru or TAPE ME | =
PHONO— AM. EXTRA — re = H.
— EXTRA
The Input switch allows you to select whatever program mate-
rial you wish to hear. For instance, if you wish to listen to a record
played on your record player, the Input switch should be turned to
Phono position.
The Sub. Ch. Filter is designed to be used when listening to
noisy FM Stereo broadcasts. (see pg. 20)
12
Indicator Lights ( EEES SO Series)
ETT s)
On the tuning dial you will notice the words Monitor, Phono,
Tuner, and Extra. Depending upon the position of the Input switch,
a light will appear beside each word, indicating what source is being
fed through your loudspeakers. In other words, if the Input switch is
in _Bhong position, the light beside the word “Phono” will be on.
EET)
n addition to lights described above separate lights for AM
and FM are provided.
Equalization
In the process of making a disc or tape recording, the engineers
have found it expedient to deliberately reduce the low frequencies
and boost the high frequencies. This makes it possible to get more
music on the record and reduce annoying background hiss and
surface noise. To return the overall frequency response to normal
(flat), your amplifier must incorporate a corresponding amount of
bass boost and treble cut. This process is referred to as equalization.
To perform its function properly the equalization curve used
in the amplifier must correspond exactly to the one used in making
the recording. Since 1956, all phonograph records have been made
with what is known as the RIAA equalization curve. All Scott
amplifiers made since 1951 incorporate this equalization curve. If
you have a few older records which may have been made using
slightly different curves, small adjustments of the tone controls can
easily correct for proper response.
(340, 345 Series) — The RIAA curve is built into your amplifier
and automatically takes effect whenever you operate the system in
the Phono position.
(380 series) — When you put the Equalization switch on the
front panel in the RIA A Phono position, it will automatically switch
the record player into the circuit with the proper RIAA equalization.
(380 Series Cont.)
In addition to this feature, your tuner-amplifier provides an
additional equalization curve specially designed for playback of pre-
recorded tape from a tape deck. A
RIAA PHONO tape deck does not include play-
back preamplifiers and signal is fed
directly from the tape head to the
amplifier without additional ampli-
fication. If you have such a device,
connect it to the Tape Head input
on the back of the amplifier and
NAB TAPE move the Equalization switch on
the front panel to the NAB tape
position. This will switch the tape head input into the circuit and
simultaneously provide the proper tape equalization.
NOTE: In order to use the Equalization switch and to listen to either
records or tape (as played on a tape deck), the Input switch must
be in the Phono position.
(345 Series) As above except it is necessary only to turn the
Input switch to Tape Hd. position.
Selector (340, 380, 345 Series)
This versatile switch controls the mode of operation of your
music system. If you are primarily
interested in stereo program ma-
terial, the switch will usually be in
REV. STEREO the Stereo position. If you occasion-
ally play monophonic records or
other monophonic material, it is an
excellent idea to familiarize your-
self with the various positions of
this control. Starting in the ex-
treme counterclockwise position :
SELECTOR
STEREO
Bal L.— signals coming in on both left and right inputs are
combined in the amplifier and then sent out to the left speaker only.
Bal R.— signals coming in on both left and right inputs are
combined in the amplifier and then sent out to the right speaker only.
(These two positions are part of Scott’s patented balancing
network . . . an easy way to match the loudness of your right and
left speakers perfectly. Their use will be discussed in the section
on “Balancing The System.”)
Mono — If a stereophonic cartridge is being used to play mono-
phonic records, use this position. It automatically combines the out-
puts from the left and right channels of the cartridge into a single
monophonie signal. In the process of combining the two channels,
noise and rumble present in the original record, and noise caused by
vertical motion in your stereo cartridge is cancelled, resulting in much
cleaner reproduction of your mono records.
Stereo — This is the normal position for this switch and should
be used for listening to stereo program material of all types.
Stereo Reverse — Basically this is identical to the stereo position
except that it reverses the two channels. The Left input will now
be heard over the right hand speaker, and vice versa. This can be
used, for example, to move the violins from the left side to the
right . . . the drums from the right to the left . . . if you so desire.
L. Input — Any Left input signal will be fed through both
amplifier channels znd into both loudspeakers. This is useful if vou
have a monophonic cartridge or tuner connected to the left input
of the amplifier. By using this position you can hear this single
source over the full dual channel music system. La
R. Input — Any Right input signal will be fed through both
amplifier channels and into both loudspeaker systems.
13
Loudness (340, 380, 345 Series)
(040; 480, serles) (345 series) This control varies the volume
LOUDNESS of sound emanating from the music
: system. It is so designed that it will
vary both channels at the same
time. As the control is turned clock-
wise, the volume Increases.
For some music systems using
low output cartridges and ineffi-
cient loudspeakers it may be neces-
sary to turn the control to the far right for real loudness. With high
output cartridges and efficient speakers, the sound may become very
loud at low settings of the control. This is not unusual. The actual
position of the control is not critical as long as you obtain the range
of volume desired.
Compensation (340, 380, 345 Series)
It 1s a phenomenon of the human hearing mechanism that
LOUD when volume is low, -the ear is
: less sensitive to extreme low and
high notes. Thus, whenever the
system is being operated at a low
level, the sound will not seem to
be as wide range as it is at higher
levels. To compensate for this de-
- ficiency, your tuner-amplifier in-
VOL. corporates a special circuit which
automatically boosts the extreme lows and highs whenever the vol-
ume is reduced. To introduce this compensating network into the
system, move the slide switch to “Loud.” When the sound level is in-
creased, this compensation automatically decreases since it is no
longer rieeded. When the switch is in the “Vol.” position the compen-
sation network is inactive.
14
Balancing the System
Whether the system is being used stereophonically or mono-
phonically it is important that the sound from the two speaker
systems be of equal volume. They may differ because of room acous-
tics, differences in speaker efficiencies, differences in output between
the two channels of a stereo cartridge, speaker placement, discrep-
ee between the two channels in the original program material,
ete.
Scott’s patented stereo balancing system makes it easy to detect
and correct any differences in loudness between channels. First,
set the volume at full room level. It makes no difference what
program material you use to check balance. It can be stereo or
mono, FM or phono.
Then turn the Selector to Bal. L. Listen to the overall loudness
of the sound coming from the left speaker. Quickly turn to Bal. R.
The volume from the right speaker should be at the same level. Switch
back and forth quickly between these two positions to check your
findings. If the tuner/amplifier is not situated near your usual
SELECTOR listening area, have someone else
: turn the switch while you are in
ie the standard listening position.
weno] ris If the volume is the same at
BAL. R. L INPUT each position (Bal. R., Bal. L.) the
system is in balance. If it is not,
BAL. L R. INPUT
then it is out of balance and this
must be corrected by the following
simple methods:
(345 Series) — The Loudness control on your tuner/amplifier is
a clutched control. It is actually two separate controls, one for each
channel, locked together by friction. If one channel is louder than
the other it is easy to correct this problem. Firmly grasp the knob
that controls the channel that was louder in the balancing test. With
LOUDNESS
your other hand, rotate the knob
on the softer channel slightly clock-
wise. Re-check the balance by the
method described above. Repeat
the procedure until both channels
are equal. You can now use the
clutched control as a regular vol-
ume control. The loudness between
channels will be equal over a wide
range of rotation.
(340, 380, series) — The Balance control on your tuner/
amplifier is designed to correct for any differences in volume be-
tween channels. By rotating the control clockwise, the right channel
increases in volume in comparison to the left channel. Rotation coun-
terclockwise has the opposite effect. By moving the control to its
extreme position it is possible to eliminate one channel completely,
if desired.
To balance the level, rotate the Selector between Bal. L. and
Bal. R. rapidly, and vary the setting of the Balance until the sound
from both speakers is equally loud. Unless there are discrepancies
introduced by out-of-balance records or stereo broadcasts, the con-
trol should not have to be varied frequently.
BALANCE
| 0 1
2 2
3 3
4 4
L R
Tone Controls (340, 380, 345 Series)
The tone controls used in your amplifier are actually two separate
controls (one for each channel)
** held together by friction. When
vou turn the treble control, you
are changing the high frequencies
on both channels. If you desire to
| + modify one channel only, firmly
grasp the knob that affects the
* channel you do NOT want to
change. Then turn the other knob
as you wish.
These controls modify the sound to suit the user’s taste, the
room acoustics, and the program material being used. H. H. Scott
provides separate controls for each channel to permit you to adjust
for differences between speakers, and differences due to placement
of the speakers in the room. The Bass control modifies the low
frequencies while the Treble control modifies the high notes. Rotat-
ing the controls clockwise causes an increase in the amplitude of the
frequencies, while rotating counter-clockwise causes a reduction.
Feel free to use these controls as you see fit. You are the one
who must be satisfied with the over-all sound, and the tone controls
are the principal way of seeing that you are. However, boosting the
treble will accent surface noise on phonograph records and hiss on
tapes, while boosting the bass will emphasize record player motor
noise.
BASS TREBLE
о
Monospan (340, 380, 345 Series)
By having separate tone controls, Scott makes it possible for
you to simulate stereophonic sound on your older monophonic
records. Simply turn up the Treble control on the left speaker and
turn down the one for the right speaker. Then turn up the Bass
control for the right speaker and turn down the one for the left.
The amount of boost or cut is strictly a matter of taste. You will
find that the higher pitched instruments like violins and flutes
appear to be coming from the left speaker, while the deeper ones
15
such as drums and cellos appear to be on the right. This will add
to your enjoyment of monophonic material.
Tape Monitor (340, 380, 345 Series)
To listen to the playback of recorded tape, simply slide the tape
Monitor switch to the IN position.
In this position it automatically
bypasses the Input switch and per-
mits you to listen to tape only.
When you are finished with the
OUT
to the OUT position. Otherwise you
will be unable to hear any other
IN program material.
If your tape recorder incorporates a separate playback head
(with playback electronics) it is possible to listen to the recording
a fracton of a second after it is made as a quality check. Let us
assume that a recording is being made off-the-air. The Input switch
will be in the FM position. With the tape Monitor switch in the QUT
position, the system will be playing the actual broadcast. With the
switch moved to IN, the system will now be playing the tape record-
ing of the broadcast just after it has been recorded. By moving the
switch back and forth it is possible to hear whether the recording
is equivalent to-the actual broadcast.+
Scratch Filter (340, 345 Series)
QUT
If the surface noise of a phono-
graph record, or the hiss of the
tape recording, or the background
noise on a stereo multiplex broad-
cast becomes objectionable, the
Scratch filter is the answer. By
sliding the switch to the IN posi-
HN tion, most of the high frequency
*Only for recorders with separate record and playback heads.
16
tape, immediately return the switch:
noises will be sharply reduced. If you are listening to especially old
78 RPM records, it may be necessary to turn down the treble con-
trols, too. (380 Series)
The functions of the Scratch
filter and the AM Band switch have
been combined into one switch. Use
of the Band switch has the same
effect and should be used in the
same way as the Scratch filter de-
scribed above. Wide is the normal
setting. Distant has the same effect
as introducing the scratch filter.
WIDE
DISTANT
Rumble Filter
All mechanical devices generate some low frequency noises.
Even the finest turntable or tape recorder produces some undesir-
able sounds. Much of this noise is below the audible range (below
20 cps.) so you may not actually hear it. However, your tuner-
amplifier is capable of reproducing these objectionable noises and,
in doing so it may waste much of its usable power.
Scott engineers have designed a special low frequency sharp
cutoff. This circuitry attenuates sounds below the audible range,
insuring that your amplifier section will be able to devote all of its
power to the audible frequencies.
Rumble Filter (Switchable)
(340, 380, Series)
In addition to the standard
subsonic sharp cutoff described
above, a filter is available to
remove annoying low {frequency
sounds in the audible range. Gener-
IN ally these are caused by poorly de-
signed record changers or by turn-
tables in need of adjustment. Some phonograph records have rumble
OUT
recorded right into the grooves. Sliding the Rumble filter to the IN
position will greatly reduce these noises. However, some low fre-
quency music will be lost as well.
Speakers (340, 380, 345 Series)
This switch is designed to com-
plement the front panel Low Level
Output. When using headphones
you may wish to turn off the loud-
speakers to avoid feedback to a
microphone or disturbing others in
the room. By sliding the Speakers
switch to the OFF position, all
signals to the speakers will be
turned off without affecting the
signals to the Low Level Output
ON
OFF
jack. In the ON position both the Low Level Output jack and loud-
speakers will be operative. Center Channel outputs are not affected.
Phasing the Loudspeakers
A loudspeaker produces sound when the “cone” or diaphragm
“pushes” the air in such a manner that our ears detect sound. When
two loudspeakers are in operation in a stereo system, it is essential
that the cones move back and forth at the same time. If the right
* cone is moving forward at the same instant that the left cone is mov-
ing backward, there will be a noticeable reduction in bass response as
well as a poor stereophonic effect.
To be certain that your system is in phase at all times, the
following method is suggested:
(345 series) Tune to a monophonic broadcast with a male voice
speaking, or else, play a monophonic record with a male singing voice.
Turn the volume to full room level. Stand in front of the two speaker
systems and midway between them. Have someone quickly reverse
the leads to one speaker. In the correct position, the voice will
sound full and appear to be eoming from directly between the two
speakers. In the wrong position, the voice will lose some of its bass
response, and will appear to be coming from both speakers.
If a center channel speaker is used, the same procedure can be
emploved except that the Selector should be turned to Bal. L. The
lead to the center speaker is then reversed until the center and left
speakers are in phase. The only time it will be necessary to repeat
the phasing operation is if one of the speakers should be disconnected
for some reason.
(340, 380 series) — A phase-reverse switch will be found on the
back of the amplifier. Follow the
instructions above, except that in-
PHASE stead of reversing the leads to one
of the speakers you simply slide
any MEY: the phase switch instead. If the
switch turns out to be in the re-
| verse position when the system is
in phase, reverse the leads to one
of the speakers, and return the
switeh to normal.
TUNER SECTION
To listen to the Tuner section of your stereo Tuner-Amplifier,
turn the Input switch to any of the tuner positions.
zs AE 380 series) — The tuner indicator behind the dial will light
up to tell you that you are now set to receive broadcasts. The vari-
ous switch positions are described below.
Most of the front panel controls described in the previous sec-
tion on the Amplifier part of your complete unit are operative in
helping you get the most from the tuner part. For example, the
loudness, tone, scratch, rumble, ete. controls are all useful and you
should become familiar with them if you are not already.
TUNING IN AN FM STATION
FM is capable of providing wide frequency response, low distor-
tion, and a significant amount of noise rejection. However, to take
17
full advantage of these capabilities, it is essential that the station be
tuned exactly. To insure accurate tuning, Scott includes an accurate
indicating device on all its Tuner-Amplifiers.
Tuning Meter (340, 380 Series)
The precision tuning meter shows the strength of the incoming
signal. Turn the tuning dial slowly and stop when the pointer has
reached maximum. The meter reading will vary from station to
station depending on the amount
of signal present from the trans-
mitter. The reading .may even vary
from day to day on the same sta-
tion due to atmospheric conditions.
Just tune to the point where the
meter reads highest and you will be
set for best reception.
Occasionally you will note that the meter may swing violently
back and forth. This indicates that an airplane is passing nearby.
The swinging will stop once the plane has gone.
Tuning Eye (B45 Series)
TUNING INDICATOR
TE So.
The dark area in the center
of the tuning indicator will be
narrowest when the signal is
strongest. With some local FM
stations, this dark area may dis-
appear altogether. Turn the tuning
dial slowly and stop at the point
of strongest signal.
Using the Logging Scale (340, 380, 345 Series)
Your tuning dial lists the various station frequencies in mega-
cycles (i.e. 92, 96, 100, etc.) This is the standard method of locating
a station — by its carrier frequency. However, the extreme sensi-
tivity of your Scott tuner will permit you to receive many more
stations than you knew were possible. You may be able to listen to
a station at 96.3 megacycles and at 96.7. Using the conventional
18
part of your tuning dial, it will be difficult to tell which of these
stations you have tuned.
To eliminate this problem, Scott has incorporated a logging scale
on the dial as well. This divides the dial into an arbitrary series of
numbers from 0 to 100. If you keep a record of your favorite FM
stations by their logging numbers, you will not run into problems
of confusing one with another. For example, the station at 96.3
megacycles, will log in at 41. The station at 96.7 will log in at 42.
Simply tune the station by means of this logging scale and you will
avoid confusion.
Listening to an FM Stereo Broadcast
The development of FM multiplex broadcasting is one of the
great breakthroughs in home entertainment. Your new Scott stereo
tuner will provide the maximum in listening pleasure when used to
receive one of these remarkable broadcasts. First, you must locate a
stereo program. This can be done by referring to your newspaper
or to the FM station’s program booklet. A much easier way is to use
the convenient built-in stereo indicator.
(345 Series)
To locate and listen to a stereo broadcast, turn the Input switch
to FM. Tune across the dial slowly. When you tune to a stereo broad-
cast, the stereo indicator behind the front panel dial glass will light
up. Adjust the tuning knob for maximum closure of the tuning eye
and turn the Selector switch to stereo. (See “Tuning Eye”). Return
the Selector switch to “Mono” for monophonic broadcasts.
Scott Auto-Sensor Circuit (340, 380 Series)
The amazing auto-sensor actually switches your tuner to stereo
automatically when you are tuned to a station broadcasting in
multiplex. If the station returns to normal monophonic operation,
the tuner will automatically switch back to monophonic reception.
You never have to think about resetting the controls.
| od == =
INPUT To listen to a stereo broadcast
AUTOMATIC with the Auto-Sensor circuit, turn
— "мен the Input switch to Automatic
if ee Stereo: Tune across the dial slowly.
When you locate a stereo signal, the
pilot light behind the tuning dial
will flash on and the tuner will in-
stantly switch to stereo operation.
Listening to Regular FM Monophonic Broadcasts
(340 and 380 series)
The auto-sensor circuitry will instantly switch the tuner to
receive monophonic programs if no stereo multiplex signal is
present. It is not necessary to set the Input switch for FM mono.
Simply leave the switch in the Automatic Stereo position, unless
you want monophonic reception at all times.
You do not have to vary any settings on your stereo amplifier.
The tuner automatically provides a monophonic signal at both out-
puts. Therefore, even though the program is monophonic, you will
still hear sounds from both speakers without further adjustments.
If a particular station happens to be noisy, much of the material
provided in the Appendix will be useful here as well. In particular,
use of the Scratch filter.
(345 series) — When listening to an FM monophonic pro-
gram, turn the Selector switch to the Mono position for the most
satisfactory sound quality.
Listening to AM Broadcasts (380 Series)
Your tuner incorporates Scott’s famous wide-range AM cir-
cuitry which is capable of providing AM reception virtually in-
distinguishable from FM. Although AM is not as interference-free
as FM, there is no reason for the limited frequency response common
to most AM receivers. Scott has proven that a good strong AM
station with quality programming can provide enjoyable listening. It
is important to supply the tuner with an adequate signal. Re-read
the section on “Connecting an AM antenna.”
To listen to AM, rotate the Input switch to the AM position.
Monophonic AM will be heard over both speakers automatically
without readjusting your amplifier input setting. If you have a strong
signal, set the Band switch to
INPUT Wide. In this position, you will get
a the best frequency response, but
ва моно | а combined with a tendency to pick
oo up noise if the signal is not strong
PC em, AH
enough. With a noisy signal or with
a distant station subject to inter-
ference, slide the switch to Distant.
There will be an improvement in
noise rejection, with some restric-
tion in frequency response. The quality will still be far above a
common AM radio.
== EXTRA
APPENDIX
LISTENING TO FM WHEN SOME INTERFERENCE
IS PRESENT
A major advantage of FM is its ability to reject extraneous
signals that would cause static or noise over AM. FM Multiplex
stereo broadcasting is more susceptible to noise pickup than is
regular FM monophonic transmission. Nevertheless, your highly
sensitive Scott tuner will reduce potential problems to an absolute
minimum.
No tuner will make a poor transmission sound like a good one,
nor can it completely overcome the difficulties arising from an
inadequate antenna. Therefore, if you hear noise, distortion, or
static on a particular program, first make sure of the following:
1. The noise, distortion, or static may be on the record or tape
19
being played by the FM station. The wide frequency response of
your Scott tuner permits you to hear everything, both the good and
the bad. |
2. Check your antenna system. It may not be positioned prop-
erly for best reception. You may be picking up reflections from
buildings or hills which lead to multipath distortion (called ghosts
on TV). The cure is a better, more directional antenna. Re-read the
section on antennas near the beginning of this book. If you desire
more information on antennas, write to :he Technical Services De-
partment (see address on last page).
3. If the interference is present on FM Stereo but not on FM
(345 series) Mono, turn the Input switch to
Stereo, Subchannel Filter. This
INET filter does not affect the regular FM
di | rm carrier (see introduction on How
\ Multiplex Works). It only affects
fetes the subcarrier which tends to be
more prone to noise pickup. The
use of this switch position can dras-
tically reduce noise without affect-
ing the frequency response of the
main carrier. However, as the subcarrier transmits the stereo infor-
mation, use of the switch will cause a slight reduction in stereo
separation. ¿
ЕХТЯ А ===.
4. If the noise on stereo persists, return the Selector switch to
Stereo, and slide the Scratch (or Band) switch to the IN position.
This filter will reduce the frequency response of the main carrier
and therefore remove some of the high frequencies from the program
material. However, the noise level is usually significantly reduced.
This switch has no effect on stereo separation.
20
A FINAL WORD — If you have any questions concerning the
“operation of this instrument, a letter to the following address will
bring a prompt, personal reply.
TECHNICAL SERVICES DEPT.
H.H. SCOTT, INC.
111 POWERMILL ROAD
MAYNARD, MASS.
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