Lafayette LR 9090 stereo receiver Owner's manual
The Lafayette LR-9090 is a stereo receiver with AM and FM tuners. It has a high quality integrated stereo amplifier and features Dolby noise reduction, multiple input jacks and speaker outputs, and tone controls. The user can select the program source, adjust volume, balance, and tone, and utilize the various input and output jacks for connecting different audio devices.
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i ; | Lafayette E arayet Lafayet Latayett Latayet! Latayett _Lairawet{ Model LR-9090 [Steck. No. 99-03675W] AM/FM STEREO RECEIVER [JC] poLByY system | [00 AND “DOLBY” ARE TRADE MARKS OF DOLBY LABORATORIES WARNING To prevent fire or shock hazard, do not expose this appliance to rain or moisture. y ; BECAUSE ITS PRODUCTS ARE SUBJECT TO CONTINUOUS IMPROVEMENT, THE LAFAYETTE RADIO ELECTRONICS CORPORATION RESERVES THE RIGHT TO MAKE DESIGN CHANGES OR MODIFICATIONS AT ANY TIME WITHOUT INCURRING ANY OBLIGATION TO INCORPORATE THEM IN PRODUCTS PREVIOUSLY SOLD. ENTIRE CONTENTS COPYRIGHTED © 1977 BY LAFAYETTE RADIO ELECTRONICS CORPORATION « SYOSSET, L.1., N.Y. 11791 e ALL RIGHTS RESERVED CONTENTS GENERAL DESCRIPTION ... ee 4 INSTALLATION ..... ee nd 5 AC Power ener rerreriaa ars a ERE BR Le. 1 à 5 Conventence Öutlets A 0400 зон ОЕ МИННИ ea a 5 Ground Connection ........... —esrrreverererr:a ame a ao 5 ANTENNAS | edad enenardecna na oara nena a ENE ale TE SE 5 АМ aaa anemrerrroarerdenrerridedrr ara LOT UTE e. 5 РМ eee eee a ea Rae, RRR 5 CONNECTING YOUR ASSOCIATED EQUIPMENT . . e 7 Loudspeakers. .. 1.121121 1414 A 4 A A A VV LL LL LL LL LL LL LL LVL LL LL LA LL 10 8 Stereo Headphones . oe 10 Connecting Stereo Record Players . .... eee aaa aaa 10 Stereo Tape Recorder Connections ........ 2... eee a aaa a 10 Connecting an 8-Track Tape Player ...... 2.290 aaa aaa 12 DESCRIPTION OF RECEIVER CONTROLS . . . 11100 12 OPERATING PROCEDURES . aaa 17 Tuning In FM Stereo .. 1.111110 1 LL LL LL Le LL LL LL LL LA NL A ALL LL LL 110 17 Interference On EM... aaa LL LL LL 18 Reducing Noise On FM Stereo ............ 0 aaa aenreredaa ana, 18 Adjusting Phono Input Sensitivity On The Receiver , ... LL LL 111100 20 Stereo Tape Recorder Operation ......... aaa 1 Recording/Playback using one tape recorder .......... 0 M1 | Simultaneous Recording [two recorders connected] . . . .. ...... 110111111100 21 | Duplicating [two recorders connected] . . . . a, 21 | Playback [two recorders connected] ......... ..... 2... erica ee. 22 | 8-Track Tape Player Operation ........... aaa 22 Microphone Operation , aia E es vss ori vis os a 6 ee eee eee eee 22 Bass and Turnover Switch Action ©... LL tities cee ee aaa eneo, 23 Power Overload Protection Circuit ...... 11.111111 el 11110 24 TROUBLE-SHOOTING GUIDE SE RE lS |) 24 RETURNING THE UNIT FOR SERVICE EE SE SE ee 1 25 Shipping instructions ...... [SESE EE 25 TECHNICAL SPECIFICATIONS u ns 26 INSERTS: [1] Schematic Diagram/Interior Parts Location/PC Board Diagrams [2] Operating Chart [3] Front Panel Operating Controls/Connections to Associated Equipment. ? | | 3 | GENERAL DESCRIPTION The Lafayette 9090 is a highly sophisticated solid-state stereophonic high fidelity receiver that combines an AM tuner, a highly sensitive FM stereo tuner, and a high quality integrated stereo amplifier in one single, handsomely styled unit. The receiver not only offers all the advantages expected from solid-state circuitry such as instant operation, low current consumption, and cool operation, but also provides extremely low distortion and noise, plus wide frequency response at its full rated power to ensure the finest sound repro- duction. Stereo inputs have been provided for reproduction from a wide variety of external program sources that you may wish to use —record players, tape recorders, tape players, etc. Some of the special features that have been incorporated in this receiver to ensure a high degree of performance and to provide complete flexibility of operation are as follows: * 75 ohm and 300 ohm antenna inputs for FM. + Sensitive dual-sate MOS FET in the FM RF section with 4-section variable capacitor. * Three 2-element ceramic filters used in the IF section for high selectivity. x PLL [Phase Lock Loop] IC used in the FM stereo decoder section for optimum stereo per- formance with minimum distortion. * А newly-developed IC functioning as an IF amplifier, a low-distortion Quadrature FM detector, a driver for the tuning meters, and as a sophisticated FM muting circuit which not only elimi- nates noise between stations on FM in the conventional manner, but also silences the receiver when not properly tuned to a station. * Dual Meters used — a conventional signal strength meter plus an FM center-tuning meter for precise tuning. x Built-in Dolby Noise reduction circuit for decoding Dolby FM broadcasts. + Two sets of magnetic phono inputs accommodating a range of cartridge output levels from 2.5 mV to 360 mV [for rated power output]. * Stereo microphone input controlled only by a mic level control for convenient mixing with other program sources. +x Two-position turnover frequency switches for Bass and Treble controls. * Direct-coupled OCL power amplifier stages. * Amplifier output stages protected by a dual system of relay and eleetronic overload protection circuitry. * Quick-connect output terminals for up to three sets of stereo speakers. * 2-position 12 dB/octave Low Frequency Filter switch [15 or 40 Hz}. * 2-position 12 dB/octave High Frequency Filter switch [7 or 12 KHz]. ; * Dual Tape Monitoring facilities plus special dubbing switch to permit recording from one tape recorder onto another in either direction. In order that you may benefit from the many operating and performance features designed into this receiver, we recommend that you carefully read all the instructions contained in this manual. Also, we suggest that you keep the manual close at hand and in a safe place so that you can refer to it when necessary. INSTALLATION The unit may be used in any convenient location such as an equipment cabinet shelf, table or bookcase. The amount of heat generated by this unit is small compared to vacuum-tube equipment. Even so, provision must be made for some ventilation in order to disperse the small amount of heat that is generated. Do not place books or other objects on top of the unit so that the ventilation slots are obstructed. Do not place near radiators or other sources of heat. AC POWER The receiver is designed to operate from a power source of 105 — 120 volts, 50/60 Hz AC. Do not attempt to use the receiver on any other power source or damage will result. CONVENIENCE OUTLETS Three convenience outlets are provided at the rear of the receiver. The unswitched outlets should be used to supply AC power to equipment such as a record player and tape recorder. The switched outlet is controlled by the power on-off switch on the receiver and should be used for equipment you wish to operate simultaneously with the receiver [a transistorized indoor FM antenna or booster, for example. Note that neither of the unswitched outlets are protected by the AC fuse in the receiver. GROUND CONNECTION A ground screw at the receiver’s rear [marked GND] provides for optional connection between the receiver and other Hi Fi components that may be used in a system [such as a record player]. In many cases, this connection aids in the reduction of hum. ANTENNAS AM ANTENNA The ferrite loopstick built into the rear of the receiver assures adequate reception of all local AM stations. However, in the fringe areas, high noise areas, or where surrounding metal objects interfere with normal reception, a 20 — 30 foot length of insulated antenna wire can be connected to the terminal designated AM [See Figure 1-A]. NOTE: The ferrite loopstick is mounted on a swivel bracket. For maximum signal pickup, the loopstick should be swung out —away from the chassis —and adjusted for best reception. FM ANTENNAS The antenna 1s the single, most important factor in obtaining good, distortion-free FM reception. The finest, most sensitive receiver will not operate properly if it is fed with a poor FM signal. You should therefore give careful consideration to the selection of an antenna for your receiver if you want the best results — particularly for FM stereo reception. In areas reasonably close to the transmitter, you may be able to use an indoor antenna system such as a simple folded dipole constructed of 300 ohm twin lead, or a “rabbit ears” antenna similar to the type sometimes used for TV reception. For the very best FM stereo reception, thé use of an outdoor antenna is highly recommended. These are available in various types [See the Lafayette catalog]. For reception of stations scattered in many directions, a non-directional type of antenna may have to be used. If the desired stations lie mostly in one direction, a highly directional type will provide better results. When using a directional antenna, always orient it for best reception of the desired station. The correct position will be indicated by a maximum reading of the “SIGNAL” tuning meter on the receiver. AM ANTENNA ANTENNA — FM — DIRECTION OF STATION 755 r30014 GND AM OUTDOOR FM ANTENNA o TO FM ANTENNA —=— 300 OHM No” TWIN LEAD AM ANTENNA (20 — 30 FT INSULATED WIRE) FIGURE 1-A AM EXTERNAL ANTENNA AND 300 OHM FM EXTERNAL ANTENNA CONNECTIONS ANTENNA — FM 75.0 30024 GND AM ГО 000 Ta \ INNER a DUCTOR INNER 1/2 — 3/4" CABLE N ————d ——— INSULATION CLAMP 318" _ 3/8" SHIELD - BRAID 75 OHM COAXIAL CABLE 1. Remove approx 1-1/4” of outer insulation from cable, 2. Remove all but 3/8" of the shield braid. ; 3. Remove inner insulation, leaving 3/16" of the insulation exposed. The center conductor should be approx 1/2” long. FIGURE 1-B 75 OHM FM ANTENNA CABLE CONNECTION If you presently use an outdoor TV antenna, it can sometimes be used to provide good reception of FM stations. Simply make a connection between the stereo receiver and TV antenna iead-in, using a 2-set antenna coupler [See Lafayette catalog]. You should remember, however, that some TV an- tennas are designed to attenuate signals in the FM band to minimize interference on TV from FM stations [the FM band is located between channels 6 and 7]. In such cases, it will be necessary to install a separate FM antenna [this may be installed on a lower part of the TV mast]. FM ANTENNA CONNECTIONS 300 Ohm Connection When 300 ohm lead-in is used from the antenna, connection to the receiver should be made as shown in Figure 1—A [to the two terminals marked 3008 ]. 75 Ohm Connection In areas subject to electrical interference from vehicles, power lines, efc., the use of 75 ohm shielded cable as a lead-in to the receiver may result in a reduction of the interference. The use of 75 ohm shielded cable is also required in amplified distribution systems. The 75 ohm lead-in cable to the receiver is connected as shown in Figure 1-B. Prepare the end of the cable as shown, loosen the cable clamp [2 screws], then slip the shield braid section under the clamp. Wrap the center [inner] conductor around the 752 screw terminal and tighten the screw firmly. Now secure the cable clamp tightly against the shield braid section by means of the two clamp screws. CAUTION: Make sure that no strands of shield braid come into contact with the 758 terminal since this will short out the antenna input signal. Note that 75 ohm cable cannot be connected to the 300 ohm output of a booster amplifier, or a 300 ohm coupler or splitter. Nor can it be connected directly to a 300 ohm antenna, unless a 300 — 75 ohm matching transformer is used at the antenna. Antennas and booster amplifiers with 75 ohm outputs will present no problems, of course. If you intend to couple the 75 ohm cable to an exist- ing 75 ohm feeder line, be sure to use a 75 chm coupler {available from Lafayette]. CONNECTING YOUR ASSOCIATED EQUIPMENT WARNING: DO NOT ATTACH OR REMOVE CONNECTING CABLES WITH RECEIVER SWITCHED ON. LOUDSPEAKERS GENERAL This stereo receiver is equipped with three sets of speaker output terminals, set “A SPEAKERS”, set ‘“B SPEAKERS” and set “C SPEAKERS”. For conventional stereo operation in your main listening area, the left and right speakers [stereo speaker set “A” as shown in Figure 2] must be connected to the terminals marked “A SPEAKERS”, If you wish to connect a second or third set of speakers in other locations, stereo speaker set “B” and stereo speaker set “C” must be connected to the applicable set of speaker terminals marked “B SPEAKERS” and “C SPEAKERS”. Selection of speakers is determined by the position of the “SPEAKER MODE” Switch. —— 6-10FT APART ——] STEREO SPEAKER LEFT SET “A” RIGHT SPEAKER \ / SPEAKER \ / OPTIMUM STEREO SPEAKER LOCATION SO THAT SOUND IS FOCUSED ON LISTENER Lo. FIGURE 2 STEREO SPEAKER POSITIONING (MAIN LISTENING AREA) SPEAKER CONNECTIONS Figure 4 illustrates three sets of stereo speakers connected to the receiver. If you intend to use only one set of speakers for normal stereo, simply connect the two speakers to the Left and Right speaker terminals marked “A SPEAKERS”, Figure 3 shows the method used to connect the speaker leads to each set of terminals. To connect a lead, remove approximately 3/8” of insulation from its end and twist the bare strands of exposed wire together. Press the lever on the terminal and insert the bared section of the lead into the opening, as shown. When the lever is released, the lead will be held securely. Be sure to observe correct polarity; the positive [+] terminal on the speaker must be connected to the [+] receiver terminal [red lever} and the negative [—] terminal on the speaker connected to the [—] receiver terminal [black lever] in each case. The second set of stereo speakers [set ‘“B’’] when used as extension speakers in a remote location must be connected to the Left and Right speaker terminals marked “B SPEAKERS”. A third set of stereo speakers [set “C”] may be used in another room. These speakers must be con- nected to the Left and Right speaker terminals marked “C SPEAKERS”. 8 IMPEDANCE OF SPEAKERS USED When using only one set of stereo speakers, the impedance rating of each speaker used can be any- where between 4 and 16 ohms. However, when two or three sets of stereo speakers are connected, no speaker should have an impedance rating of less than 8 ohms [most high fidelity speakers today are 8 ohms impedance or higher]. APPROX 3/8" Remove insulation ee) | * from wire end, CHR Twist stranded wire, — TERMINAL + TERMINAL A = D TO © SPEAKER — | e TERMINAL 7 О SZ RED LEVER © Al N TO (+) SPEAKER TERMINAL FIGURE 3 CONNECTING SPEAKER LEADS TO THE RECEIVER OUTPUT TERMINALS STEREO HEADPHONES Two sets of stereo phone jacks on the front panel are provided for private stereo headphone listen- ing, when desired. The outputs of both Phone jacks {A and B] are identical. If you wish to listen privately without any speakers being on, place the “SPEAKER MODE” switch to the “PHONES” position. CONNECTING A STEREO RECORD PLAYER This receiver is equipped with two sets of phono inputs [PHONO 1 and PHONO 2] for use with record players whose pick-up arm is equipped with a magnetic cartridge [most players are so equipped]. The two shielded audio cables from a record changer or turntable are normally termi- nated with RCA-type phono plugs. To ensure minimum “hum” and to avoid the possible pick-up of RF interference [plus possible loss in high frequency tones], the cables from the record player should be kept as short as possible [they should not exceed 10 feet in length]. Figure 4 shows the manner in which two record players are connected. If the record player has a ground wire, connect it to the GND terminal on the receiver. If this results in “hum”, disconnect the ground wire. If you are using only one record player, connect the left and right output cables from the record player to the left and right “PHONO 1” inputs. If you wish to use a second record player, connect its output cables fo the “PHONO 2” inputs. Set the “MAG HI-LO” switch to the “HI” position initially [a procedure for determining the optimum position of this switch is provided in the section titled “Adjusting Phono Input Sensitivity On The Receiver”. To select either of the phono inputs, set the SELECTOR switch to the PHONO 1 or PHONO 2 position. STEREO TAPE RECORDER CONNECTIONS Connecting A Single Tape Recorder A single stereo tape recorder [cassette, 8-track or open reel] should be connected to the TAPE A jacks as shown in Figure 4, using shielded audio connecting cables. Note that the input of the recorder is connected to the TAPE A — REC output jacks on the receiver, and that the output of the recorder is connected to the TAPE A — PLAY input jacks on the receiver. NOTE: If the tape recorder does not have tape monitoring facilities [ 3rd head], the output of the recorder can be connected to the AUX input jacks on the receiver. Playback from the recorder is then achieved by switching the SELECTOR switch to AUX, Connecting Two Tape Recorders The first stereo tape recorder [A] must be connected to the TAPE A — REC and PLAY jacks on the receiver [as shown in Fig. 4]. The second stereo tape recorder {B] is connected in the same manner, but to the TAPE B jacks on the receiver. 10 iN3WdIND3 C3lYIDOSSY DNILI2INNOS Y 3YN94 . ". II LYYS HIAYid 3dY.L de Fr DILANDYA HEIM O3HALS 3040934 4304093 «De 135 YJHY3d45 CHHALS „Be LIS H3}93d$S OJHALS Ye LIS HIAYIds OIHALS (146) Yz3AvVId QUOIZEH AIVHLE Zdwv1 dav LIND <S > LHDIY HO 51 плато SindNI NI HOS3H SLN4LN0 HOVEAYd Sindino AIYAYId 2H 09/05 SLNdNI AOL — 901 DONICHOOIH 131100 57 OL H30HOQ3H 3dvl HO H3AYTd QYOO3Y HOYJ aNd dy HIAV OHOOIY WOYIJ Ted OV Mayos AND. OL {L "Bid aag) (SL1NSIY ls38 YOJ 1NO TINd) STYNIWHIL YNNILNY HOILSAOOT NY 2DQIHLHVI YNNILNY OILINDOVIN HLIM Hd 8 WY (24) HIAYId GHOJ938 aHIM ONNOYD 11 CONNECTING AN 8 TRACK STEREO TAPE PLAYER Using shielded audio cables terminated with RCA-type phono plugs at each end, connect one end of each cable to the Outputs on the stereo tape player. Connect the other end of each cable to the AUX [Left and Right] input jacks on the receiver. DESCRIPTION OF RECEIVER CONTROLS We suggest you take the time to read this section carefully. A large number of controls have been provided on this stereo receiver to ensure complete flexibility of operation. A full understanding of each control and its functions will enable you to obtain maximum enjoyment for your complete system. NOTE: The BASS, MID, TREBLE and VOLUME controls all have a light “detent”” action when rotated throughout their range. This serves two purposes. It will permit you to make a note of a specific setting for future reference [all controls have calibration markings], and will also reduce the possibility of accidental disturbance of the position of a control [even though the detent has a light action]. The BALANCE control has only one detent, this being at the center position [12 o’clock]. SELECTOR SWITCH This switch selects the program source. In detail, each position does the following: PHONO1 ................. Selects the outputs of a stereo record player connected to the “PHONO 1” inputs on the receiver. PHONO 2 ................. Selects the outputs of a stereo record player connected to the “PHONO 2” inputs on the receiver. ВМ a 4 a a eue Le Selects Automatic FM Stereo reception. MPX FIL ,................ In this position, a special high frequency filter is switched into the circuit to reduce any high frequency noise that may occur during FM stereo reception [See section titled “Interference on FM]. AM... aus L ee Selects AM reception. АЮХ 2... 2..2... 2.2. ....... Selects a program source connected to the “AUX” input jacks. MONITOR A—B SWITCH When this switch is in the SOURCE fcenter] position, the program selected by the SELECTOR switch will be reproduced through the receiver and heard in the speakers. When this switch is in the “A” position, any stereo program source connected to the TAPE A — PLAY inputs will be repro- duced through the receiver, regardless of the Selector switch selection. When this switch is in the “B” position, any program source connected to the TAPE B — PLAY input jacks is reproduced through the receiver and will be heard through the speakers, regardless of the SELECTOR switch selection [see “Stereo Tape Recorder Operation]. / DUBBING SWITCH The Dubbing switch is used only when you wish to duplicate a tape [two tape recorders must be connected]. For example, if you want to copy the program on a tape on recorder “A” onto a blank tape on recorder “B”, you would set the DUBBING switch to the A — B position, place the 12 “A” recorder in the play mode and the “B” recorder in the record mode. To reverse this procedure [record the tape program on recorder “B” onto a blank tape on recorder “A’’] you would set the DUBBING switch to the B — A position, place the “B” recorder in the play mode and the “A” recorder in the record mode [see “Stereo Tape Recorder Operation’ in a subsequent section]. BALANCE CONTROL This control, which is positioned behind the VOLUME control, provides left to right balance of the volume. Initially, this should be set to its normal center [5] position. Turn the control to the left of the center position to increase the volume of the left channel and turn it to the right to increase the volume of the right channel. VOLUME CONTROL This permits adjustment of the volume for both left and right channels simultaneously. LOUDNESS SWITCH The Loudness Switch, when ON, will compensate for an apparent loss of bass and high treble tones at low volume settings. Such compensation is necessary because a natural peculiarity of the ear causes it to have a reduced sensitivity to low and high tones when music is played at low volume. The Loudness circuit will emphasize these tones and thus restore full body and brilliance to the music. At high volume settings, this action is automatically reduced, and the receiver will assume a normal tonal response. MODE SWITCH This switch determines the manner in which program sources will be reproduced by the receiver. MONO ................... A program source connected to left and right channel input jacks is mixed and reproduced through both channels and speakers. Also, a single program source connected to either the left or right input jack is automatically reproduced through both channels and is heard from both speakers. NOTE: During FM operation, switching to “Mono” will disable the automatic stereo switching circuit of the receiver and provide only monophonic FM reception. STEREO ................ . This provides stereophonic reproduction of any stereo program source. This position will also provide automatic FM stereo opera- tion when the selector switch is in the FM or MPX FIL position. TONE SWITCH This switch, when set to the “FLAT?” [depressed] position, will disable all tone controls and the receiver will produce a normal [flat] tonal response regardless of the existing settings of the BASS, MID and TREBLE controls. In the VARIABLE position, all tone controls are functional + BASS CONTROL This control will allow you to increase or decrease the bass [low tones] in the sound output. When the indicator line on the control is in the center [0] position, the bass response of the receiver is normal, Clockwise rotation will increase the bass tones and counter-clockwise rotation will decrease them. See “Bass Turnover Switch” also. 13 === . TREBLE CONTROL This control operates in the same way as the Bass control, except that it provides adjustment of the treble [high] tones. See “Treble Turnover Switch’ also. MOD CONTROL This control operates in the same general manner as the Bass and Treble controls, except that it provides adjustment of the midrange frequencies [middle tones]. For normal midrange response, set the control to the “0” position. BASS TURNOVER SWITCH This switch affects the action of the BASS control by changing the frequency below which the control will affect the tonal response. When the switch is in the 500 Hz position, Bass control adjustment will affect frequencies from 500 Hz down. When the switch is in the 250 Hz position, frequencies from 250 Hz down are affected. The 250 Hz position is recommended initially since this will move the Bass control action info the lower region of the audio spectrum where, generally, most change is desired. For further information on the action of this switch, see “Bass and Treble Turnover Switch Action” in a subsequent section of this manual. TREBLE TURNOVER SWITCH This switch affects the action of the TREBLE control by changing the frequency above which the control will affect tonal response. When the switch is in the 2.5 KHz position, Treble control adjust- ment will affect frequencies from 2.5 KHz up. When the switch is in the 5 KHz, frequencies from 5 KHz up are affected. The 5 KHz position is recommended initially since this will move the Treble control action into the upper region of the audio spectrum where, frequently, most change is desired. For further information on the action of this switch, see “Bass and Treble Turnover Switch Action” in a subsequent section of this manual. LOW FILTER SWITCH A sharp [12 dB/octave] filtering action can be introduced at either of two frequencies —15 Hz or 40 Hz [the center position is off]. Generally, the use of the low filters is only required where low frequency rumble or vibration is encountered while using a record player. If your record player appears to be generating low frequency ‘rumble’ through motor vibration, switch first to the 15 ..Hz position and then, if ineffective, switch to the 40 Hz position. The 40 Hz position will usually reduce any low frequency noise although it will have some effect on the program material. The 15 Hz position [which has little or no effect on program material] introduces filtering in the sub-sonic range and can be particularly useful when a record player is subjected to very low fre- quency vibrations [from the speakers or some other source]. However, if problems of this nature are not experienced, leave the switch in the off position. HIGH FILTER SWITCH A sharp [12 dB/octave] filtering action can be introduced at either of two frequencies — 7 KHz or 12 KHz [the center position is off]. High frequency filtering should only be used when high fre- quency noise in the program material is encountered. Such noises might be experienced when playing worn records which produce ““‘scratching” noises, or with some tapes which might produce disturbing ‘hiss’. Excessive high frequency noise on FM can also be reduced by means of this filter switch. When attempting to reduce high frequency noise, always start with the 12 KHz position [this position has least affect on program material]. If this does not reduce the noise sufficiently, 14 you should then go to the 7 KHz position. Since all high frequency filters have some effect on the high frequency response in the program material, they should not be used unless disturbing high fre- quency noises are present. DOLBY FM SWITCH When depressed, this button will switch in a DOLBY noise reduction circuit, which, when used with Dolby-encoded FM broadcasts, will provide reception that is remarkably free of noise. Since all Dolby FM broadcasts employ 25 micro-second pre-emphasis [instead of the conventional 75 micro-second pre-emphasis], automatic switching to 25 micro-second de-emphasis also takes place when the DOLBY FM switch is activated. The Dolby circuit should not be used with any conventional stereo FM broadcast to provide a reduction in any noise present. It must be remembered that the Dolby circuit is primarily designed for use with specially processed broadcasts. NOTE: If you tune in a Dolby-encoded broadcast with the DOLBY FM button off and then depress the button, a slight reduction of high frequency response may appear to take place. This is due to the fact that with the Dolby circuit off, a Dolby-encoded program has a response with emphasis in the high frequencies; switching the Dolby circuit in will de-emphasize these high frequencies. Although this may create the illusion of a loss in the highs, the response is actually being returned to a normal condition. SPEAKER MODE SWITCH This switch turns the receiver on and allows you to select one of the five listening modes. POWER OFF .............. In this position AC power is disconnected from the receiver and no sound will be heard. AC power is ON in all other positions. A La. .... This connects the sound output to the two speakers attached to the “A SPEAKERS” output terminals. This position is used when only two speakers are being used. В ....24020005 000 sa 1 14000 This connects the sound output only to the set of speakers at- tached to the “B SPEAKERS” output terminals. Co ee. This connects the sound output only to the set of speakers at- a tached to the “C SPEAKERS” output terminals. A+B ..........esmecreoo This connects the sound output simultaneously to speakers at- tached to the “A SPEAKERS” and “B SPEAKERS” output terminals. The “A” set of speakers are normally located in your principal listening area; the “B” set of speakers usually in a second- ary area such as a den. A+C 122224400040 0 00e .... This connects the sound output simultaneously to speakers at- tached to the “A SPEAKERS” and “C SPEAKERS? output terminals. The “A” set of speakers are normally located in your principal listening area; the “C” set of speakers usually in another remote location, PHONES -................. In this position, all speakers are silenced and the sound output is connected only to any headphones that are plugged into the 15 “Phones” jacks on the front panel. Note, however, that the sound output is connected to the headphone jacks in all other positions of this switch, When listening through speakers, any headphones plugged into the jacks should therefore be removed to avoid possi- ble overload of the phones. “SIGNAL” METER [AM and FM] This meter is used for all tuning on AM, and for initial tuning on FM [the FM “TUNING” meter is used for final, more precise tuning on FM]. Tune for a maximum reading on this meter on AM. The meter also indicates the relative strength with which various stations are received on AM or FM, For example, a station producing a reading of 5 is being received with greater strength than a station producing a reading of 3. FM “TUNING” METER This is a special center-reading meter which is used for precise tuning to the center of an FM station to assure optimum FM reproduction. After the station is tuned in, finely adjust the tuning control for a center reading. Note that the pointer will swing toward the left or right of center if you are mistuned. If the meter pointer is over to the right, tune slightly toward the left on the main tuning dial; if the meter pointer is over to the left, tune slightly toward the right on the main tuning dial. FM STEREO INDICATOR When you tune in an FM stereo station, the STEREO Indicator will light up, indicating that FM reception is stereophonic. When you are tuned to a monophonic FM station, the STEREO Indicator will not light. Any stereo station which produces an unsteady ‘flickering’ stereo indication must be considered too weak or noisy for proper stereo reception [although it may be good enough for mono reception]. Note that placing the MODE switch in the MONO position will disable the automatic FM stereo switching circuit and extinguish the light, even on a stereo broadcast. AUDIO-MUTE SWITCH This switch, when set to the ON position, will automatically reduce the volume of the receiver to a low level regardless of the existing volume control setting. This feature will enable you to lower the volume temporarily, when you find it necessary to momentarily interrupt your listening [to answer a phone, etc.]. FM-MUTE SWITCH One of the normal characteristics of FM is the loud ‘rushing’ noise heard between stations. The receiver incorporates a special muting circuit which may be used to eliminate this noise between stations on FM, so that when tuning over the dial each station will “break through” ffom a back- ground of silence. In addition to eliminating inter-station noise, the muting circuit also causes the receiver to be silenced if you are not properly tuned to an FM station. This second function, which can be described as “detune muting”, is designed to guard against improper tuning on FM, For additional information, see “Operation of the FM Mute Circuit” in a subsequent section of this manual. To activate the circuit, set the FM-MUTE switch to the “ON” position. 16 rey TUNING CONTROL This control is used to tune in AM or FM stations. Use the 88 to 108 MHz scale on the tuning dial for FM stations, and the 55 [550 KHz] to 160 [1600 KHz] scale for AM stations. MIC LEVEL CONTROL This control adjusts the microphone input level for both the left and right channels simultaneousiy providing you are using two microphones [see Stereo Mic Input Jack]. STEREO MIC INPUT JACK This is a stereo input Jack for left and right channel microphones. When using two microphones, you will need to connect them to a 3-conductor phone plug [the type used by stereo headphones]. A single microphone with a 2-conductor phone plug may also be plugged into this jack, which will connect it to the left input channel! in the receiver [see section titled “Microphone Operation” ]. Microphones used should have an impedance between 600 and 10 K ohms [dynamic type] for best results, OPERATING PROCEDURES Before attempting to operate the system, we urge you to check the following: 1. Make sure that at least one set of stereo speakers have been connected to the output terminals on the receiver, 2. Make sure the receiver SPEAKER MODE switch is in the “OFF” position, and that you have properly connected any other associated equipment you intend to use, such as record players or tape recorders. For FM reception, you must have an external antenna properly connected, as indicated previously. Then connect the AC power cord to an electrical outlet supplying 105 — 120 volts, 50/60 Hz AC. Refer to the chart titled “Quick Guide To Operating Your Receiver’ and set all operating con- trols and switches in the positions indicated for the particular type of operation desired. When the SPEAKER MODE switch is rotated clockwise beyond the OFF position, the dial lights will come on, indicating that the unit is ready for operation. Select your program source [FM, Phono, etc.] and adjust the VOLUME control for desired volume from all speakers. NOTE: When the receiver is first switched on, there is an approximate 6 second delay before sound 1s heard from the speakers. The delay is due to the activation of the built-in over- load protection circuit which consists of a combination of electronic and relay circuitry. However, if no sound is heard from one or both speakers after 9 or 10 seconds, switch the power OFF and see section titled “Power Overload Protection Circuit”. TUNING IN FM STEREO To select an FM stereo broadcast, proceed as follows: 1. Switch the receiver on and set the Program Selector switch to the “FM” position. 2. Adjust the VOLUME control for a suitable listening level. 3. Tune across the FM dial observing the FM STEREO indicator light on the receiver. When it illuminates, you know that you are tuned to a stereo broadcast. 17 ————— ложке кн | INTERFERENCE ON FM FM stereo broadcasts are more susceptible to noise pickup than regular FM monophonic broadcasts. Provision has therefore been made in the receiver to permit reduction of these noises by means of special high frequency filters. However, before attempting to use any of these filters, remember the following: [a] [b] [e] Noise or distortion may be on the record or tape being played by the FM station, or even by the FM station itself. Your antenna may not be properly oriented for best reception, or may be inadequate for good signal pick up from the desired station [see section on FM antennas]. Nearby electrical signs, automobiles, etc., may sometimes cause annoying interference. These electrical disturbances are usually picked up by the antenna lead-in [if you are using a roof antenna], and can sometimes be reduced by using 75 ohm shielded cable. REDUCING NOISE ON FM STEREO 1. 18 If the noise is present when the MODE switch is in STEREO but disappears when set to MONO, you should try the filter provided in the MPX FIL position of the program selector. This filter has negligible effect on the high frequency response of the program, but is helpful in reducing high frequency noise on FM stereo. If the noise is still present, set the HIGH FILTER switch to the 12 KHz position. If this does not reduce the noise sufficiently, use the 7 KHz position. Although the use of this filter will affect the higher frequencies on the program material [the 12 KHz position will have the least effect], any noise present will be significantly reduced. OPERATION OF THE FM MUTE CIRCUIT This receiver incorporates a sophisticated FM muting circuit with dual functions. One of its func- tions is to eliminate the ‘‘rushing” noise normally heard between FM stations. This form of FM muting 1s of the conventional type found in other receivers. A second function of this FM muting circuit is that it will mute [silence] the receiver if you are not properly tuned to an FM station — even though the station may be an extremely strong one. This is graphically illustrated in Diagram A. Correct practice is to tune the FM station in so that the FM TUNING meter reads precisely at its mid-point. If the receiver is improperly tuned, causing the pointer to move outside the shaded area shown in Diagram A, muting will automatically occur and the receiver will be silenced. This action will take place even with the strongest signal. This unique form of “detune muting” is designed to guard against improper FM tuning. NOTE: Rapid tuning across the dial will cause the receiver to remain in a state of almost con- tinuous muting. When tuning across the dial {in search of an FM station offering music of your preference, for example], tune slowly to avoid this condition. This dual muting system is activated by setting the FM MUTE switch “on”, and defeated when the switch is off. If receiver is detuned sufficiently to cause pointer to go outside the shaded area, muting will occur even though signal meter shows a high reading. DIAGRAM A “DETUNE MUTING"” ACTION — —— a —— — - ee rt mmm ae oui ADJUSTING PHONO INPUT SENSITIVITY ON THE RECEIVER Provision has been made to accommodate the output from virtually any magnetic cartridge, high or low, by equipping this receiver with a phono sensitivity switch. This switch is located on the rear panel of the receiver and is marked “MAG HI-LO”. CAUTION: Never set the phono sensitivity switch to the “HI” (High) position when using car- tridges with a high output level. 'This may overload the input stages in the receiver, possibly resulting in distortion in the sound output. The “LO” (Low) position provides the least amount of gain and is therefore suitable with the higher output cartridges. The “HI” position is designed to use with car- fridges with low outputs. The following procedure should be used to obtain a proper setting for the phono sensitivity switch. 1. 20 Set up complete installation of the receiver [including speakers, FM antenna, AC power, etc.]. A record player should be connected to the PHONO 1 inputs, as instructed previously, and the Phono Sensitivity switch set initially to “LO”, NOTE: The Phono Sensitivity Switch setting will affect both sets of Phono inputs [Phono 1 and 2]. If two record players are to be used with the receiver, identical or very simi- lar cartridges [in terms of output level] should be used for each record player. Set all controls for “FM Stereo” operation [see chart headed “Quick Guide to Operating the Receiver]. Tune in a strong FM station and set the VOLUME control to produce normal listening volume. Leave the volume control in this position. Operate the record player, using a stereo record containing the same general type of music being broadcast on the selected FM station. Alternately, switch between the “Phono 1” and “FM” positions on the Program SELECTOR switch. Compare the output level from the speakers in each position. If the sound output is lower in the “Phono” position, set the “MAG HI-LO” switch to the “HI” position and com- pare once more. Remember, the object of this procedure is to find a phono sensitivity setting which will produce approximately the same oufput level as is heard on FM [no distortion should be present either]. Once the proper sensitivity position has been found, it will not be necessary to change it again unless the phono cartridge is changed. NOTE: An exact matching of the volume of FM and Phono is not likely. Simply find the position which provides the closest match. | STEREO TAPE RECORDER OPERATION RECORDING/PLAYBACK USING ONE TAPE RECORDER To record a stereo program on a tape recorder connected to the TAPE A — REC and TAPE À — PLAY jacks [as shown in Figure 4], select the desired program source [FM, Phono, etc.]. The TAPE A — REC output jacks will automatically produce a recording output during reproduction of a program through the receiver and will provide the tape recorder connected to these jacks with a recording signal. If you wish, you may monitor the program information that is being recorded [ provided the stereo tape recorder you are using has tape monitoring facilities, 3-head machine] by simply setting the MONITOR switch on the receiver to the “A” position. IMPORTANT: Make sure that the DUBBING switch is set to the SOURCE position during record or playback. For playback from the tape recorder, set the MONITOR switch to the “A” position if you used the TAPE À — PLAY inputs on the receiver. If you used the AUX inputs for the outputs from tape recorder “A”, set the MONITOR switch to the SOURCE position, but set the Program SELECTOR switch to the AUX position for playback. SIMULTANEOUS RECORDING [TWO RECORDERS CONNECTED] To record a stereo program on two stereo tape recorders simultaneously, select the desired stereo program source {FM, Phono, etc.]. Be sure the DUBBING and MONITOR switches are in the SOURCE position. The TAPE A — REC and the TAPE B — REC output jacks will automatically produce a stereo recording output during reproduction of a program through the receiver. If you wish, you may monitor tape recorder “B” [providing tape recorder “B” has tape monitoring facilities, 3-head machine] by setting the MONITOR switch on the receiver to the “B” position. IMPORTANT: Do not set the MONITOR switch to the “A” position since this will affect the recording level of tape recorder “B” while making simultaneous recordings on both machines. DUBBING OR DUPLICATING [TWO RECORDERS CONNECTED] Refer to Figure 5 for Tape Monitoring and Dubbing Operation. To duplicate a tape presently on recorder “A” onto a tape on recorder “B”, proceed as follows: 1. Make sure the inputs and outputs of tape recorders “A” and “B” are connected to the “TAPE A” and “TAPE B” “REC” and “PLAY” jacks respectively, as indicated previously. 2. Set the DUBBING switch to the “A — B” position. 3. Play back the tape on tape recorder “A” and record it on tape recorder “B” [the output of _ recorder “A” is being fed to recorder “B”’]. ‚4. The tape being recorded on tape recorder “B” may be monitored by setting the “MONITOR” switch to the “B” position. ? IMPORTANT: During this procedure, do not set the Monitor switch to the “A” position. To reverse the recording procedure [duplicating a tape on recorder “B” onto a tape on record- er “A”|, simply set the DUBBING switch to “B— A”, The tape being recorded on recorder A may be monitored by placing the MONITOR switch in the A position. IMPORTANT: During this procedure, do not set the Monitor switch to the “B” position. 21 DUBBING MONITO A-B A M 4 " . PUBBING FROM RECORDER | gn “SOURCE” position A TO RECORDER B = but not “A”. В-А В BUBBING MONITOR А-В А DUBBING FROM RECORDER B TO RECORDER A = Monitor switch may be in SOURCE — < “A” or “SOURCE” position but not “B” B-A B FIGURE 5 PLAYBACK [TWO RECORDERS CONNECTED] For playback from either tape recorder, simply set the “MONITOR” switch to “A” for playback from tape recorder “A”, or to “B” for playback from tape recorder “B”. 8- TRACK TAPE PLAYER OPERATION For playback from an 8-track stereo tape player, set the SELECTOR switch to the “AUX” position in order to select the “AUX” inputs on the receiver [assuming the tape player has been connected to the “AUX” inputs]. MICROPHONE OPERATION This receiver has a Stereo “MIC” input jack for connection of left and right channel microphones which can be used for mixing with any other program source. This allows you to sing-a-long with misic from a program source or to make announcements, etc. However, the output of the micro- phone[s] cannot be recorded. When using two microphones, you will need to connect them to a 3-conductor phone plug [the type used by stereo headphones]. A single microphone with a 2-conductor phone plug may also be plugged into the “MIC” jack, which will connect it to the left input channel in the receiver. Micro- phones used should have an impedance between 600 and 10 K ohms [dynamic type] for best results. To adjust the microphone input level for one or two microphones connected to the “MIC” input jack, simply rotate the “MIC-LEVEL” control to the right [clockwise] to increase the microphone level and to the left [counter-clockwise] to decrease the microphone level. NOTE: If the microphone is being used in the same area as the speakers, feedback [evidenced by a “howling” noise] may occur as the “MIC-LEVEL” control is increased. If this should happen, reduce the setting of the “MIC-LEVEL” control or set the “SPEAKER MODE” switch to one of the remote speaker settings so that the microphone and the speakers are not in the same area. 22 BASS AND TREBLE TURNOVER SWITCH ACTION Figure 6 shows how the Bass and Treble Turnover Switches will affect the action of the Bass and Treble controls when the controls are set at maximum or minimum. Bass Turnover Switch In the 500 Hz position, frequencies from about 500 Hz begin to be affected by the Bass control, with maximum rated boost or cut taking place at 100 Hz. In the 250 Hz position, frequencies from about 250 Hz begin to be affected, with maximum rated boost or cut taking place at 50 Hz. When the Bass control is in the flat [0] position, the turnover switch has no effect, of course. Since the 250 Hz position shifts the action of the Bass control into the lower region of the audio spectrum [where most change is generally desired], we recommend you use this position initially. However, some experimentation with the 500 Hz position should be undertaken to determine the position which provides the most desirable Bass control action with your complete system. Treble Turnover Switch In the 2.5 KHz position, frequencies from about 2.5 KHz begin to be affected by the Treble con- trol, with maximum rated boost or cut taking place at 10 KHz. In the 5 KHz position, frequencies from about 5 KHz begin to be affected, with maximum rated boost or cut taking place at 20 KHz, When the Treble control is in the flat [0] position, the turnover switch has no effect, of course. Since the 5 KHz position shifts the action of the Treble control into the higher region of the audio spectrum [where most change is generally desired], we recommend you use this position initially. However, some experimentation with the 2.5 KHz position should be undertaken to determine the optimum position for your needs [as in the case of the Bass Turnover switch]. FIGURES BASS AND TREBLE TURNOVER SWITCH ACTION POWER OVERLOAD PROTECTION CIRCUIT This receiver is protected by a unique built-in overload protection circuit which consists of a com- bination of electronic and relay circuitry. This protects both transistors and speakers from damage by automatically disengaging the speakers the instant a dangerous power overload condition occurs. When the receiver is first switched on, there is an approximate 6 second delay before sound is heard from the speakers [you will hear a “clicking” noise from the relays as the circuit is activated]. This is to prevent initial surge currents from possibly damaging the output transistors or speakers, and also to avoid any unpleasant ‘popping’ noises from being heard. If no sound is heard from one or both speakers after a period of 9 — 10 seconds, set the “SPEAKER MODE” Switch to the “OFF” position and check all speakers connections and wiring for a possible short-circuit. Another indication of a dangerous power overload condition would be the sudden interruption of sound from one or both speakers during normal operation, or intermittent sound output accom- panied by a continuous relay switching sound [clicking]. Both of these symptoms may indicate a malfunction within the unit, but a check of the speaker connections or wiring should be made to make sure that a short or partial short has not suddenly occurred [for example, a wire connection may have become loose and shorted to an adjacent wire]. The overload protection circuit is self-resetting. Once the cause of the power overload is located and the problem rectified, normal operation will resume. MAINTENANCE WARNING: Do not attempt to remove the cover — there are no user serviceable parts inside this receiver. Refer servicing only to qualified personnel. [See “Returning The Unit For Service”). TROUBLE-SHOOTING GUIDE If any trouble is encountered with your high fidelity system, we recommend that you do the following: 1. Make sure the receiver is plugged into the correct power source [105 — 120 volts, 50/60 Hz AC]. Check the dial and meter lamps on the receiver. If they are not lit, switch the unit off -- the AC fuse within the unit may have blown and a fault in the receiver must be suspected. DO NOT ATTEMPT TO REPLACE THE INTERNAL AC FUSE YOURSELF. This must be performed by a qualified technician. 2. If the receiver appears to be operating on FM or AM [tuning meter is indicating reception of signals], but there is no sound output on one or both speakers, check the speaker connections at the speaker[s] and on the receiver for the channel affected [refer to section titled “Power Overload Protection Circuit”]. Also remember that with the FM MUTE circuit on, you must be tuned accurately on FM or the receiver will be silenced [see “FM MUTING OPERATION”]. 3. Check for possible error in control or switch settings. Check that the AUDIO MUTE switch is off. Make sure the “MONO — STEREO” switch and Program “SELECTOR” switches are cor- rectly set to provide the type of operation you want. Check the “SPEAKER MODE” switch setting for proper selection of speakers. 24 4, If you are not selecting the “TAPE — PLAY jacks on the receiver, make sure that the MONI- TOR and DUBBING switches are in the “SOURCE” positions. 5. If the trouble was experienced during your initial operation of the system, check that all plugs are firmly inserted. Make sure speakers are properly connected and that they are not at fault. 6. If you are having trouble on FM [little or no meter reading as you tune across the dial], check antenna connections. Check to make sure your program source is not at fault if you are using a record player or tape recorder. 7. Check any connecting audio cables themselves for an intermittent “Open” or “Shorted” condition. IMPORTANT: When checking interconnecting cables, make sure the Volume Control is at mini- mum or receiver is switched off. RETURNING THE UNIT FOR SERVICE In the event that repair is necessary (either in or out of warranty), we recommend that you return the unit to the store from which it was purchased. In most cases, this will be your fastest and most efficient method of obtaining service. If you wish to ship the unit to our main service center, please read the instructions which follow. SHIPPING INSTRUCTIONS Pack the unit very carefully to avoid damage in transit, preferably in its original carton. If the origi- nal carton is not available, use a sturdy carton with at least 6 inches of crumpled newspaper or other packing material packed tightly around the unit to avoid any chance of damage in shipment. Be sure to use strong cord or tape around carton. If this unit is being returned under warranty, it must be accompanied by a copy of the original sales ticket or shipping document to establish date of purchase. Also, include with the unit a letter explaining what difficulties you have encountered (remember to add extra First Class postage and indicate on the outside of the carton that First Class Mail is enclosed). Ship by prepaid express, if possible, and mark ELECTRONIC EQUIPMENT . .. FRAGILE. Clearly address the carton as follows: SERVICE DIVISION LAFAYETTE RADIO ELECTRONICS CORP. 150 Engineers Road Hauppauge, L.I., N.Y. 11787 25 LR-9090 TECHNICAL SPECIFICATIONS AMPLIFIER SECTION POWER OUTPUT [Both Channels Driven] 90 Watts per channel, minimum RMS, at 8 ohms from 20 Hz to 20 KHz, with no more than 0.1% Total Harmonic Distortion. HUM AND NOISE ......... eee. MAXIMUM INPUT VOLTAGE ................. BASS CONTROL RANGE .................... TREBLE CONTROL RANGE .................. MID CONTROL RANGE ..................... LOW FREQUENCY FILTER [12 dB/octave] ....... HIGH FREQUENCY .......... reir. FM SECTION TUNING RANGE ..... i. IHF SENSITIVITY [Mono] ................... — USEABLE SENSITIVITY rea 50 dB QUIETING SENSITIVITY ............... SELECTIVITY [alternatechannel] ............... CAPTURE RATIO. ...... i ot FM DISTORTION fat 1 KHz] ................. STEREO SEPARATION ...................... 26 Aux: —80 dB Tape Play “A” and “B”: — 80 de Mag Phono: — 60 dB (Hi] — 65 dB [Lo] Aux: 150 mv Tape Play “A” and “B”: 150 mV Mag Phono: 5 mV [Lo] 2.5 mV [Hi] Mic: 8 mV [10K] Aux: 10V Tape Play “A” and “B”: 10V Mag Phono: 360 mV {Lol 180 mV [Hi] Mic: 420 mV [Mic Level at Max] 250 Hz Turnover: + 12 dB at 50 Hz 500 Hz Turnover: ++ 12 dBat 100 Hz 2.5 KHz Turnover: +10 dBat 10 KHz 5 KHz Turnover: + 10dB at 20 KHz + 6 dB at 1 KHz 15 Hz [- 3 dB], 7 Hz [= 12 dB] 40 Hz [- 3 dB], 20 Hz [— 12 dB] 7 KHz [+ 3 dB}, 14 KHz [—12 dB] 12 KHz [-3 dB], 24 KHz [- 12 dB] 50 Hz: +12 dB 10 KHz: +35dB — 20 dB 0.15 V output at rated input sensitivity. 10.3 dBf [Mono] , 21 dBf [Stereo] ** 16.5 dBf [Mono], 39.3 dBf (Stereo] ** # 0.2% [Mono] , 0.4% [Stereo] * 40 dB at 1 KHz, 32 dB at 100 and 10,000 Hz* 30 — 15,000 Hz, + 0,5, — 1.5 dB* ——— SIGNAL/NOISE RATIO ........ reee. SPURIOUS REJECTION [F +1F/2] ............. IMAGE REJECTIÓN .... narrar. * At 98 MHz, 65 dBf signal input, 100% Mod. ** At 98 MHz. AM SECTION TUNING RANGE .......... ii... SENSITIVITY (IHF] ..... ee IMAGE REJECTIÓN ........ 4 4 444411 1 11046 SELECTIVITY [alternate channel] ............... SIGNAL/NOISE RATIO... ................... TAPE QUTPUT LEVEL ...................... ANTENNA .... ee 00 * At 1 MHz, 1 mV input signal 30% Mod. ** At 1 MHz, GENERAL | SOLID STATE DEVICES. ....... ere... AC POWER REQUIREMENT POWER CONSUMPTION ..................... DIMENSIONS 1.122221 4414 44 2 4 4 4 4 2 6 1 80 a ee» 6 NET WEIGHT я и и яч и чи и ии ии и и и Ww чт и F + ии HF я NW Fp Wu = De-emphasis: 25uS 0.77 \* 75 ohms unbalanced and 300 ohm balanced input for external antenna. 535 — 1605 KHz 20uV [ant terminal} ** 60 dB at 600 KHz 45 dB** 45 dB* 0.3 Volts” Built-in adjustable ferrite bar, plus provision for external antenna. 8 ICs, 2 MOS-FETs, 4 Dual-Transistors, 43 Transistors and 41 Diodes. 105 — 120 volts, 50/60 Hz AC. 220 Watts 20-7/8” W X 6-3/8" H [including legs] X 15-1/2” D [including rear protrusions and knobs] . 530 mm W X 162 mm HX 394 mm D 38 Ibs./17 Kgs. 27 =REO PHONES — -eptacies provided use with two stereo “iphones [4] | or 16 1s impedancel. Do AM/FM SIGNAL TUN- — ING METER Used for tuning on AM — also shows relative signal strength on both AM and FM [tune for maximum оп АМ], TONE SWITCH —— All tone controls are func- tional in “Variable” posi- tion. “Flat” position pro- vides flat tonal response regardless of existing tone Lafayette LR-9090 —BASS TURNOVER SWITCH velects frequency below which bass control starts to affect tonal response [see text]. r TREBLE TURNOVER SWITCH Selects frequency above which treble control starts to affect tonal response [see text.) — MODE SWITCH POLBY FM BUTTON Depressed positieg switch- es in DOLBY Noise Recep- tion Circuit -- designed for use with Dolbyized FM Broadcasts, TUNING DIAL Large, easy-ta:read tuning Ç dial for FM and AM, plus logging scale. i control settings. Determines the manner in FM CENTER-TUNINS— METER Permits precise FM tun- ing to center of station to assure optimum FM reproduction [tune for center reading]. which the amplifier sec- tion is operated — mono or stereo. Setting the switch to “Stereo” when the Se- lector is in the FM or MPX - AUTOMATIC FM STE- REQ INDICATOR Lights up to indicate that the receiver has switched to stereo reception. Filter position provides automatic FM stereo oper- ation, FUNCTION INDICATORS Indicators tight to show speakers selected [A,B,C], program source [Phono, FM, AM, AUX], and Dolby FM, TUNING CONTROL Used to tune to desired A AM or FM 2 3 x Ss FM 88 190 92 94 96 98 100 102/ 104 106, 108 MHz / Золе ум rer TH Meza amatm; deu 7 fans на zu | MOLL DEA A El JHA Fu Tyme AM 55 60 70 80 | M 100 120 140 160 хо КН? STEREO SPKRA SPKR B| SPKR C PHONO| DOLBYFM FM AM AUX Lafayette STEREO RECEIVER LA-9090 — —O o o o o o o O O -+——J) | DOLBY SYSTEM | ! Fl A VARIABLE 500Hz 2.5KHz STEREO - > А y — FLAT 250Hz 5KHz MONO DOLBY FM VOLUME —@}— BAL ANCE BEING MONITOR ISHz |12KHz С 3 с G— Ar TREBLE | 9 MODE E 2 2 FM 4 4 CN 6 6 1 8 SOURCE в 8 но "30 TREBLE — OFF | B-A i “AKER MOBS TCH Ш tches the räckiver on selects sterao ‚speaker A" only, sterep speak- set ‘B” only, stereo aker set "C” only, ste- speaker set “A” and > stereo speaker set “and “C”, or PHONES a ; LOW FILTER Used to reduce low fre- quency noise below 15 Hz or 40 Hz [center position off]. HIGH FILTER-— Used to reduce high fre- quency noise above 7 KHz or 12 KHz [center position | off]. BASS CONTROL Provides adjustment of the bass [low tones] for both channels [Ü" position for normal bass response] . ч TREBLE CONTROL Provides adjustment of the treble [high tones] for both channels [70” posi- tion for normal treble re- sponse] . Master volume channels. FM MUTE- — —— LOUDNESS SWITCH Increases the bass and treble tones — used to pro- duce realistic reproduction at low listening levels. MID-RANGE CONTROL This control provides sim- May be used to eliminate ultaneous adjustment of between-station noise on the mid-range [middle FM tones] for both channels [“0” position far normal mid-range response]. AUDIO MUTE BUTTON Automatically reduces re- ceiver volume to a low level. FRONT PANEL CONTROLS VOLUME CONTROL provides simultaneous ad- justment of left and right control BALANCE ora This control provides left- to-right volume balance. Set to 5” [12 o'clock] position for normal bal- ance, — N DUAL TAPE MONITOR SWITCH Monitoring Tacilities for two tape recorders DUBBING SWITCH Permits tape dubbing in either direction -- from re- corder À onto BE, or from recorder B onto A. — STEREO MIC stations. MIC LEVEL CONTROL Adjusts the microphone — input level. . | - INPUT | CK : Far connection of 600 | t0 {10K ohms Dynamic "| i irophones. | PROGRAM SELECTOR Det rmines the mode of joperation for the‘, regelver -- PHONO 1, , P O 2, FM, MPX FIL, AM, AUX. ea o Lafayette PORATION ‚ 111 Jericho Turnpike, Syosset,L | New York ey 1 + Printed in Japan | ñ / f Ti le - GROUND WIRE | Г RECORD PLAYER (=2) AM & FM | WITH MAGNETIC Ч ANTENNA jan CARTRIDGE AM LODOPSTICK ANTENNA TERMINALS (PULL OUT FOR BEST RESULTS} ‘ [See Fug. 1) / # y TO “GND” | | “| N SCREW = — / : 3 } — АМ Ге МПА — — | BE. pA — EE , В SWITCHED КМА! - OO 0 | e fr Г 3 - “АРЕ В ОЕ RENT Y LINSWI I TCHED COW . | PLAY de = AC PLUG : r | @ — LT —— ! (0+8) FROM ВЕСОНЫЮ*, | - +. К a | A] ke PLAYER ; a =. ` | £2 | = © | © ® O onswircHED Cou AC PLUG A | A peace e o a. i) ; .__ FROM RECORD | | © а “air LEA IF IG ER Y RIGE ЕВЕ [0 ih + = = Er => PLAYER | | = OR | B | | 9 Л te ©! TAPE oro y _ Po | es AB Ш J — | TO AC OUTLET # | _ 105 - 120 V : PLAYBACK — - sl TT y QUTPUTS nn . | (r— . PLAYBACK on a | A) O, OUTPUTS Ti oo HF RECORDING ||! | | | В INPUTS Li OUTPUTS \ 4 Po FROM N oN PORE UT | UNIT ‘ bat Л ry ; \ ТАРЕ TAPE 8. TRACK RECORD PLAYER (#1) STEREO SPEAKER SET “A” STEREO SPEAKER SET “B” STEREO SPEAKER SET "GC" j RECORDER RECORDER STEREO WITH MAGNETIC a. "8° TAPE PLAYER CARTRIDGE 3 -— FIGURE 4 CONNECTING ASSOCIATED EQUIPMENT oo E € PA A QUICK Lafayette GUIDE TO OPERAT RECEIVER CONTROL — | FILTER FUNCTION STATION ¡SELECTOR | VOLUME | BALANCE | TREBLE MID BASS SWITCH T TUNING SWITCH | CONTROL | CONTROL | CONTROL | CONTROL | CONTROL S LOW | HIGH FM STEREO Use tuning | FM Set to “2” Cp" “О” “0” “0” OFF| OFF | VA contro! and initially. [12 o'clock] | position position position [re 88 — 108 position MHz Scale. AM Use tuning AM Set to HY “BD “nr “0” “0” OFF OFF VA BROADCAST control and initially. [12 o'clock] position position “ position [re 550 — 1600 position KHz Scale. STEREO Not Used. Phono 1 Set to 72” 5” “0” “0” “0” OFF) OFF | VA PHONO or initialiy. [12 o'clock] position position position [re Phono 2 position [3] Tape Not used Set to "2" 5 0” 0” “0” OFF, OFF | VAI STEREO TAPE | Recorder [4] initially. [12 o'clock] position position position [ref PLAYBACK A position WITH ONE OR TWO TAPE RECORDERS | Tape Not used Set to “2” CB” “0” “gr “0” OFF| OFF | VAI Recorder [5] initially. [12 o'clock] | position position position [re “В” position STEREO TAPE PLAYER AUX [6] Set to “2” 5” “0” 0" “0” OFF OFF | VA] initially. [12 o'clock] | position position position [re position 7 [1] If FM stereo broadcast is Dolby-encoded, switch DOLBY FM “on”. [2] Assuming stereo speakers in main listening area are connected to the A” set of speaker terminals. [3] Set Selector to position which selects desired record player; if a single record player is being used, it is usually connected to the [4] Assuming the output of the tape recorder is connected to the TAPE A—PLAY input jacks [SELECTOR is by-passed in the “A” 16] Assuming the output of the tape recorder is connected to the TAPE B—PLAY input jacks [SELECTOR is by -passed in the “B” [6] Assuming the output of the tape player is connected to the AUX input jacks. LR-9090 "ING YOUR STEREO RECEIVER » [BASIC SETTINGS] MUTE ONE RE 1 MODE | Em | switch |LOUDNESS| DUBBING | MONITOR | SPEAKER H NTCH SWITCH SWITCH SWITCH SWITCH SWITCH SWITCH SWITCH SWITC FM AUDIO TABLE 250 Hz 5 KHz STEREO OFF [1] OFF, OFF OFF SOURCE SOURCE “A” [2] eased] | [depressed] : [depressed] | [released] [released] TABLE 250 Hz 5 KHz Not Not Not| OFF OFF SOURCE SOURCE “A” [2] eased] | [depressed] | [depressed] Used Used Used HABLE 250 Hz 5 КН? STEREO Not Not” OFF OFF SOURCE SOURCE 7 “A” [2] eased] | [depressed] | [depressed] : [released] Used Used IIABLE 250 Hz h KHz STEREO Not Not! OFF OFF SOURCE “A” [4] “A” [2] 'eased] | [depressed] | [depressed] | [released] Used Used 11ABLE 250 Hz 5 KHz STEREO Not Not apr ne leased] | [depressed] | [depressed] | [released] Used Used OFF OFF SOURCE В” [5] A” [2] MABLE 250 Hz KHz | STEREO Not Not | OFF OFF SOURCE SOURCE “A” [2] leased] [depressed] | [depressed] | [released] Used Used Phono 1 inputs. "position of MONITOR switch]. position of MONITOR switch}. RADIO a e e ELECTRONICS CORPORATION 111 Jericho Turnpike, Syosset, L.I. New York 11791 Printed in Japan GROUND WIRE RECORD PLA AM & FM WITH MAG ANTENNA CARTRI TERMINALS (See Fig. 1) Y TO “GND” SCREW INPUT FHONO AUX PHONCI FHON MSITIVITY ” e SO e © 3 ® В GND ) — | RECORDING — or — GROUND WIRE) (| PLAYBACK —H4— | OUTPUTS | PLAYBACK ‚о в БН ТАРЕ ТАРЕ RECORDER RECORDER "A" “Br OUTPUTS OUTPUTS 7. EROM UNIT 3 8- TRACK RECORD PLAYER (#1) STEREO SPEAK STEREO WITH MAGNETIC TAPE PLAYER CARTRIDGE FIGURE 4 CONNECTING YER {#2) NETIC DGE AM LOOPSTICK ANTENNA (PULL OUT FOR BEST RESULTS) QUTLET 05 -20V S0/60HT SWITCHED ¡COW J | UNSWITCHED COW J AC PLUG FROM RECORD PLAYER AC PLUG FROM RECORD PLAYER = OR TAPE RECORDER O © A SPEAKERS AT LEFT | | C SPEAKERS RIGHT LEFT B SPEAKERS RIGHT LEFT E = TO AC OUTLET 105 — 120 V 50/60 Hz RIGHT SPEAKER LEFT SPEAKER LEFT SPEAKER + ER SET “A” STEREO SPEAKER SET В” STEREO SPEAKER SET “C” ASSOCIATED EQUIPMENT STEREO PHONES AM/FM SIGNAL TUN- — ING METER Used for tuning on AM — also shows relative signal strength on both AM and FM [tune for maximum on AM]. FM CENTER-TUNING-- METER Permits precise FM tun- ing to center of station to assure optimum FM reproduction [tune for center reading). TONE SWITCH All tone controls are func- tional in “Variable” posi- tion. “Flat” position pro- vides flat tonal response regardless of existing tone control settings. Lafayette —BASS TURNOVER SWITCH Selects to affect tonal [see text]. frequency below which bass control starts response — AUTOMATIC FM STE- REO INDICATOR Lights up to indicate that the receiver has switched to stereo reception. —TREB SWITI Select which| to af [see te FM TUNING FM 88 90 92 Ï 1 I I 1 1 ] " PrfiDi( FORCRESECTINRNITO A E ZELPIETFEZEC Eo 1 ’ t 1 I 94 Receptacles provided for use with two stereo headphones {4, 8 ог 16 ohms impedance] . SPEAKER MODE SWITCH Switches the receiver on and selects stereo speaker set “A” only, stereo speak- er set “B” only, stereo speaker set “C” only, ste- reo speaker set “A” and “В”, stereo speaker set “A” and “C”, or PHONES onty. AM 55 60 70 STEREO SPKRA SPKR BI SPKR Lafayette — STEREO RECEVER LR-9090 ——o 0 ojo VARIABLE .JKH Е FFLTERST = FLAT 3301s Se Ma LOW HIGH ISHz — I2KHr (5— u) (D— | B TONE 5 0 ASS > 0> TREBLE 4 4 4 4 4 LJ] MN Torr 6 6 6 6 6 8 8 g 8 8 -10/ 7740 10 7510 — р \ BASS MID дон; 7KHz TONE [2dB/ OCT. / LOW FILTER HIGH FILTER TREBLE CONTR Used to reduce low fre- quency noise below 15 Hz or 40 Hz [center position off]. Used to reduce high fre- quency noise above 7 KHz or 12 KHz [center position off]. BASS CONTROL Provides adjustment of the bass [low tones] for both channels [70” position for normal bass response]. Provides adjustmen treble both channels [0 tion for normal tr sponse] . MID-RANGE CONTROL This control provides sim- ultaneous adjustment of the mid-range [middle tones] for both channels [07 position for normal mid-range response] . [high tone FM MUTE May be us between-sta FM AUDIO Automa ceiver level. FRONT PANE LLR-9090 LE TURNOVER CH s frequency above treble control starts DOLBY FM BUTTON Depressed position switch- es in DOLBY Noise Recep- TUNING DIAL Large, easy-to-read tuning dial for FM and AM, plus og tonal response tion Circuit -- designed for logging scale. er _ use with Dolbyized FM MODE SWITCH Broadcasts. Determines the manner in which the amplifier sec- tion is operated — mono or — FUNCTION INDICATORS TUNING CONTROL stereo. Setting the switch Indicators light to show Used to tune to desired to Stereo when the Se- speakers selected [A, B,C], AM or FM stations. lector is in the FM or MPX program source [Phono, Filter position provides FM, AM, AUX], and Dolby automatic FM stereo oper- FM. В ation. / / Í 9 198 100 102/ 104 106 108 MHz Cia dri ETE ETE A der re moria 1411 Г i 1 I " 1 " J * 1 " 6 80 90 100 120 140 160 xo Khz C PHONO| DOLBYFM FM AM AUX O O O O О -«— | | DOLBY SYSTEM | 7 ÑO DOLBY FM LEVEL 3 Lo —8)— BALANCE DUBBING MONITOR DE —MUTES ; AB A NO FM MPX E ( > | MIC LEVEL CONTROL oN “OPE ONES ie MIC Adjusts the microphone [|] | Po ssourcEN |] | put fever — STEREO MIC INPUT | NLA 6 JACK т Ne For connection of 600 to 10K ohms Dynamic Master volume channels. LOUDNESS SWITCH Increases the bass and treble tones — used to pro- duce realistic reproduction at low listening levels. id to eliminate tion noise on MUTE BUTTON ically reduces re- olume to a low L CONTROLS VOLUME CONTROL control provides simultaneous ad- justment of left and right BALANCE CONTROL This control provides left- to-right volume balance. Set to “5” [12 o'clock] position for normal bal- ance. DUAL TAPE SWITCH Monitoring facilities two tape recorders Microphones. MONITOR PROGRAM SELECTOR Determines the mode of operation for the receiver -- PHONO 1, PHONO 2, FM, MPX FIL, AM, AUX. # for DUBBING SWITCH Permits tape dubbing in either direction -- from re- corder A onto B, or from recorder B onto A. Lafayette 111 Jericho Turnpike, Syosset, LI, New York 11731 RADIO ELECTRONICS CORPORATION Printed in Japan „А! ПА о OO — 111 | PSMAO25C0X ; ‚ ©) | qe —os — I | POWER TRANSFORMER — > = - = L2 Tr = — ar D4 0605 L3 е- Os 184 с = D os = жеж ee UNT ——]—_—— —— — — —— ны ————— == PSPWOZ0COUX LI LI one AS Е ТОМЕ BASS B LOW HIGH PHONES A SPEAKER FILTERS BASS a D TREBU PHONES B o! DE DS O о O NN INTERIOR PAF PSPAO27COX IC? XT O 0 ojo e 0.000 4 A € > Mm 4 © [БОН ALTO) | ou PSTUOISCOX Q7 Bar | gu . pa 0 |] qe oe N 1C3 D xD pu Г Qs Г ng + qua | — II |) 1° > | Ss, 000 00 OO с! 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Key features
- AM/FM stereo tuner
- Dolby noise reduction
- Multiple input jacks
- Speaker outputs
- Tone controls
Frequently asked questions
The Dolby FM switch activates a Dolby noise reduction circuit for decoding Dolby FM broadcasts. This will provide reception that is remarkably free of noise.
The 'Speaker Mode' switch turns the receiver on and allows you to select one of the five listening modes: 'A', 'B', 'C', 'A+B', 'A+C', and 'Phones'
The second stereo tape recorder (B) is connected in the same manner as the first, but to the TAPE B jacks on the receiver.
This switch accommodates the output from virtually any magnetic cartridge, high or low. The 'HI' position is designed for cartridges with low outputs, and the 'LO' position provides the least amount of gain and is therefore suitable for cartridges with higher outputs.
The FM-MUTE switch, when set to the 'ON' position, will automatically reduce the volume of the receiver to a low level, regardless of the existing volume control setting.