Electro-Voice Studio Pro 120 Owner's manual

Electro-Voice Studio Pro 120 Owner's manual
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The Studio Pro 120 Receiver which you have purchased is the result of years of research
and development on the part of University engineers, University Sound, for many years
involved in the development and manufacture of electronics and amplifiers for military
applications, ranging in power from a small one-Watt, one-transistor unit to giant 1800
Watt powerhouses, delayed the introduction of consumer electronics until developmental
work was gompleted which would assure University’s stepping into a position of leader-
ship in the field. Not content with the techniques and circuitry currently in use, University
embarked on a rigorous developmental program culminating in your Studio Pro 120 Receiver,
This all-new unit combines engineering features in a compact package advanced far
beyond current competitive models. Your Studio Pro 120 will maintain its position as
the outstanding unit in its field for many years to come. Using the first integrated circuits
truly designed for high fidelity applications, a MOSFET transistor front end, a new type of
Power Module plastic output transistor, specially devised and fool-proof Power Programmer
protective circuitry for the output stages, automatic FM stereo switching, and a host of
other new features, your Studio Pro 120 truly represents the state-of-the-art in receiver
The culmination of years of research and development, your Studio Pro 120 Receiver is,
however, merely embarking on a lifetime of reliable service to provide you and your family
with years of virtually unlimited musical enjoyment and pleasure.
AN IMPORTANT SUGGESTION. Many weeks of work on the part of our engineers and
technical writers have gone into making this instruction manual as complete and inform-
ative as possible. Thoroughly reading it will help you to get the best use out of your
unit, Realizing that you are eager to put your new receiver into operation, we have begun
this manual with an instruction and hookup section. We suggest that, with your equipment
before you, you read this section carefully as you hook up your unit. It will be time well
and profitably spent. We wish you many hours of happy listening!
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I RE TO LE] oa лао Inside Front Cover
CONNECTION GUIDE == a i a co te ras a A Page 2
Rear Panel Diagrasi Fig Ta a et ES Page 3
PERS Es ee == e Page 4
Control Locations and Functions Fig. 2 — —— ——Page 5
SNIE a ai o AAA e A e a wil Page 8
Multi-Speaker Hookups ia. Ea A A E Page 8
RIE ERI AS ce i i iin cs is i rms hil a Rs i mm Fe Page 8
Center Channel Connection Fig. 4 Раде 9
CUSTOM INSTALLATION. ______ a aaa Page 11
Mounting Template Fig. 5A
Side View Fi.858 8 =-—---"-—------- — On Separate Sheet
Top View Fig. 5C
CARE O TOUR RECEIVER ss Inside Rear Cover
Trouble Shooting Chart Fig. 6--—————— ——————— ———]nside Rear Cover
SCHEMATIC FIG. Tne eo eee a a On Separate Sheet
FE TS) UO Е ЕД Нас OL ея) Inside Rear Cover
Realizing that you are eager to hear your new Studio
Pro 120 in operation, we have prepared this opening sec-
tion to allow you to start utilizing your equipment as soon
as possible. We do suggest that you spend the few min-
utes necessary to read this opening section of this man-
ual quite thoroughly. A few extra minutes spent now in
installing your receiver correctly will avoid any needless
disappointment later on and will assure you of years of
trouble-free listening pleasure. To simplify the hook-up,
we have provided a Rear Panel Diagram (Figure 1) which
shows all the connections necessary to get your system
in operation in the least possible time. After completing
the installation as outlined in this section, you may pro-
ceed directly to the Operating Guide. We do recommend,
however, that you read the.éntire manual at your earliest
convenience to ensure that you derive the maximum pos-
sible performance flexibility and enjoyment from your re-
UNPACKING: After unpacking your receiver, examine
it carefully for indications of damage caused by shipping.
If, for example, the cabinet has been dented or parts bro-
ken, file a claim immediately with your carrier or dealer.
Save the damaged packing carton as evidence to support
your claim.
1. POWER REQUIREMENTS. Before you do anything
else, make certain that the electrical power in your home
is 60 Hz (cps) 110-120 Volts AC. If you are not sure
about the type of power in your home, consult your local
utilities company or dealer. Do not connect your receiver
power cord to an electrical outlet or turn on your receiver
2. LOCATION. Place your receiver on any convenient-
ly located shelf or table. The shelf should be deep en-
ough to permit at least two inches of space behind your
receiver chassis for ventilation and ease of cable con-
nections. Never place your receiver near radiators, heat-
ing ducts, or other sources of heat, Although your Studio
Pro 120 is quite cool in its own operation, excessive ex-
ternal heat can shorten the life span of a number of its
For enhanced decorative appearance, if it is not cus-
tom mounted, your receiver may be equipped with walnut
end panels. These panels are available, optionally, from
vour dealer. For information concerning installing your
receiver in your own custom cabinet or console, or in the
walnut end panels, refer to the Custom Installation sec-
tion of this manual. Do not attempt such installations
without first reading that section completely.
3. ANTENNA. Remove the FM dipole antenna from the
accessories envelope and unfold it, Connect the spade
lugs on its lead-in to the local terminals on the FM
antenna strip on the rear of the chassis if you are in
a strong signal area or to the distant terminals if your
are at an average distance from the main stations in
your area. Stretch the arms of the antenna horizontally
and fasten them to a wall or to the rear surface of
your cabinet or shelf or to any convenient non-metallic
surface. For more detailed information. on antennas,
refer to the Antenna section of this manual.
NOTE: Always turn the gain control all the way down
or turn the AC completely off when connecting or discon-
necting any cables from your Studio Pro 120. Failure to
do this may result in possible overload or damage to your
speakers, Under extremely adverse conditions, the
power protective circuitry will come into play and
cut off all power to the output stages of your receiver.
This will protect your receiver from damage, but it might
be too late to avoid overloading your speakers.
4. SPEAKERS. If you are using two speakers for con-
ventional stereo reproduction, place them along a wall
or on shelves facing your proposed listening position,
At first, place them five to ten feet apart, (This is just
a preliminary location; you may want to move the speak-
ers closer together or further apart later on as you be-
come familiar with the stereo effect in your home.)
If your speakers are less than 50 feet from your receiver,
ordinary 18 gauge 2-conductor lamp cord (SPT or “Zip”
cord) is recommended, If it is necessary to run your speak-
er leads under a rug, ordinary flat antenna twin lead is
suitable. If your speaker line run is more than 50 feet,
16 gauge or heavier wire will be needed to avoid power
losses, (The smaller the number, the heavier the wire.)
Cut the cables to the approximate desired lengths, leav-
ing enough slack to enable you to move the speakers later
on, for cleaning behind them, etc. Do not be afraid to use
5 or 10 feet more cable than you require. When you get
your speakers set into final position, you can always cut
off the excess cable, Strip about one-half inch of insu-
lation from the ends of each of the conductors of the
cables for connection purposes,
In order to make sure that your speaker phasing is cor-
rect, use either a color coded cable (one with one red
and one silver lead), a cable with a marker thread, or
some other method of determining polarity. SPT lamp cord
usually has a thin ridge molded into one of the conduc-
tors of the cord. This will help to obtain the proper speak-
er phasing.
One of the terminals on your left main speaker may be
coded COM, GND, C, G, or color coded with a black dot.
Connect this terminal to the common (-) terminal of your
receiver's left main speaker terminals as shown in
Figure 1. The other terminal on the speaker may be
marked with the speaker’s rated impedance (4, 8, or
16 ohms), a +, or a red dot. Connect this terminal to
the positive (+) terminal of the left main speaker ter-
minals. Connect the right main speaker to your re-
ceiver's right main speaker terminals in the same
manner. Compare both speaker connections with the
illustration, It is essential that they be connected
this way for proper phasing to avoid cancelling of the
bass tones. For further details on connecting addi-
tional speakers to your receiver, refer to the Speakers
section of this manual.
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5. RECORD PLAYER. To connect a record change:
or turntable to your Studio Pro 120, install it within 10
feet of your receiver to avoid high frequency cable cap-
acitance losses, using Figure 1 as a guide to the proper
connections. However, do not install it so close to your
receiver that the cartridge is within 8 inches of the pow-
er transformer of your unit, to avoid induced hum pickup
with some of the more lightly shielded cartridges. If your
record player has a separate ground wire, connect it
to the chassis ground binding post on the rear of your
receiver. Consult your stereo record player’s instruc-
tion manual to determine which of the player?’s shielded
cables is for the left channel and which is for the right
channel. Connect the cables to the appropriate stereo
phono input jacks on your receiver as shown. Connect
a mono-only changer cable to the left channel phono
input. Connect your record player’s power cord to a
standard wall outlet or to the switched 120 V. output
on the rear panel of your receiver, When your record
player is plugged into the 120 V. switched electri-
cal outlet on the rear of the Studio Pro 120, make
sure that you turn your record player off before turning
off your receiver. If this is not done, there is the possi-
bility that the receiver might be turned off while the re-
cord playing mechanism is still engaged. This could pos-
sibly lead to flat spots on the rubber idler wheel of your
record player, eventually causing annoying rumble and
thumps in the reproduction. The same precaution holds
true for a tape recorder,
6. FINAL CHECK. Recheck all connections made
to your receiver. Plug your receiver’s power cord into
a standard electrical wall outlet and proceed to the
next section--Operating Guide.
This section described your receiver's controls and
contains complete information on how to use them.
Please note that the controls are illustrated in Figure 2
and are listed in the order in which you would normally
_ operate them. Use the first four items as a handy step-
by-step.guide for the basic operations such as turning
on your receiver, selecting the desired program source,
etc, Once you have become familiar with these opera-
tions, you can experiment with the remaining controls
and adjust them to suit your personal taste and listen-
ing conditions. You will find in a very short time that
you will have mastered the complete operation of your
receiver, greatly increasing your listening pleasure,
the receiver on, turn the gain/ac off control clockwise
until 1t clicks, The tuning dial and tuning meter will
light to indicate that power has been applied to the
set. After you have selecled the program source, mode,
and speakers of vour choice (Items 2 through 4), turn
the volume control further clockwise to adjust the loud-
ness level of your speakers. To turn the receiver off,
turn this control completely counter-clockwise (to ac
off until it clicks. The lights in the tuning dial and
tuning meter will go out when the receiver is off.
2. INPUT SELECTOR SWITCH. Select the desired
program source with the input switch. Whatever source
you choose to listen to is also the source that 1s av-
ailable for tape recordings at the tape out jacks and
the L + R center channel jack on the rear of your re-
ceiver. Please refer to the Additional Components
section of this manual for further details about making
tape recordings from your receiver,
TAPE HEAD. Use this position to play pre-recorded
tapes on a tape transport containing no preamplifier or
other electronics. The tape head output of your trans-
port should be connected to your receiver’s tape head
jacks on the rear of the chassis. This position auto-
matically provides correct NAB equalization (tonal
correction or frequency compensation) for tapes played
at 7% ips (inches per second). However, you may also
play 3% ips tapes and adjust the bass and treble con-
trols (Item 6 of this section) for the most pleasing
sound. Please read the Additional Components section
before connecting a tape transport.
PHONO. This position plays phonograph records on
a record player or record changer connected to your
receiver's phono jacks on the back of the chassis. It
automatically provides the standard RIAA equalization
for modern stereo and mono recordings.
FM. This position connects the sensitive tuner sec-
tion of your receiver to the amplifier section and plays
it through your speakers. Your receiver will automatic-
ally switch from FM mono to FM stereo when a stereo
signal is being received by the tuner, Extremely weak
stereo broadcasts, from stations very far away and nor-
mally too noisy and too erratic for enjoyable stereo
listening, are automatically switched to monophonic
reception for less noise,
AUX. This position selects any auxiliary program
source connected to the AUX jacks on the rear of the
chassis. Please refer to the Additional Components
section of this manual before connecting any such
NOTE: You may have noticed that there are no pro-
visions on the input switch for selecting а сопуеп-
tional tape recorder, tape deck, or tape player using
playback electronics. Instead, we have incorporated
this feature into the tape mon switch, See [tem 12
3. SPEAKER SWITCH, To hear the selected program
as chosen by the input knob through your main speak-
ers (connected to the main speaker terminals on the
rear of your Studio Pro 120) set this rocker switch to
sp'k'r. To hear the same material through remote-ex-
tension speakers (connected to the remote speaker
terminals on the rear of your unit) set the rocker switch
to remote. If there are no extension speakers presently
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connected to your receiver, you may use the remote
posilion as a convenient means of shutting off your
main speakers when listening through stereo head-
phones or when you simply want to silence the system
momentarily without shutting olf your receiver or chang-
ing its volume control setting, for example when an-
swering a telephone call, For further information on
using remote speakers and headphones with your unit,
refer to the Additional Components section of this
4. STEREO/MONO SWITCH. This rocker switch con-
trols the choice of a stereophonic or monophonic sig-
nal being fed to your speakers. If it is placed in the
stereo position true stereophonic signals will be fed
to your two speakers, provided you have a stereophonic
source being fed through the unit. In the mono position,
the left channel input of the selected program or a
blended FM broadcast is.Ted equally to both amplifier
5. TUNING. Turn the tuning control knob (the large
knob to the right of the dial glass) until the dial point-
er indicates the frequency of the station of your choice.
The large scale, numbered from 88 to 108, is calibrated
in the actual broadcasting frequencies of the FCC au-
thorized FM stations in the 88 to 108 MHz FM broad-
cast band, while the small (logging) scale shows num-
bers ranging from 1 through 100 for tuning convenience,
Use whichever scale is more convenient for you, but
always tune for the center of the dial position on the
sensitive d’Arsonval movement tuning meter at the
left of the dial glass. This coincides with the optimum
reception point called “center of channel” for that
station, This is the only point at which you will ob-
tain clear, undistorted reception and, in the case of
FM stereo broadcasts, maximum audible stereo separa-
tion. When the tuning needle is centered in the small
rectangle in the center of the tuning meter faceplate,
you will know that your Studio Pro 120 is right on
Remember that your receiver will automatically
switch from mono to stereo when a stereo signal 15
being received. This will be indicated by the red MPX
light lighting up between the tuning meter and the dial
scale. However, remember that the MPX light will light
up and you will hear stereophonic music only when the
stereo/mono rocker switch is set in stereo position.
The MPX lamp should remain lighted as long as the
station that you are listening to keeps broadcasting in
stereo. If, however, you're listening to a low power
distant station, the lamp may start to blink on and off
indicating that the receiver is picking up signals that
are too weak to properly operate the sensitive multi-
plexing section of the receiver properly. If such is the
case, push the stereo/mono rocker switch to the mono
position. The blinking will stop and you can listen to
the broadcast monophonically, but with considerably
less noise,
will affect the tonal quality of the music to which you
are listening, Normally, these controls should be set
in the center position of their rotation. These positions
provide electrically flat frequency response, with less
than % dB variation from straight line frequency re-
sponse, Under normal conditions—especially with mod-
ern stereo recordings and FM multiplex broadcasts--
these settings should reproduce sound that is as close
as possible to the original live performance. Some-
times, the tonal quality may be altered at the record-
ing or broadcasting studio or in the home by the re-
sponse characteristics of different speakers, head-
phones, and listening rooms, In such cases, adjust the
tone controls for the sound that seems most natural
and pleasing to you. Remember that the controls for
bass and treble have been designed into the receiver
for your own personal enjoyment and use, The truly
“correct” setting of these controls is the position that
produces the most pleasing sound to your ears.
The concentric bass controls adjust the relative prom-
inence of the bass (low) notes in relation to the rest of
the musical spectrum. To emphasize the bass of both
channels simultaneously, turn the friction clutched
concentric bass controls clockwise to the right. To
de-emphasize the bass range, turn the controls counter-
clockwise, to the left.
Similarly, the treble controls in turn adjust the rel-
ative prominence of the treble (high) notes in relation
to the rest of the musical spectrum. To emphasize the
treble of both channels simultaneously, turn the fric-
tion clutched concentric treble controls clockwise to
the right. To de-emphasize the treble range, turn the
controls counter-clockwise to the left.
NOTE: Each of these controls has two parts; the
inner knob controls the right channel and the outer
knob controls the left channel. Normally, both parts
of each control turn as one unit as they are friction
clutched together. However, if you want to adjust the
tonal quality for each channel separately (as you might,
for instance, if you are using a different type of speak-
er in each channel or if one speaker is located in a
corner and the other is located in the center of a wall,
giving greater bass emphasis to the speaker in the
corner), hold one section of the appropriate knob while
turning the other until you achieve the effect that you
7. BALANCE CONTROL. Adjust the balance control
so that the volume levels from both speakers sound
about equally loud from your listening position, Ideally,
this should occur with the control set to its center po-
sition, However, differences in room layout, imbalances
in the program source, the speakers, or your listening
position may make it necessary-to turn the control ei-
ther clockwise (to increase the sound level on the right
channel and decrease the sound level on the left) or
counter-clockwise (to increase the left channel sound
level and decrease the sound level on the right). At
the extreme settings for this control, only one speaker
or the other will be heard, Be sure to adjust the bal-
ance control from your listening position or have some-
one else do il while you judge the results from your
listening position to obtain best results.
8. LOUDNESS SWITCH. The loud switch is meant
primarily for use at low volume levels where the hu-
man ear does not respond to the extremely low bass
tones as well as it does at normal high levels (the
Fletcher-Munson effect), This will result in a some-
what thin sound quality. Pushing in the top half of the
loud rocker switch automatically emphasizes the bass
by a pre-determined amount at low volumes, thus re-
storing apparent normal balance. This emphasis varies
proportionally with the setting of the gain control, with
more emphasis being applied as the gain control is
turned down and less emphasis being supplied as the
gain control is turned up.
9. MUTE SWITCH. Keep this switch “on” to elimi-
nate the hiss and static, that would normally be heard
between FM stations when tuning. The ““on”* position is
determined by pushing in the top portion of the switch.
Extremely weak stations are also muted when this
switch is activated. However, these broadcasts are
difficult to tune in, almost impossible to listen to in
stereo, and do not provide the static-free reception
that is possible only with stronger signals, so there
is no great loss. On some of the stronger distant sta-
tions, a slight improvement in quality may be noted if
the mute switch is turned off after the station is tuned
10. HIGH FILTER. The HF filter reduces annoy-
ing high frequency noise (suchas scratch and hiss)
on records, tapes, FM broadcasts, and other program
sources, without appreciably reducing the crispness
of the treble range. It may also be used to reduce noise
on FM stereo broadcasts from weaker stations, Depres-
sing the lower (in) half of the HF switch brings this
filter into operation.
11. LOW FILTER. The LF filter reduces annoying
low frequency noise such as turntable rumble. Gen-
erally, this low frequency rumble is caused by poorly
designed record changers or by turntables in need of
adjustment, Some phonograph records have rumble re-
corded right into the grooves due to the condition known
as mold grain. Depressing the lower (in) half of the
LF switch will greatly reduce these low frequency
12. TAPE MONITOR. To listen to the playback of a
pre-recorded tape from a tape recorder or tape deck
with built-in preamplifiers that has been connected as
described in the Additional Components section of
this manual, simply depress the lower (in) half of the
tape mon switch. In this position it automatically by-
passes the input switch and permits vou to listen to
tape only. When you are finished with the tape, imme-
diately return the switch to the “out?” position, de-
pressing the upper half of the rocker switch. Other-
wise, you will be unable to hear any other program
material. If your tape recorder incorporates a separate
playback head (with playback electronics), it is pos-
sible to listen to a recording that you're making a {rac-
tion of a second after it is made, as a quality check.
Let us assume that a recording is being made off the
air from an FM program or from a record. The input
switch will either be in the FM or phono position. With
the tape mon switch in the “in” position, the system
will now be playing the tape recording of the broad-
cast just after it has been recorded. By moving the
tape mon switch back and forth, it is possible to hear
whether the recording is equivalent to the actual broad-
cast. Remember, this is only possible with recorders
that are equipped with separate record and playback
heads and playback electronics,
13. MULTIPLEX FILTER. Many stereo FM stations
have been authorized by the FCC to broadcast back-
ground music to stores and businesses on a subcarrier
of their main frequency. Occasionally, due to impro-
perly adjusted equipment at the FM transmitter, local
reception conditions, etc., this 67 kHz store-casting
sub-channel may beat against the main frequency spec-
trum in a process known as heterodyning. This may
give rise to high frequency distortion or strange whist-
lings and beepings at extreme high frequencies, all at
a very low level, If environmental and reception con-
ditions are such in your area that such a store-casting
sub-carrier is affecting your stercophonic FM reception
in this way, simply depress the lower half of the MP X
filter. Turning on this switch inserts a special filter
network into the multiplex section of your receiver,
completely eliminating the store-casting sub-carrier
and eliminating any possible store-castinginterference.
The MPX filter does have the effect of slightly re-
ducing the stereo separation at the very high frequenc-
ies, so the MPX filter is normally left in the “aut”
position, with the upper half of the rocker switch de-
pressed, unless needed. However, you can leave this
filter in at all times with no fear of audibly degrading
the performance of your Studio Pro 120.
14. MULTIPLEX LIGHT. The red MPX light between
the tuning meter and the dial scale normally will light
up only when a stereo signal is being broadcast by an
FM station.
If the MPX light starts blinking while tuned to an
FM station, with the tuning needle in the center of the
small rectangle, this means that the signal that you
are receiving is too weak to fully operate the sensi-
tive multiplexing circuitry in your Studio Pro 120 and
that you should depress the mono portion of your
stereo/mono rocker switch, as explained in Section 5,
NOTE: The rocker switches have been designed so
that the normal operating position of all switches is
with the top hall depressed. This provides a means of
making a quick visual check of all these controls by
observing if these switches present a uniform appear-
A I но
Your Studio Pro 120 receiver is raled at a maximum
usable output of 120 watts, IHF standard, at 4 ohms, At
8 ohms, this figure is somewhat -less. Because of the
efficiency factors of modern speakers, the characteris-
tics of recorded music, and the listening levels normally
encountered in the home, any speaker witha 20 watt power
handling capacity or greater and an impedance of 4 to
16 ohms is acceptable for use with your Studio Pro 120.
Naturally, with speakers of low power handling capacity,
it is recommended that no attempt be made to drive the
speakers with the full output of your receiver. Such an
attempt could quite possibly permanently damage your
University Sound speakers and speaker systems
are carefully designed and engineered to be compatible
with today’s modern transistorized equipment such as
your Studio Pro 120. You may safely use any University
speaker or speaker system with your Studio Pro 120 with-
out the slightest fear of a mismatch between your speak-
ers and your receiver and with the guarantee of achiev-
ing the highest possible audible performance that your
high fidelity system is capable of delivering.
stances should an impedance of less than 4 ohms be con-
nected to the speaker terminals of your Studio Pro 120.
An impedance of less than 4 ohms will cause the
circuit breakers leading to the output stages to open
intermittently, leading to possible permanent damage
to your receiver,
Combinations of 4, 8, and 16 ohm speakers can be con-
nected as shown in the speaker connection diagrams of
Figure 3. Any other combinations than those shown are
not recommended.
IFECEEEEN [a | hen |
80 =
— 4 N Load
16 0 |
1605 |
— 5% N Load
— 4 (} Load
Soba de
Left Channel Right Channel
1-40, or ADDITIONAL 1-410, or
Т ог 2 - 8 0, ог Т ог 2 - 8 ©), or
1, 2, Зог 4-16 0 SPEAKERS — 1,2, Зог 4 - 16 О
Figure 3: Multi-Speaker Hookups
Good FM stereo. reception depends not only on your
receiver’s ability, but also on the quality and strength
of the signal that is being fed into it. Optimum per-
formance is assured only when your antenna system
is adequate for the signal conditions in your area,
An FM dipole antenna is supplied with your Studio Pro
120 receiver. The two short arms of the T-shaped anten-
na should be mounted horizontally at the back of your
cabinet or shelf, away from any electrical power wiring
and large metallic objects. The connecting spade lugs
on the long leg of the T should be attached to the cor-
rect FM antenna terminals on the rear of the chassis.
The dipole should be fully opened and positioned to give
the clearest audible signal. If you are located in a city,
the dipole antenna should be connected to the right and
center terminals of the antenna strip, marked local. If
you are in a fringe area, connecting the antenna to
the left and center terminals, marked distant, will sig-
nificantly improve the reception.
The dipole may have to be shifted slightly when try-
ing to receive stations at different directions from the
listener. A compromise position 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 sig-
nal strength will be, If you wish to place the dipole fur-
ther away than its present lead length permits, your dealer
can supply additional lengths of 300 ohm antenna twin
lead wire to connect the dipole and the antenna terminals,
When tacking down the antenna or lead-in, be careful that
the tacks do not cut through the conductors in the edge
of the antenna wire, and also that the tack head or staple
does not cause a short from one conductor to the other.
Because the signal is normally stronger near an out-
side window, it is sometimes advisable to position the
antenna near such a window, extending the length
of the lead-in by means of 300 ohm twin lead antenna
wire, The dipole packed with your University receiver
will prove to be fully effective under most normal
reception conditions. In strong signal areas, such as
near an FM station and in a city where distortion may
be caused by signal reflection from other buildings,
towers, or hills, it is advisable to use an adjustable
directional indoor antenna. (Such signal reflection
is termed multipath distortion and is similiar to the
ghosts which sometimes mar television reception.) Spe-
cial rabbit ear or telescoping dipole antennas are usual-
ly available in areas where such reception problems oc-
cur, As is the case when such an antenna is used with
a TV set, the multipath ghosts and distortion can usually
be audibly eliminated by careful orientation of the anten-
na and adjustment of the length of the 2 dipole arms.
If you already have an outdoor VHF television antenna,
(Channels 2-13), it may also be suitable for FM reception,
Connect it temporarily to the appropriate terminals of
your receiver, If the results are satisfactory, obtain a 2-
set antenna coupler from your dealer or a TV parts sup-
ply house so that both your receiver and the television
set can be operated [rom the same antenna with no im-
pedance matching problems.
In weak signal fringe areas, an outdoor antenna is al-
most a necessity, especially for the optimum reception
of stereo broadcasts. Although an omnidirectional anten-
na may be satisfactory, directional antenna arrays are
usually advisable. The log-periodic type has broad band
pickup and more uniform gain of all stations, as well as
good multipath and off-axis signal rejection and is recom-
mended. In localities where FM broadcasts come from
several different directions or where multipath distortion
is particularly severe, a remotely controlled antenna ro-
tator is a useful and recommended accessory. When an
outdoor I'M antenna is used, it is usually connected to
the receiver by a standard 300 ohm twin lead antenna wire,
Your Studio Pro 120 is equipped with special noise
suppression circuitry to eliminate most outside electr-
ical interference. Sometimes, however, in areas of ex-
tremely high electrical noise, such as those located near
a busy highway, an industrial area, or in an apartment
house, it may be necessary Lo use a shielded lead-in ca-
ble to prevent interference caused by ignition systems
or electrical machinery, such as elevators, Coaxial cable
of 72 ohm impedance may be used. This type of cable
necessitates the use of impedance matching transformers
(baluns) both at the antenna and at the input of your re-
ceiver. Shielded 300 ohm twin lead antenna wire is also
available from major electronic parts dealers and can al-
so be used wherever electrical interference noise becomes
a problem. The two signal conductors of such cable are
connected to the distant terminals in the usual manner,
and the shield is attached to the chassis ground used
for grounding the record player,
installations where the spacing between the two main
speakers is very large, it is sometimes advisable to
use a center channel speaker to fill in the “hole in
the middle” that sometimes results. The best way to
do this is to use the center channel L + R output jack
on the rear of your Studio Pro 120 receiver chassis.
The use of this center channel output requires an aux-
iliary amplifier.
Connect a shielded audio cable from the L + K out-
put jack on the rear of your Studio Pro 120 receiver to
the input of a separate power amplifier. Use the high
level input on the second amplifier, such as the tuner,
extra, aux, etc. The center channel is not controlled by
the front panel controls of your receiver, which requires
that the auxiliary amplifier have a volume or level con-
trol to be able to obtain the proper balance. When us-
ing your center channel to fill in a hole in the stereo
spread of sound, adjust the level control on your aux-
iliary amplifier so that the center channel’s sound is
equal to or somewhat lower in volume than the left and
right stereophonic speakers. This will give you your
most realistic curtain of sound. It is essential that the
center channel speaker be in phase with the right and
left channel speakers for proper operation,
An alternate possibility is to use a derived center
channel speaker which is wired directly to your main
speaker output taps and does not require a separate am-
plifier. This center channel speaker receives the sum
of the signals being fed to both the right and left chan-
nels and should be connected as shown in Figure 4,
When using this hookup, the total power available from
from the amplifier will be somewhat less than its rated
power but this is of little consequence at the listening
levels normally found in the home. This method has
the virtue that the level of the center speaker is con-
trolled by the gain control of your receiver and it is
not necessary to adjust any second amplifier level,
| | Г f |
+ - + = + =
Fig. 4 Center Channel Connection
RECORD PLAYER, Your Studio Pro 120 receiver is
designed for use with a record player or turntable using
a magnetic cartridge, The use of a ceramic cartridge is
also permissible, providing proper adaptors are used.
Your record plaver should not be mounted on your
speakers so that acoustic feedback (howling or squeal-
ing or extreme garbling of the low notes) results. If
your turntable is mounted in a cabinet that has integral
speaker enclosures, make certain that vou follow your
record player manufacturer’s recommendations con-
cerning shock mounting.
ERS AND TRANSPORTS. Your Studio Pro 120 receiver
contains complete facilities for making and playing
back both stereophonic and monophonic tape record-
ings, Depending on your connections and control sat-
tings, it 1s possible to make tape recordings of FM
broadcasts, phonograph records, auxiliary sources,
even other tape recordings.
A Tape Recorder is a complete self-contained re-
cording and playback device. It has the recording am-
plifiers necessary for making tape recordings direct
from the tape out jacks on the rear chassis of your
receiver. It also has its own playback amplifiers and
speakers, but in most cases can also be connected to
the tape in jacks on the rear of your receiver for im-
proved fidelity using your receiver's amplifier and
your main system speakers,
A tape deck contains recording amplifiers and play-
back pre-amplifiers only. Like a complete tape recorder
in the above paragraph, it can make tape recordings di-
rectly from the tape out jacks on the rear of the chassis.
However, unlike a tape recorder which has its own
speakers, it must be connected to the tape in jacks on
the rear of your receiver in order to play back the tapes.
Tape Players and Tape Transports are designed
for playing back pre-recorded tapes, either commer-
cially made or made on another tape machine. The
tape player usually has self-contained playback. pre-
amplifiers that should be connected to the tape in jacks
on the rear of your receiver for playback. A tape trans-
port, on the other hand, contains no electronics. As its
name implies, it is merely designed to transport the pre-
recorded tape in front of the playback heads of the ma-
chine. Since it contains no electronic amplification of
its own, it must be connected to the tape head inputs
of your receiver to obtain the extra amplification neces-
sary to produce audible playback levels.
tape recordings and play them, as well as pre-recorded
tapes, back through your receiver, the following inter-
connections should be made. If your tape recorder or
tape deck is equipped to make stereo recordings, connect
your Studio Pro 120 tape out jacks to your tape unit’s
left and right channel high level inputs. These inputs
will be marked high level, line input, phono, etc. The
left tape out jack should be connected to the left chan-
nel, (Channel A or Channel 1), high level input on your
tape recorder. If your tape recorder is equipped to make
monophonic tape recordings only, connect the L + R
jack on the rear of your receiver chassis to the tape
unit’s single high level input. In any case, do not
connect your receiver to any input on your tape re-
corder marked mic., microphone, radio, etc, These are
low level inputs and the impedance mismatch between
the tape recorder input and the receiver output will be
such as to make poor or no recordings at all.
If your tape unit is stereophonic, connect its left and
right channel outputs to your receiver's left and right
channel tape in jacks on the rear of the receiver's chassis,
The tape recorder’s left channel, (Channel A or Channel
1), output should be connected to the left channel tope
in jack on the receiver and your tape recorder's right
channel output, (Channel B or Channel 2), should be
connected to the right channel tape in jack on your re-
ceiver. The outputs on your tape recorder may be marked
line output, monitor, cathode follower, external ampli-
fier, etc. If your tape recorder is monophonic only, con-
nect its single output to the left tape in jack on your
receiver only.
To make tape recordings, choose the desired program
source with your receiver's input switch. This can be
an FM mono or stereo broadcast, phonograph record,
any auxiliary source, or any tape playback unit that is
plugged into the tape head input on the rear of your re-
ceiver. Whatever source your input switch is set to is
the source that will be recorded. The gain control,
bass and treble controls, etc., on your receiver will
only affect the sound that you hear through your speak-
ers. They will have no effect on the tape recording.
When the proper connections have been made and
the input switch set correctly, follow the instruction
manual included with your tape recorder and make a
trial recording to adjust the level. Use the tape re-
corder's volume or level controls to obtain a satis-
factory recording level indication, Remember, the gain
control on your receiver will have no effect on the level
being recorded by your tape recorder. Only your tape
recorder's level control will affect the recording as it
is being made.
To play back tape recordings through the receiver
using the connections described above, set the ster-
eo/mono switch to stereo if you are playing back a
stereo tape recording and to mono if you are playing
back a mono recording. Depress the tape mon switch
to the “‘in’’ position. This will bypass the input sel-
ector switch on your receiver and bring the output of
your tape recorder directly into your receiver. All other
applicable receiver controls may be adjusted normally
to suit your listening preferences,
Playing back recorded tapes through the tape mon
circuit of your receiver is only possible with those tape
recorders or tape decks that have true tape monitor fa-
cilities (separate record and playback amplifiers and
heads). Do not attempt to use this facility with any
tape unit that does not have this feature,
While tape recording with a tape recorder that has the
facilities for tape monitoring and is connected correctly
as described in the beginning of this section,it is pos-
sible to switch back and forth between the source that
you are recording and the recording that you are mak-
ing, as a quality check on the recording as you are
making it. To do this, simply switch the tape mon
switch in and out. When the tape mon switch is ‘‘out’*,
vou will hear the source that is being recorded, When
the tape monitor switch is “in”, you will hear the very
same material, a fraction of a second later, as it sounds
on the tape. Such monitor switching will not affect or
interrupt the recording process in any way,
back pre-recorded tapes from a tape player equipped
with playback electronics, proceed as follows:
If your tape player is stereophonic, connect its left
channel (Channel A or Channel 1) and right chañnel
(Channel B or Channel 2) outputs to your receiver's
left and right channel tape in jacks, respectively. These
outputs on your tape recorder will be marked line out-
put, cathode follower, external amplifier, etc. If your
tape player is monophonic, connect its single output
to your receiver's left channel tape in jack only,
With a stereo tape playback unit, set your receiver's
stereo/mono switch to the stereo position. With a mono-
phonic tape playback unit, set the stereo/mono switch
to mono. To hear the pre-recorded tape, switch the
tape mon switch to the “in” position. All applicable
receiver controls can still be operated to adjust the
sound to your own personal preferences.
To play back pre-recorded tapes from a tape trans-
port without playback electronics, proceed as follows:
If your tape transport is stereophonic, connect its
left channel (Channel A or Channel 1) output to the
left channel tape head jack of your receiver and the
tape transport’s right channel (Channel B or Channel
2) output to the right channel tape head jack of your
receiver, If your tape transport is monophonic, connect
its output to the left channel tape head jack only.
Set your Studio Pro 120 input switch to tape head.
If your transport and tape are stereophonic, set your
stereo/mono switch to stereo. If either the transport or
the tape is monophonic, set the stereo/mono switch to
mono. Follow the directions in the transport’s instruc-
tion manual to play a tape and adjust your receiver’s
gain control to a comfortable listening level. All other
applicable receiver controls can be adjusted in the us-
val manner to suit your personal tastes and listening
receiver contains the inherent versatility to provide
0: with the control center of a complete home enter-
ainment system. You may take advantage of this ver-
satility by connecting an additional high level stereo
or mono program source to the aux jacks on the rear of
your receiver chassis.
To connect an auxiliary Source to your receiver, pro-
ceed as follows:
1. If the auxiliary source is stereophonic, connect its
left channel and right channel outputs to the receiver's
left and right channel aux inputs jacks, respectively.
If the auxiliary source is monophonic only, connect its
single output to the receiver’s left channel aux jack.
2. Set your receiver’s input switch to aux. If the aux-
iliary source is stereophonic, set the stereo/mono
switch to stereo. If the auxiliary source is monophonic,
set this switch to mono. With your Studio Pro 120 gain
control at a fairly low level, turn on the auxiliary source
and play program material over it. Adjust the Studio
Pro 120 gain control for a comfortable listening level.
3. If the external source has a volume or level con-
trol that will affect the aux volume as heard through
your Studio Pro 120 receiver, adjust it to equalize the
volume levels with that of your Studio Pro 120's normal
controls, You can do this by simply switching your re-
ceiver's input switch back and forth between aux and
FM and listening tc the relative volume levels of the
two program sources, Adjust the level control of the
auxiliary source until the levels of the FM section of
the receiver andthe auxiliary source are approximately
equal when played over your Studio Pro 120.
NOTE: If your auxiliary source is an AC/DC or “‘trans-
formerless’ device, have your University dealer or
service technician make the necessary provisions to
prevent shock or hum caused by a “*hot”* (electrically
unisolated) chassis. Do not connect any auxiliary de-
vice to your receiver if you are in any doubt whatso-
ever about the safety characteristics of the device,
HEADPHONES. For private listening to your Studio
Pro 120 receiver, high quality, low to medium imped-
ance stereo headphones may be plugged into the phone
jack on the front of your receiver, The phone jack op-
erates from all input sources. Nearly all commercially
available stereo headphones are equipped with the pro-
per type of plug to fit this jack.
Do not leave your headphones plugged in when play-
ing your main or remote speakers at high volume levels
when not listening to the headphones. Headphones are
low level devices and the power levels that your re-
ceiver produces at high audio volume levels can per-
manently damage them.
vailable optionally from your University dealer are two
oiled walnut end caps that may be installed on your re-
ceiver at any time, should you desire to position the re-
ceiver on a bookshell or out in the open. Installation of
these end panels is extremely simple. You will notice
that the chassis and case of your receiver is equipped,
on the ends, with keyhole shaped slots. The positioning
of these slots corresponds with the location of screws
in the oiled walnut end caps. Line up the screws in the
end caps with the holes in the ends of the chassis. You
e note that there is a vertical slot cut out in each of
«che end caps. The front mounting plate of your Studio
Pro 120 receiver fits into these slots, so that there is
only one correct way for each end cap to fit onto the re-
ceiver, Insert the screw heads on the end caps into the
the holes on the chassis and slide the end caps to the
rear of the chassis. The beveled head of the screws in
the end caps will fit into the slotted portion of the key-
hole shaped slots in the chassis, automatically tighten=
ing the end caps into position. To remove the end caps,
simply slide them forward and pull them straight out when
the screw heads clear the slots,
CABINET INSTALLATION: For either vertical orhor-
1zontal mounting in a custom cabinet, it will be necessary
for you to remove the chassis cover and the feet on the
bottom of the unit. The feet can be removed simply by
unscrewing them. It is suggested that you save the feet,
in case you decide to remove your receiver fromthe cab-
inet and place it on an open shelf or table at some later
me Rai ai al
date. These feet must be reinstalled in such a case. The
chassis cover may easily be removed by unscrewing the
six self-tapping metal screws that hold it in place, three
on either end of the chassis. It is suggested that these
screws be retained for later use, in the same manner
as the feet that you have just removed. |
Your Studio Pro 120 receiver has been specially de-
signed to be exceptionally cool running in operation.
However, heat, per se, is the greatest enemy of elec-
tronic equipment. Heat from a nearby high fidelity
component, hot air duct, or radiator, could be great
enough to degrade the performance of your receiver,
or cause premature component failure. For this reason
it is essential that your receiver or custom cabinet
should not be placed near a source of heat. To permit
ventilation of the Power Module output transistors,
allow at least two inches of space between the rear of
the receiver and the nearest wall or cabinet side, If
another heat producing component, such as a television
set, is installed in the same cabinet as your Studio
Pro 120 receiver, mount it beside or above your re-
ceiver. Never mount any heat producing component
below youf Studio Pro 120 receiver.
INSTALLATION: Figures 5a through 5c provide front,
side, and top views of the requirements for both horizon-
tal and vertical installation of your Studio Pro 120. We
suggest that you study them carefully so that you geta
clear idea of the general requirements of the installation.
Notice that we have indicated no method of attaching the
mounting board to the custom cabinet. This installation
is left up to the discretion of the installer. We would sug-
gest the use of wooden cleats, angle iron braces, shelf
brackets, or some similar means of fastening the mount-
ing board to the main body of the cabinet. Notice that
the mounting board is installed flush with the edge of
the cut-out made in the front or top of the cabinet. This
is so that the bottom of the receiver chassis will slide
in the mounting cut-out and rest firmly on the mounting
The mounting board should be constructed ot Y-inch
plywood. Drill the indicated holes with precision, as
these line up with the holes in the bottom of the chassis
of your receiver into which the receiver feet were orig-
inally fastened. Number 6, 5/8-inch, self-tapping metal
screws and washers, supplied in your accessory bag, are
fitted through the holes in the mounting board and into
the holes in the bottom of the chassis, anchoring the chas-
sis down and keeping it from shifting. These screws are
designed for use with a 14-inch mounting board only. If a
thicker board is used, longer screws will have to be pro-
cured. If a thinner board is used, additional washers will
be needed to shim up the screws so that no more than !4-
inch of the screws project into your receiver chassis. If
more than !Y%-inch of any screw projects into the chassis,
you stand the chance of shorting out components and
voiding your warranty.
The general plan of installation is as follows:
1--Using the template supplied, saw a cut-out through
the front or top panel of your custom cabinet to the di-
mensions shown in the dotted lines of Figure 5a.
2--Referring to the top view of the custom installation,
Figure 5c, cut out a mounting board of ¥%-inch wood to at
least the size indicated and drill four Y-inch holes at
the positions indicated on the mounting board.
3--Fasten the mounting board to the rear of the front
or top panel of your custom cabinet, making certain that
the top of the mounting board is flush with the bottom
edge of the cut-out in the front panel.
4--Make sure that the feet and top cover have been re-
moved from your receiver, Slide the receiver chassis into
the custom cabinet cut-out until the receiver's front panel
is tight against the cabinet’s front panel and is hiding
the rough edges of the cut-out. Adjust the position of
the receiver, shimming it up with washers if necessary,
until all rough edges of the cut-out are hidden,
5--The four mounting holes in the mounting board have
deliberately been drilled slightly oversize to give you
necessary clearance to adjust the position of your re-
ceiver to cover the rough edges of your mounting board
cut-out. Insert the four Number 6 machine screws into the
holes on the underside of the mounting shelf, using the
four washers to prevent the screws from slipping through
the holes in the mounting board. Tighten down the re-
ceiver chassis into place by means of these screws,
If another heat preducing component is installed in the
same cabinet as your Studio Pro 120, and you're using
a cooling fan, make certain that the fan is oriented so
that it blows coolair over the receiver chassis and does
not draw the hot air from the heat producing component
towards the chassis of your Studio Pro 120. This fan must
be connected to the switched outlet on the rear panel of
your receiver, or better still, connected to a switched
outlet on the heat producing component in your cabinet
if possible. In any case, the fan must be connected to a
switched outlet so that the fan will go on when your re-
ceiver or other component is switched on, If the fan has
has its own power switch, make sure that it is perman-
ently switched on.
Your Studio Pro 120 receiver is designed to be mount=
ed vertically by hanging it from its front panel. The mount-
ing board shown in Figures 5 through 5с (on a separate
sheet) supplies some strain relief to the front panel of
vour receiver, but is mainly designed to keep the receiver
from shifting once it is mounted in your custom cabinet.
The front plate is not strong enough to allow the unit to
be shipped with the receiver hanging in the vertical po-
sition. Shipping a custom cabinet requires either a strong
and sturdily fastened mounting board be used or that the
receiver be taken out of the cabinet and shipped separately,
CLEANING YOUR UNIT. The brushed pold finish
on your receiver will retain its color and brilliance
permanently. However, it is possible over a period of
time, particularly in city environments, that a film from
atmospheric contamination may dull the gold surfaces.
0: such happens, a clean, soft, freshly laundered cloth
dampened with plain lukewarm water will wipe it clean
and regain the new look it had when it was purchased.
Do not use any household cleaning agents, any liquid
cleaner, any abrasive cleaners, or any cloth that has
been used to apply such cleaning agents, The same
procedure holds true for cleaning the front of the dial
These lamps are long-life devices that are conserva-
tively rated for 10,000 hours of use and should not re-
quire replacement during the normal lifetime of your
receiver. However, in the rare event that these lamps
should require replacing, donot attempt to replace them
yourself. They are not customer serviceable. Have your
dealer or a qualified technician service these lamps.
of your Studio Pro 120 receiver are constructed of fur-
niture-grade walnut veneers over a hardwood or flake-
core center, Simple dusting will keep them in excellent
condition. Like all oiled walnut finishes, the end caps
should not be treated with spray wax or any other type
of wax polishing agent, However, should refinishing
become desirable, they should be retreated with lemon
oil or any of the commercially available oiled walnut
oil treatments available from your high fidelity dealer
or furniture store, These end caps should be removed
from the chassis for re-oiling. Remove them according
to the instructions given in the Custom Installation
section of this manual, Apply the oil treatment as rec-
ommended on the bottle instructions.
SYMPTOM Possible Causes & Solutions
Power cord has accidentally become
detached from the wall socket. Check
all AC connections, If the unit is
plugged in and still does not light
up, turn power off and refer to a qual-
ified serviceman,
No sound but dial is The SPEAKER/REMOTE switch 15
lighted in the REMOTE position, (Make sure
a that the SPEAKER/REMOTE switch
No sound 4 dial is not
is in SPEAKER position). The TAPE
MON switch has accidentally been
thrown in. (Be sure that the TAPE
1 MON switch 15 off).
Intermittant Sound Speaker leads are shorted, Shut unit
off and check connections. If still
intermittant, refer to qualified service-
The FM antenna has become dis-
connected. Reinstall the antenna,
Recelver operates in
PHONO or TAPE modes
only; no FM reception
Distorted sound on FM
Hum or buzz on PHONO
Dial pointer does not
accurately log the station
Possible Causes £ Solutions
If changing the position of the anten-
na results in a change in the souna, a
better antenna system is called for.
FM multipath reception might be sus-
pected. See your local dealer for sug-
The PHONO cables are not connected
properly, Check for loose shield con-
nections or lack of pheno chassis
ground wire. Move the tone arm on
its pivot, If the hum changes, the pho-
no cartridge 1s not properly shielded
or should be moved further away from
the receiver power transformer,
The dial pointer may easily be moved
in either direction by holding the cable
and adjusting the pointer to correct
for minor logging errors with the case
UNIVERSITY ' SOUND euaranteces that all high
fidelity electronics products are thoroughly in-
spected and tested in strict quality control pro-
ecdures at the factory prior to packaging and
shipment. UNIVERSITY SOUND high fidelity
electronic products and components are guar-
anlecd lo be free of all defects in material ¿nd
workmanship fexccpl where «specifically noted
and, also, with ihe exception of wood cabinelry
and housings! for a period af two years {rom
the date of sale to (he original using purchaser,
providing that a fully and properly filled oí
warranty-registralion card Is received by UNI
VERSITY SOUND within ten days from the dale
of purchase. This guarantee covers (he repair
and/or replacement of any part found to be de-
feclive by the manufacturer or his authorized
ent.- This warranty does not apply To any
IVERSITY electronic product which has been
hibjected to abuse or accident; tampered wilh;
r installed, altered or repaired al variance with
faclory designated procedures; subjected to neg-
ligence, misuse or accident; damaged by exces-
sive line vollage or insufficient ventilation; or
which has heen repaired or altered outside of our
factory: or had is serial number altered, defaced,
or removed. Any component, which under nor-
mal Installation and use becomes defective, will
he repaired ar replaced at the company 5 option
ni no charge for the full two- year perind of this
warranty. During the first six months of this
warranty, there will be no charge for labor costs
required for the replacement of said components.
After the first 6 monihs a nominal labor service
charge will be made. Defective paris or cquip-
ment must be returned properly packed, in the
original carlon if possible, transportation pre-
paid al the customer's expense via Railway Ex-
press Agency tdo not ship vía parcel post: and
insured for full value, after written authoriza-
tion for return is requested from the factory and
is received, Return equipment to the UNIVER-
SITY SOUND factory in Oklahoma City. All
equipment repaired will be returned 10 the
customer F.O.RB. the service center al the UNI-
VERSITY SOUND factory. This warranty is in
lieu of all warranties, expressed or implied. and
ali other obligations or labilities on the part of
products año constantly beng improved; there-
fore, UNIVERSITY SOUND reserves the right
ta change any circuit, part, or specification; trim
or design; without notice und /or oblifalion, Con=
nel the Customer Service Department, UNIVER-
SITY SOUND, Box 261056, Okinhoma City, Okln-
Нота. 74120. before returning any cquipment lo
the factory for repair, In many instances, the
tree mary nol be in vour UNIVERSITY SOUND
high fidelity electronic product, and the UNI-
VERSITY SOUND Customer Service Depart-
ment may save vou an unnecessary relurn to the
faciory af they have a [ull account of the diffi-
‚У. Furthermore. any equipment returned fo
the factory without an authorized return label
may be subject to delays in servicing.
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