MX 114
STEREO
MX 114
PRICE $1.25
PREAMPLIFIER
FM TUNER
CONTENTS
3-5
BLOCK DIAGRAM
6
SPECIFICATIONS
7
IN A HURRY
8
CABINET INSTALLATION
9
CONNECTIONS
10-11
FRONT PANEL CONTROLS
12-13
BALANCING
14
USING YOUR STEREO
15
GUARANTEE
16
FM TUNER
TECHNICAL DESCRIPTION
MX 114
Your purchase of a Mclntosh instrument
shows that you are a careful discriminating buyer. One who is interested in quality
performance, quality engineering, quality
manufacturing, and long trouble-free
equipment life. You can protect your investment by spending a few minutes reading this owner's manual.
STEREO
When you bought a Mclntosh, you bought
countless hours of musical pleasure and
superior performance. Enjoy it!
1
I
I
The Mclntosh "will to perfection" requires that we probe
constantly into the unknown to bring the performance of our
electronic equipment closer to perfection than ever before.
This requires a constant and relentless search for low noise,
broad band conservative design with an ever lower distortion
factor. This is not required of ordinary equipment of average
designs. It is, for us, a costly but worthwhile scientific and
engineering effort. Our continuing research benefits our customers with the almost complete lack of obsolescence and
the most reliable equipment ever made. It also means the
lowest long-range cost to you. Nearly all of the Mclntosh
equipment ever made is still useable, or in use, though it
may have been made twenty years ago.
2
PREAMPLIFIER
GENERAL DESCRIPTION
GENERAL DESCRIPTION
The MX 114 combines in one unit an extremely low-distortion preamplifier with a
highly sensitive FM multiplex tuner. The
INPUT SELECTOR gives you a choice of
five different program sources.
The Mclntosh MX 114 is a beautifully
engineered tuner/control center for the
finest stereo sound systems.
The MX 114 is completely solid state, with
the exception of the tuning indicator. The
solid state devices used in the MX 114
are products of the latest technology of
solid state physics.
The extreme care in manufacturing, in
layout design and in quality control promises the usual Mclntosh extra values of
reliability, performance, and long life.
2
Other values added to this tuner are:
careful control of circuit constants during testing, very high sensitivity and excellent spurious response rejection.
Every desirable feature of a tuner and
preamplifier is included in this design.
FM interstation noise suppression (muting), tuning indicator, FM multiplex indicator, individual channel bass and treble
controls and electronic phase switch
have all been engineered into the MX 114.
The Mclntosh designed PANLOC system
is the first professional installation technique to be used on stereo instruments.
The PANLOC system gives you ease of
installation, operation and maintenance.
By releasing the PANLOC buttons on the
front panel, you can slide the MX 114 out
of its mounting until the second latch engages. The top mounted controls for
interstation noise suppression (muting),
phase switching and front panel lighting
are now available.
TECHNICAL DESCRIPTION
FM SECTION:
The FM consists of two separate modular sections:
A THE RF SECTION:
This section houses the complete FM
front-end.
The FM circuit employs three junction field effect transistors, two of
which form the very high frequency
amplifier in a series-fed "cascode"
type circuit, giving maximum gain at
minimum thermal noise.
This VHF amplifier is preceded by a
double-tuned circuit and is followed
by a mixer circuit employing the third
junction field effect transistor and a
single-tuned circuit.
The FM local oscillator is designed
for minimum response to temperature variations, making automatic frequency control unnecessary. The
drift rate is less than 10 parts per
megahertz per degree centigrade.
The RF circuits of the MX 114 are
completely shielded and exceed the
FCC requirements for suppression of
oscillator radiation.
Either a 300 ohm or 75 ohm antenna
may be used with the MX 114.
A VHF television antenna which is
suitable for FM reception can be connected to the MX 114. For maximum
performance we recommend a good
FM yagi or log-periodic antenna with
rotator.
B
THE FM-IF AND DETECTOR
SECTION:
This section employs two integrated
circuit devices, each capable of amplifying the intermediate frequency
signal from the mixer by a thousand
times (60 db). Lumped selectivity in
the form of two sets of quadrupletuned bandpass filters insure good
intermediate frequency skirt selectivity.
The tuned circuits that make up the
bandpass filters are designed 1or
electrical stability and for electrical
and mechanical resistance to shock
and vibration.
"Hard" limiting is accomplished by
the use of the two integrated circuits.
The limiting is complete at very low
levels of input signals.
A phase or Foster-Seeley discriminator is used as the FM detector, and
is designed for extremely low harmonic distortion in the recovered
output signal. With the "Hard" limiting properties of the preceding two
stages a low capture ratio is obtained.
FM STEREO MULTIPLEX SECTION:
The multiplex section uses a special Mclntosh developed detecting circuit. A particular advantage of this circuit is the
elimination of the critical adjustments
necessary with commonly used matrixing circuits. This circuit detects the L —R
sidebands and automatically matrixes
the recovered information with the L + R
main carrier signal to yield the left and
right program output with maximum separation.
The 19KC pilot signal is filtered from the
composite stereo input signal, amplified
by a special limiting amplifier, doubled
to the 38KC carrier frequency, and then
amplified again by a limiting amplifier.
The composite signal minus the 19KC
pilot is combined with the 38KC carrier
signal and fed to the special detector circuit mentioned above. Balanced full wave
detectors are used to cancel the 38KC
components in the output.
A three section phase linear sharp cut off
filter rejects SCA interference without destroying stereo separation.
FM muting, automatic FM stereo switching, and an FM stereo indicator are also
part of the multiplex section. The FM
muting operates by detecting ultra-sonic
noise which is present when tuning between stations or when receiving a weak
station. The FM muting operates equally
well, of course, when receiving mono or
stereo stations. The automatic FM stereo
switching activates the stereo multiplex
circuits when receiving FM stereo. On
mono FM stations this circuit is inactive
and therefore maximum signal to noise
ratio is assured at all times.
The FM stereo indicator is lit when the
tuning dial pointer crosses a station
broadcasting FM stereo. The light does
not indicate when tuning between the
stations.
3
TUNING MECHANISM and DIAL DRIVE:
In the MX 114, a new type of mechanical
tuning assembly gives smooth flywheel
tuning.
By controlling the relationship of mass
and mechanical resistance, and by dividing the workloads in the dial drive system,
it becomes nearly impossible to detect
any backlash. Yet, the entire dial drive is
a model of mechanical stability.
For increased tuning accuracy, a section
of the dial pointer is illuminated.
PHONO PREAMPLIFIER
There are three transistors in each channel of the phono preamplifier. The output
of the third transistor is connected by
a negative feedback loop to the emitter
of the input transistor. The feedback loop
reduces noise and distortion. It also provides precision RIAA frequency compensation required for magnetic phonograph
cartridges. Feedback remains in effect
even at 20 Hz, where gain is highest. The
negative feedback also provides a low
output impedance for the tape output.
Phono input overload is virtually impossible. For example, at 1000 Hz, the phono
input can accept 150 millivolts of signal
without overload. Ten millivolts of signal
at the phono input at 1000 Hz will produce 1.2 volts at the tape output. More
than adequate for recording on tape.
4
The selector switch connects either the
output of the phono amplifier, the FM
tuner section or a high level input to the
main preamplifier.
The high level input impedance is 250,000 ohms. The high level input feeds directly to the volume control. A loudness
contour circuit is connected to a tap on
the volume control to provide loudness
compensation. Compensation can be
switched in or out. The high level signal
then feeds to a pair of transistors connected as high gain amplifiers.
In the left channel the second transistor
is connected in a balanced output arrangement allowing the left be in phase
or to be phase reversed. This circuit provides equal amplitude signals so that the
output level does not change when the
used around this pair of transistors to
reduce noise and distortion. The negative feedback provides the low impedance needed to drive the highly selective
filter networks which follow.
The filter networks can be switched in or
out. The high-frequency filter network reduces treble response above 5000 Hz.
The low-frequency filter reduces bass response below 50 Hz. The slope of the
filters is selected for maximum rejection
of commonly encountered noise. Careful
design keeps the loss of usable program
material to a minimum.
The output from the filter circuits is fed
into the balance control. The output of
the balance control drives the first stage
of the tone control section. The remaining two transistors are connected as a
high-gain amplifier stage. The high-gain
of this stage is used to advantage for the
tone control negative feedback circuits.
Negative feedback in the tone control
circuits assures low distortion and accurate shape on the tone-control response
curves. Negative feedback is maintained
at all frequencies, even with the tone controls turned to full boost. Overall distortion is low at all frequencies including
frequencies where maximum boost occurs. The negative feedback also provides the low impedance output required
for the main preamplifier outputs.
CENTER CHANNEL AMPLIFIER
The L + R amplifier consists of a single
transistor connected as a voltage amplifier. Negative feedback is used
around the voltage amplifier to maintain low distortion and provide a low
impedance for the center channel
output.
POWER SUPPLY:
The power supply of the MX 114 has
received very special design attention.
Two separate rectifier circuits are
used. First, a full-wave rectifier supplies D.C. to all audio circuits. The
second full-wave rectifier supplies
D.C. to all tuner and multiplex-decoder circuits.
Both power supplies are very elaborate in design. Specially selected transistors and their associated circuits
have been designed to form two voltage regulators. The regulators use
electronic filtering to insure the lowest possible background hum level,
maximum stability, and extremely
good regulation.
MX 114
5
BLOCK DIAGRAM
TUNER SECTION
POWER SUPPLY
PREAMPLIFIER SECTION
6
SPECIFICATIONS
FM
USABLE SENSITIVITY: Better than 2.5 microvolts at 100%
modulation (±75 kHz deviation) for less than 3% total
noise and harmonic distortion (IHF)
FREQUENCY RESPONSE: ±1 dB (fom 20 Hz to 20,000 Hz
with standard de-emphasis and 19,000 Hz pilot filter
HARMONIC DISTORTION: Mono, less than 0.5% at 100%
modulation ±75 kHz deviation
IMAGE REJECTION: Better than 80 dB at 100 MHz better
than 70 dB at 105 MHz
SPURIOUS REJECTION; Better than 100 dB
CAPTURE RATIO: Better than 1.8 dB
DRIFT: Less than 25,000 Hz
HUM AND NOISE: Better than 65 db below 100% modulation
TUNING INDICATOR: Electron Ray for simple accurate
center of channel tuning
STEREO INDICATOR: Stereo light activated by 19 kHz
carrier only
PREAMPLIFIER SPECIFICATIONS
FREQUENCY RESPONSE: ±0.5 db 20 to 20,000 Hz
DISTORTION: Less than 0 . 1 % at 2.5 volts output, 20 to
20,000 HZ
INPUT SENSITIVITY AND IMPEDANCE: PHONO 1 and
PHONO 2: 2 millivolts at 47,000 ohms for 2.5 volts
output
AUX TAPE: .25 volts at 250,000 ohms for 2.5 volts
output
HUM AND NOISE: PHONO 1 and PHONO 2: 70 dB below
10 millivolt input: equivalent to less than 3 microvolts
at the input terminals
AUX-TAPE: 85 dB below rated output
OUTPUT: MAIN: 2.5 volts with rated input. Up to 10 volts
can be developed without distortion
TAPE: 2.5 volts with rated input
L+ Ft: 2.0 volts with rated Input
OUTPUT IMPEDANCE: MAIN: 200 ohms, designed to
operate into 47,000 ohms or more
TAPE OUTPUT: About 200 ohms, designed to operate
into 47,000 ohms or more
(L + R): About 1,200 ohms, designed to operate into
47,000 ohms or more
SEMICONDUCTOR COMPLEMENT:
3 Field Effect Transistors
26 Silicon Planar Transistors
3 Integrated Circuits and Monolithic Amplifier
13 Signal Diodes
2 Zener Diodes
4 Rectifiers
1 Tuning Indicator — 6HU6
POWER REQUIREMENTS: 117/125 volts, 50.60 Hz, 30
watts.
MECHANICAL SPECIFICATIONS
SIZE: Front panel: 16 inches wide by 51/16 inches high:
Chassis: 15 inches wide by 13 inches deep, including
PANLOC shelf and back panel connectors; Knob Clearance: 1½ Inches in front of mounting panel
WEIGHT: 24 pounds net, 36 pounds in shipping carton
FINISH: Front panel: Anodized gold and black with special
gold/teal panel nomenclature illumination
LOUDNESS: Flat response, or compensated for low listening levels
BALANCE: When program material is out of balance, rotation of the balance control returns the program to
natural balance
VOLUME CONTROL: Precision "tracked" to —60dB so
that proper stereo balance is maintained. AC ON/OFF
switch is coupled with the volume control
TAPE MONITOR SWITCH: Push button; compares recorded tape with program source while recording
VOLTAGE AMPLIFICATION:
AUX, TAPE
To MAIN output 20 dB
To TAPE output 0 dB
PHONO 1, PHONO 2
To MAIN output 62 dB
To TAPE output 42 dB
AC OUTLETS:
1 unswitched (Red)
2 switched
LF FILTER: Flat, or roll-off below 50 Hz, 6 dB per octave,
down 12 dB at 20 Hz
HF FILTER: Flat, or roll-off above 5 kHz, 6 dB per octave,
down 12 dB at 20,000 Hz
INPUT SELECTOR: 6 positions: AUX (auxiliary or spare),
TAPE. AM, FM, PHONO 1, and PHONO 2
CHASSIS: Chrome and black
MOUNTING: Mclntosh developed professional PANLOC
MODE SELECTOR: Pushbutton, STEREO, or MONO
FACILITIES
BASS CONTROL: - 2 0 dB to + 16 dB at 20 Hz. Clutch
coupled controls for independent adjustment of each
channel
SECONDARY CONTROLS
PHASE CONTROL: Electronically reverse phase in the left
channel to correct "out of phase" program sources
TREBLE CONTROLS: ± 2 0 dB at 20,000 Hz. Clutch
coupled controls for independent adjustment of each
channel
DIAL SCALE INTENSITY; Modifies the briteness of the
illumination of the front panel
MUTING ADJUST: Modifies the noise rejection threshold
7
IF YOU'RE IN A HURRY
INPUT SELECTOR
AUX: Any program source requiring flat amplification
is connected to the AUX jacks on the back panel.
TAPE: The output of a tape recorder with its own
electronics is connected to the TAPE jacks on the
back panel.
FM: For listening to the FM section of the MX 114.
PHONO 1: The output of a record player or turntable
is connected to the PHONO 1 jacks on the back
panel.
PHONO 2: The output of another record player or
turntable is connected to the PHONO 2 jacks on
the back panel.
TREBLE: Modifies the high frequency program material to suit your taste. The right channel is the
large knob, the left channel is the small knob.
BASS: Modifies the low frequency program material
to suit your taste. The right channel is the large
knob, the left channel is the small knob.
BALANCE: Adjusts for equal loudness in each channel when the program source has unequal channelto-channel volume.
VOLUME ON/OFF: Turns the MX 114 " O N " and adjusts loudness of the sound.
PUSHBUTTONS:
MODE SELECTOR: Push IN for MONO; OUT for
STEREO.
HF: Push IN: Reduces high frequencies to suppress unwanted record noise, etc.; OUT: Flat
response.
LF: Push IN: Reduces low frequencies to suppress
unwanted rumble; OUT: Flat response.
TAPE: Push IN: Monitor the recorded program
from the tape. Push OUT: Hear the program that
is being recorded.
MUTING: in the IN position the muting is turned on.
Weak stations that may not override noise and
interference are suppressed by the muting to the
OUT position, the muting is turned off. This allows
conventional FM tuning with the noise and interference present. Use this position to tune weak
or noisy stations.
LOUDNESS: Push IN: Adjusts bass as volume is reduced to compensate for average hearing losses
at low volume.
8
INSTALLATION IN A CABINET
To prepare the MX 114 (or installation remove the
plastic protective covering. Turn the MX 114 upside
down so that it rests on its top on the shipping pallet.
Remove the tour plastic feet fastened to the bottom
of the chassis.
If the cutout is to be located from the rear of the panel.
the following steps will help you.
On the back of the cabinet panel, scribe a vertical
centerline through the exact center of the area in which
the cutout is to be made.
Insert the screws in the center holes of the cabinet
panel ("B" holes on the template) and tighten. The
screw head should pull into the wood slightly. (Use two
¾ inch long screws for panels under ½ inch, or two 1¼
inch long screws for panels Vi inch thick and larger.)
Place the template against the back of the panel and
match the template centerline with the centerline on the
cabinet panel.
Make sure that there is at least ¼ inch clearance between the bottom of the dashed line of the cutout area
on the template and any shelf or brace below the proposed cutout.
Mark the two locating holes ("C" holes on the mounting template).
Drill the two locating holes. Be certain the drill is perpendicular to the panel.
Next place the mounting brackets, the parts bag and
the mounting template for easy accessibility.
The professional mounting design eliminates the need
for any shelf or bracket to support the MX 114. It is
completely supported by its own mounting brackets.
Now position the template on the front of the panel by
aligning the " C " locating holes on the template with
the drill holes.
With the template in place against the cabinet panel,
mark the " A " and " B " drill holes and the four small
holes that identify corners of the cutout. Join the corner
marks with a pencil. The edge of the template can be
used as a straight edge.
IMPORTANT: DRILL THE 6 HOLES BEFORE MAKING
THE CUTOUT
Accurately drill the three holes on each side of the cutout area with a 3/16 Inch drill.
With the saw on the INSIDE OF THE PENCIL LINES
carefully cut out the rectangular opening.
Attach the mounting brackets to the cabinet panel using four screws.
Place the template over the mounting
mounting screws should be centered in
' B " holes on the template. The sides of
brackets should match the vertical dash
template. If necessary, loosen the screws
brackets into alignment and retighten.
screws. The
the " A " and
the mounting
lines on the
and push the
Insert the power cord through the opening. Carefully
slide the MX 114 into the opening so the rails on
the bottom of the equipment slide in the track of the
mounting brackets. Continue to slide the instrument in
until the front panel is against the cabinet panel.
At the bottom front corners of the PANLOC instruments
are the PANLOC buttons.
After a PANLOC Instrument has been installed, depressing the PANLOC buttons will lock the instrument
firmly in the installation. Depressing the PANLOC buton a second time (as with a ball-point pen) will release
the instrument. You can then slide the instrument forward to the inspection-adjustment position.
Depressing the Inspection-adjustment position latches
will allow the instrument to be slid completely out of
the installation.
Position the plastic mounting template over the area
of the cabinet panel to be cut out for installation.
The design of the mounting template allows you to
position or locate the cutout from the front or rear of
the panel to which the instrument is to be mounted.
VERTICAL INSTALLATION
Secure the mounting strips to the rear of the cabinet
panel using two screws from the hardware package.
In the hardware packet are two helical springs. Fasten
the springs to the small flanges at the rear of the
PANLOC brackets. The flange has a notch and a hole
to mount the spring. The springs assist In the removal
of vertically mounted PANLOC equipment.
DO NOT USE THE SPRINGS ON HORIZONTALLY MOUNTED EQUIPMENT.
9
CONNECTING THE MX114
CONNECTING A RECORD PLAYER TO
PHONO 1
Connect the "left" channel to the "upper" PH 1 input jack.
Connect the " r i g h t " channel to the
"lower" PH 1 input jack.
PHONO 2 position is used if two record players are used in a system. Connect the "left" channel to the "upper"
PH 2 input jack. Connect the "right"
channel to the "lower" PH 2 input jack.
CONNECTING A TAPE RECORDER TO
RECORD
Connect the MX 114 output jacks
marked TAPE to the high level inputs
of the tape recorder.
CONNECTING A TAPE RECORDER FOR
PLAYBACK
Connect the "left" channel recorder
output to the "upper" TAPE 1 input
jack.
Connect the "right" channel recorder
output to the "lower" TAPE 1 input
jack.
CONNECTING THE MX 114 TO POWER
AMPLIFIERS
Connect the output jacks marked
MAIN to the input of a stereo power
amplifier. The upper jack is connected
to the LEFT amplifier input jack. The
lower jack is connected to the right
amplifier input jack.
The output impedance at the MAIN output is 200 ohms. Longer cables than
are normally supplied can be connected between the MX 114 and the
amplifiers. The length of the cable is
limited by the capacity of the cable.
The total capacity must not exceed
1000 pF. For instance: cables with a
capacity of 25 pF per foot may be 40
feet long; 13.5 pF per foot cable may
be 75 feet long. The input impedance
of the amplifiers should be 47,000 ohms
or greater.
CONNECTING AN FM ANTENNA
Monophonic installations that are satisfactory on an indoor antenna may
require the use of an outdoor antenna
for equivalent results. Satisfactory
stereo requires about 10 times as
much signal from the antenna.
With the MX 114 one of three antenna systems can be used: (1) the indoor dipole supplied with the MX 112,
(2) an outdoor FM antenna, or (3) a
VHF-TV antenna. In fringe areas best
results will probably be obtained with
the use of an outdoor FM antenna. In
many areas the indoor dipole antenna
may be satisfactory. The use of a VHFTV antenna is also effective in many
installations.
CONNECTING AN INDOOR DIPOLE
ANTENNA
The flexible folded dipole antenna (300
ohm) supplied with the MX 114 is for
indoor use in urban or high strength
signal areas.
Connect the two leads from the dipole
to the terminals marked FM ANT (red).
The flexibility of the thin flat wire assembly permits it to be placed under a
rug, tacked behind the stereo . . . or,
placed in any other convenient loca-
tion. In some cases, it may be necessary to "position" the antenna for best
signal reception. This should be done
before it is permanently located or
tacked down.
CONNECTING AN OUTDOOR FM
ANTENNA
An outdoor antenna is recommended
for optimum performance in all areas.
In fringe (outlying) areas, best results
will be obtained with a highly directional FM antenna used in conjunction
with a rotator. Rotate the antenna until the best reception is obtained. Connect the 300 ohm antenna to the terminals marked FM ANT (red).
CONNECTING A 75 OHM COAXIAL
ANTENNA
An unbalanced 75 ohm antenna can be
connected to the MX 114 with coaxial
cable. Connect the center conductor
to the left FM ANT (Red) connector.
The shield is connected to the GND
(black) connector.
The Mclntosh designed balun matches
the 75 ohm input to the tuner for optimum performance.
AC OUTLETS
There are 2 black AC outlets and one
red AC outlet. The power to the black
AC outlets is controlled by the front
panel switch. Use these outlets for a
tuner, tape recorder, etc. The red recepticle is on at all times. Use the red
outlet for a turntable or record changer.
The turntable is protected by this arrangement. It is necessary to turn off
the turntable or record changer with
its own AC switch.
CONNECTING THE MX114
11
USING THE FRONT PANEL CONTROLS
INPUT SELECTOR
INPUT SELECTOR: Selects any one of
six program sources:
AUX: Any high level program source requiring flat amplification, such as a television set, is connected to the input stage
of the MX 114 in the AUX position. The
gain is 20 dB to the MAIN outputs. The
gain is 0 dB to the TAPE outputs.
TAPE: Any self-contained tape machine
(tape machine having its own playback
preamplifier) is connected to the high
level input stage of the MX 114 in the
TAPE position. Has flat amplification. The
gain is 20 dB to the MAIN outputs. The
gain is 0 dB to the TAPE outputs.
FM: Connects the FM tuner portion of the
MX 114 to the output jacks.
PHONO 1: Connects the back panel jacks
(PH 1) to the MX 114. The amplification
has been compensated for magnetic
phono cartridges. The gain is 62 dB to
the MAIN outputs and 42 dB to the TAPE
outputs. The input impedance is 47,000
ohms.
PHONO 2: Connects the back panel jacks
(PH 2) to the MX 114. The amplification
has been compensated for magnetic
phono cartridges. The gain is 62 dB to
the MAIN output and 42 dB to the TAPE
outputs. The input impedance is 47,000
ohms.
12
BASS
The BASS is a concentric control. The
large outer knob controls the low frequency response in the right channel.
The small center knob controls the low
frequency response in the left channel.
The two knobs are friction coupled. This
permits them to be adjusted together or
independently. Clockwise rotation increases lows and counterclockwise decreases lows. Position the control to the
center position for flat response.
TREBLE
The TREBLE is a concentric control. The
outer knob controls the high frequency
response in the right channel. The small
center knob controls the high frequency
response in the left channel. The two
knobs are friction coupled. This permits
them to be adjusted together or in dependently. Clockwise rotation increases
highs and counterclockwise decreases
highs. Flat is the center position.
BALANCE
The BALANCE control adjusts for unequal volume in either the left or right
channels. The volume of each channel
can be varied relative to each other without affecting their combined loudness
LEFT . . . turning the control to the left
accents the left channel by reducing the
right channel output.
RIGHT . .. turning the control to the right
accents the right channel by reducing
the left channel output.
VOLUME ON/OFF
Turning the VOLUME totally counterclockwise turns the MX 114 OFF. The
VOLUME control regulates the loudness
in both channels. The VOLUME control
has been precision tracked through out
the listening range (0 to -65dB) for acccurate stereo balance.
PUSHBUTTONS
MODE SELECTOR: STEREO: The left
c h a n n e l is heard f r o m the left l o u d speaker and the right channel is heard
from the right loudspeaker.
MONO (L + R): The left and right channels are added together and are heard
from both loudspeakers.
LF FILTER: With the push button pushed
in the low frequency response is attenuated below 50 Hz. The slope is 6 dB per
octave. Use of the LF filter reduces unwanted low frequency noise such as
rumble. With the push button released,
the response of the MX 114 is flat.
HF FILTER: With the push button pushed
IN the high frequency response is attenuated above 5 kHz. The slope is 6 dB per
octave. Use of the HF filter reduces unwanted high frequency noise like hiss or
scratch. With push button released, the
response of the MX 114 is flat
TAPE: The TAPE push button is used to
monitor tape as it is being recorded. With
the push button IN, the recorded tape is
heard. Release the button and the program being recorded is heard. Instantaneous comparison of recorded material
and the program source is provided by
the use of the TAPE push button.
IMPORTANT: When the MX 114 is operated with the TAPE push button in the
IN position, signal from any other source
will not be heard from the loudspeakers.
When not in use make sure the push button is in the "OUT" position.
MUTING: Muting suppresses the background noise and hiss normally heard
between stations. With the control in the
IN position the muting is turned on. Weak
stations that may not override noise and
interference are also suppressed by the
muting. In the OUT position, the muting
is f u m e d off. This allows conventional
FM tuning with the noise and interference present. Use this position to tune
weak or noisy stations.
LOUD: When the volume is reduced, the
music will seem to lose much of its bass
and some of its treble. This effect is due
to the sensitivity characteristic of human
hearing. The response of the human ear
to bass and treble pitch decreases more
rapidly than its response to notes centered in the mid-tonal range. The LOUD
control automatically provides the correct amount of bass and treble boost required to compensate for this change in
response of the human ear at low-loudness levels. The LOUD converts the volume control to a loudness compensated
control. Use the LOUD IN to listen at low
v o l u m e and still hear f u l l - f r e q u e n c y
range.
PANLOC
Mclntosh developed PANLOC mounting
brings professional installation technique to stereo. Depressing the PANLOC
buttons (as with a ball point pen) will
release the instrument. It can then be slid
forward to the "adjustment" position. In
the "adjust" position the top panel controls PHASE, MUTING and DIAL SCALE
INTENSITY can be adjusted.
13
BALANCING YOUR STEREO
The performance and enjoyment of a stereo system
is greatly increased when the system is properly
balanced. Three of the factors that effect proper
stereo balance are:
1. Balance of the entire system.
2. Proper phase in both channels.
3. Equal program loudness.
SYSTEM BALANCE
The balance of the stereo system is affected by
many things including room acoustics, furniture placement, room shape, small differences
in loudspeakers, etc.
TO ADJUST PHASE
1. Set the MODE switch to MONO.
2. Stand about 10 feet in front of and midway
between the loudspeakers. The sound
should appear to come from directly in front
of you. Have someone switch the PHASE
switch. If the sound is not directly in front of
you with the PHASE switch in the 0 NORMAL position, reverse the leads on one
loudspeaker. When the sound comes from
the midpoint between the speakers they are
in PHASE.
1.
2.
3.
4.
14
TO BALANCE LOUDNESS
Set the MODE to MONO.
Play a familiar recording.
Turn the BALANCE control to the 12 o'clock
position.
While the program is playing, stand between the
two loudspeakers. Listen to see if there is a difference in loudness from either speaker. Balance the system by adjusting the controls on
the power amplifiers. Next, set the MODE selector to STEREO. If there is then a difference,
turn the BALANCE control toward the speaker
that is not as loud. Do this until you find that
point where the sound is equally loud from both
speakers.
USING YOUR STEREO
USING YOUR
LISTENING TO A STEREO RECORD
1. Turn the INPUT SELECTOR to PHONO 1 or
PHONO 2. whichever is connected to the record
player you wish to hear.
2. Make certain the MODE PUSHBUTTON is in the
OUT or STEREO position.
3. Adjust the VOLUME control to desired volume.
LISTENING TO A MONOPHONIC RECORD
1. Turn the INPUT SELECTOR to PHONO 1 or
PHONO 2, whichever is connected to the record
player you wish to hear.
2. Push the MODE pushbutton IN to MONO.
3. Adjust the VOLUME control to desired volume.
LISTENING TO A STEREO TAPE RECORDER
The TAPE input is used:
1. Turn the INPUT SELECTOR to TAPE.
2. Set the MODE pushbutton to STEREO or MONO,
depending on the program on the tape.
3. Adjust the VOLUME control to desired volume.
To monitor while recording, the tape recorder
must have separate record and playback heads.
The TAPE pushbutton permits monitoring the
tape recordings while in the process of recording. When the TAPE pushbutton is in the IN
position it will play the sound from the tape as it
passes the playback head, a moment after it is
recorded. The recording process continues as
usual. When the TAPE pushbutton is in the OUT
position the program being recorded is heard.
LISTENING TO FM or FM STEREO
1. Turn the INPUT SELECTOR to FM.
2. Adjust the volume to a comfortable level.
3. Rotate the tuning knob to the station of your
choice.
The MX 114 uses a new Mclntosh developed automatic mono-stereo switching circuit. The switching is electronic without
switching clicks or transients.
The circuit switches smoothly and silently
when the 19KC multiplex carrier is present.
When the STEREO indicator is lit, the station is broadcasting a 19KC carrier. This
signal causes the automatic circuit to
switch the MX 114 to stereo. If a station
is broadcasting monophonic FM program,
the STEREO indicator will remain off and
the tuner will automatically switch to
mono. The ultrasonic muting circuit suppresses all noise between stations. It suppresses all weaker stations not strong
enough to override the background noise.
The muting threshold setting determines
the strength of the signal which can be
heard with muting in operation. The muting
threshold is carefully adjusted to optimum
at the factory. Casual adjustment of the
muting threshold is not recommended.
While tuning you may notice that the tuning indicator will show a station yet no program is heard from the speakers. The muting circuit in the tuner is rejecting the station because there is objectionable noise
with the weak signal from the station. Push
the MUTING pushbutton to the OUT position and the station will be heard. Most
programs that can be tuned in this manner
are of poor quality due to interfering noise.
15
Your MX 114 stereo preamplifier FM tuner will give you many years of
pleasant and satisfactory performance. If you have any questions concerning operation or maintenance please contact the dealer from whom you
purchased this instrument or: —
CUSTOMER SERVICE
GUARANTEE
Mclntosh Laboratory Incorporated guarantees this equipment to be
capable of performance as advertised. We also guarantee the mechanical and electrical workmanship and components of this equipment to be free of defects for a period of 90 days from date of
purchase. This guarantee does not extend to components damaged
by improper use nor does it extend to transportation to and from
the factory.
Mclntosh Laboratory Inc.
2 Chambers Street
Binghamton, N. Y. 13903
Our telephone number is
607-723-3512
3 YEAR FACTORY SERVICE CONTRACT
An application for a FREE 3 YEAR FACTORY SERVICE CONTRACT
is included in the pack with this manual. The FREE 3 YEAR FACTORY SERVICE CONTRACT will be issued by Mclntosh Laboratory
upon receipt of the completely filled out application form. The terms
of the contract are:
1. Transportation charges are excluded.
2. This agreement is given to the original purchaser only and is
not transferable.
3. The application for the contract must be filled out completely.
4. If the instrument has been modified or damaged by unauthorized repair the contract will be cancelled.
5. To receive free service, the contract must be presented to the
factory authorized service agency, when the equipment is presented for repair.
If the application is not received at Mclntosh Laboratory, only the
service offered under the standard 90 day guarantee will apply on
this equipment.
16
TAKE ADVANTAGE OF 3 YEARS OF FREE FACTORY
SERVICE BY FILLING IN THE APPLICATION NOW
MX 114
MclNTOSH LABORATORY INC.
2 CHAMBERS ST., BINGHAMTON, N. Y. 13903
607-723-3512
Design subject to change without notice.
Printed In U.S.A.
038-318
Was this manual useful for you? yes no
Thank you for your participation!

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

Download PDF

advertisement