Marantz 2226B Handbook Of Instructions

Model 22268
Stereophonic
Receiver
PREPARATION FOR USE
e MECHANICAL INSTALLATION
The Model 2226B Stereo Receiver can be installed
in two basic ways: In a beautiful walnut veneer
cabinet for placement on a table or shelf, or
mounted in your own cabinetry or custom
installation.
e MARANTZ WALNUT VENEER CABINET
An optional walnut veneer cabinet, Model WC-
122, may be obtained from your Marantz dealer.
The case provides for proper ventilation, and can
be placed on furniture, or on a bookshelf. Com-
plete instructions for installation are provided
with the WC-122.
* CUSTOM INSTALLATION
When planning a custom installation, allow ade-
quate spacing between the Model 2226B, cabinet
surfaces, and other components for adequate
ventilation.
To install the Model 2226B Stereo Receiver in a
custom cabinet, cut an opening 16-7/8 inches
wide by 5-1/8 inches high. Since the front panel
of the Model 2226B is larger than the cutout, it
will neatly hide the edges of the cut. Remove the
plastic feet from the bottom of the unit and slide
it through the opening. To support the weight of
the Model 2226B, adequate bracing across the
rear of the cabinet must be located to provide
contact with the rear of the unit.
1
Figure 1 Rear Panel Connection Facilities
CONNECTING THE
MODEL 2226B
Figure 1 shows the location of input and out-
put jacks on the rear panel. These jacks are for
“permanent” connections. Front panel jacks and
their use will be discussed later.
All connections to the rear panel should be
made with the power to the entire system turned
off. The rear panel signal connections are arranged
in stereo pairs. All signal connections to the Model
2226B, with the exception of the FM antenna
and loudspeakers, should be made with shielded
audio cables. To avoid confusion, connect one
cable at a time between the 2226B and the other
components of your system. This is the safest
way to avoid cross-connecting channels or confus-
ing signal sources with destinations.
® PHOND INPUTS
The PHONO jacks are intended for use with mag-
netic phono cartridges and have a 47,000 ohm
input impedance. A
If a hum is heard when playing records, this Is
an indication that the record player or its connec:
tions are incorrectly grounded. Connect a separate
ground wire from the turntable or record changer
frame to the CHASSIS GROUND binding post of
the Model 2226B. If this is ineffective, try revers:
ing the polarity of the turntable s power plug.
If hum persists, consult the instruction booklets
for the turntable and/or phono cartridge.
Figure 2 FM Antenna Connection
® TAPE JACKS
TAPE 1 MONITOR IN—The pair of TAPE 1
MONITOR IN jacks serve two purposes:
1. By depressing the TAPE 1 MONITOR push-
switch, signals can be played from a tape
recorder set for playback mode of operation.
This permits playing the tape source stereo-
phonically or monophonically as indicated by
the position of the MONO pushswitch.
2. While your tape recorder is recording, you can
monitor the resulting tape quality by depress-
ing the TAPE 1 MONITOR pushswitch. This
requires that your recorder be equipped with
separate record and playback heads and sepa-
rate record and playback electronics.
TAPE 2 IN—The signals from your tape recorder
connected to the TAPE 2 IN jacks can be played
hack when the SELECTOR switch is placed in the
TAPE 2 position and the TAPE 1 MONITOR
switch is released. In addition, these jacks allow
tape copying from TAPE 2 to TAPE 1. The result-
ing recording can be monitored by depressing the
TAPE 1 MONITOR pushswitch. |
TAPE 1 MONITOR & TAPE 2 OUT—Connecting
these jacks to the line inputs of a tape recorder
permits recording from the program source indi-
cated by the SELECTOR switch. The signals
available at this pair of jacks are not affected by
the BALANCE, VOLUME, TREBLE, MID, BASS,
HI FILTER, LOUDNESS, and MONO push-
switches on the front panel.
Figure 3 AM Ferrite-rod Antenna
® AUX INPUTS
The AUX INPUT jacks are for miscellaneous high
level signal sources such as additional tuners
and/or receivers, tape players, phonographs that
provide RIAA equalized high level output, TV
sound outputs and other external component.
® FM ANTENNA
Included in the accessory kit is a ribbon-type
"folded dipole” FM antenna. This type of antenna
is simple and practical and will give adequate
results in primary signal areas. To use it, unfold it
into a ‘’T”’ shape and connect its leads to the ter-
minals marked 3002 on the back of the receiver
(See Figure 2). The antenna is designed to operate
in a horizontal position. Temporarily (for the pur-
pose of getting started) attach it to a nearby wall.
As shown in Figure 2, the Model 2226B is also
capable of accommodating other types of cable,
including 75-ohm coaxial cable (with or without
“F"-type connector), and 300-ohm shielded trans-
mission line. These types of cable are for use with
outdoor antennas, which will be discussed next.
OUTDOOR FM ANTENNAS
As stated before, the supplied folded dipole an-
tenna will give satisfactory results in primary sig-
nal areas. It should be obvious, however, that if
you are located in a fringe area where signals are
weak, then an outdoor antenna will be necessary.
Even if you live in a strong signal location, an out-
door directional antenna may be needed to elimi-
nate “multipath” reflections.
— SPEAKER SYSTEMS
n SYSTEM |
Г - = === 055
CENTEÍS
FOCAL
POINT
www.semshred.com esse RIGHT
SPEAKER SYSTEM 2
Figure 4 Loudspeaker System Connections
distances longer than 30 feet, use #16 gauge wire
or heavier.
e SPEAKER PHASING
: T re the best stereo separation and frequency
sic must be properly phased.
al EP a —
a | Maá22203
SIMPLIFIED OPERATING
PROCEDURES
When operating the Model 2226B Stereo Receiver
for the first time, follow these simple directions.
Later, full advantage can be taken of its versatility
with the remaining controls and pushswitches.
Step 1. Connect the FM antenna to the appro-
priate terminals on the rear panel.
Connect the speakers to the SYSTEM 1
speaker terminals.
Step 2.
ri A
Step 3. Place all pushswitches in the out
position.
Turn the VOLUME control all the way
to the left (counterclockwise) and set
the BALANCE control in center position.
Rotate TREBLE, MID and BASS controls
to the 12 o'clock position (each pair of
pointers to dot).
Depress the SYSTEM 1 speaker push-
switch.
Step 4.
Step 5.
Step 6.
Step 7. Apply system power by depressing the
POWER switch.
Select the desired program source by set-
ting the SELECTOR switch to the appro-
priate position. If FM or AM is selected,
rotate the GYRO-TOUCH TUNING knob
until the desired station is tuned. Adjust
the volume control to a comfortable
listening level.
Step 8.
i" oo
"pra a TR 1e
Figure 5 Front Panel Controls and Jack
MAIN CONTROLS
AND SWITCHES
e POWER SWITCH
The POWER switch, when depressed, supplies AC
power to the Model 2226B and to the SWITCHED
outlet on its rear panel.
e SELECTOR SWITCH
The SELECTOR switch selects the program source
for listening or recording. If a tape recorder s play -
back output has been connected to the TAPE 2
IN jacks on the rear panel, you can select tape
listening by rotating the SELECTOR switch to
the TAPE 2 position.
e VOLUME CONTROL
The VOLUME control adjusts the level of both
output channels simultaneously while maintaining
stereo balance at all normal settings. It does not
affect the recording outputs.
e BALANCE CONTROL
This control alters the level of either output
channel in situations where it is necessary to
correct unbalanced programs sometimes encount-
ered in older stereo recordings or in stereo broad-
casts. As it is moved from its center position,
it decreases the level in one output channel
while maintaining the level in the other channel.
e BASS, MID AND TREBLE CONTROLS
The three tone controls, BASS, MID and
TREBLE, adjust the normally “flat” frequency
response of the Model 2226B to suit individual
listening preference.
The BASS control adjusts the low frequency
6
tones, the MID control adjusts the middle
frequency tones, and the TREBLE control adjusts
the high frequency tones.
These controls may be adjusted to compensate
for unbalanced room acoustics. The tone controls
have no effect on the signals present at the
TAPE 1 or TAPE 2 output jacks.
| e TUNING METERS
The Model 2226B is equipped with two meters, a
SIGNAL STRENGTH meter and a TUNING
meter,
1. TheSIGNAL STRENGTH meter indicates the
relative signal strength of any AM or FM
broadcast.
2. The TUNING meter operates on FM only and
indicates correct center tuning of the station.
e GYRO-TOUCH TUNING KNOB
AM: — Switch the SELECTOR to AM and tune
to the desired station. Then rotate the GYRO-
TOUCH TUNING knob slightly back and forth
until the maximum reading is obtained on the
SIGNAL STRENGTH meter. The FM TUNING
“meter is not used for AM.
Y Switch the SELECTOR to FM and tune
E desired station. Then slowly rotate the
G ‘RO ЕН TUNING knob slightly back and
О! Maximum reading is obtained on the
55H L STRENGTH meter and the FM TUN-
ING m с meter points to the center scale position.
nul: iplex section of the Model 2226B is
with ‘electronically triggered circuits
ite interstation noise and automatically
ЛЕ proper mode of operation for stereo
nic 8 FM ‘broadcasts. In addition, the
ator light automatically indicates
| ï
|
ee FM broadcast, connect a
tion adapte r between the TAPE
TECLA E le
or the SYSTEM 2 stereo pair of loudspeakers may
be operated individually, or simultaneously if
both switches are depressed, When the two
SPEAKER SYSTEM switches are in the normal
“gut” position, all loudspeaker terminals are
internally disconnected from the power amplifier
section. The signal at the PHONES JACK is not
affected by the SPEAKER SYSTEM switches.
The “out” position allows “private listening”
when stereo headphones are used.
NOTE
Volume level should be reduced to minimum when
switching speakers.
|
|
e PHONES JACK
This jack accepts headphones utilizing a standard
three conductor phone plug (see Figure 6). It is
internally connected to the power amplifier sec-
tion through isolation resistors to provide adequate
sound level with popular low impedance head-
phones as well as with high impedance units. Two
or more sets of headphones may be used with the
aid of “Y” connectors. However, output level will
drop as additional headphones are added. The
headphone jack output is not affected by the
SPEAKER SYSTEM switches.
e FM MUTING SWITCH
When tuning to FM broadcasts with the FM MUT-
ING switch in its “in” position, the muting circuit
will eliminate interstation noise. To prevent mut-
Ing very weak stations along with the noise, the
muting action may be switched off by de
the FM MUTING pushswitch.
® LOUDNESS SWITCH
The LOUNDNESS switch po Е human
hearing characteristics by boosting the E oe _ соот
treble response at low volume levels to @
more реза, E HE NL
en lr с
e HI FILTER SWITCH
This switch can be used to reduce high frequency
noise such as that associated with the playing of
poorly recorded tapes or worn disc recordings.
When the AM tuner is being used, this switch will
help to suppress considerably the high pitched
“whistle” caused by adjacent AM channel inter
ference. This filter will also, along with high fre-
quency noise, slightly attenuate high frequency
program material, and should therefore be used
judiciously.
e MONO SWITCH
When a marginal stereo signal is received, random
noise and phase modulation may cause the tuner's
multiplex circuitry to trigger the STEREO mode
intermittently. In this case, it is sometimes desira-
ble to cancel the multiplex operation entirely in
favor of obtaining a more listenable signal. The
MONO switch performs this function and converts
all output signals to the MONOPHONIC mode.
While playing a single channel source such as TV,
depress the MONO pushswitch to hear the source
through both speakers. When playing a mono-
phonic phonograph record, use this pushswitch
to suppress rumble, record surface noise, and
pinch effect distortion.
® TAPE 1 MONITOR SWITCH
When this pushswitch is “out”, the program being
recorded and heard is determined by the setting
of the SELECTOR switch. With the TAPE 1
MONITOR pushswitch “in”, the amplifier input
connections are switched to the output of the
tape recorder without affecting the signal
presented to the tape recorder's input, thus allow-
ing you to listen to the signal being recorded
before and after recording. This switch is also
known as the TAPE-SOURCE switch.
Ed e 19
TAPE RECORDING
AND DUBBING
® RECORDING
The program source selected by the SELECTOR
switch may be recorded onto either tape recorder,
When the SELECTOR switch is set to TAPE 2,
however, the TAPE 2 OUT jacks are muted to
prevent feedback oscillations that would occur if
tape recorder 2 were inadvertently placed in the
record mode,
e DUBBING
A tape played on tape recorder 2 may be copied
on to tape recorder 1. Set the SELECTOR switch
to TAPE 2. To monitor tape recorder 1 as it is
being recorded, depress the TAPE 1 MONITOR
switch. To monitor the source (which is, in this
case, tape recorder 2), release TAPE 1 MONITOR
switch. Either tape or source can be monitored
without disturbing the actual recording process.
® RECORDING DOLBYIZED FM PROGRAMS
Dolbyized FM broadcasts contain Dolbyized
audio information to which a special pre-emphasis
is applied for the purpose of improving the noise
reduction process. To make a Dolbyized tape
recording of such a broadcast, depress the FM 25
HS switch to properly de-emphasize the signal,
but bypass the noise reduction adaptor to record
the Dolbyized audio directly onto the tape. This
can be done by switching the Noise Reduction
switch to “OFF” if the Dolby adaptor is so
equipped, or by connecting the TAPE OUT jacks
of the 2226B directly to the LINE IN jacks of the
tape deck.
The inputs to the tape recorder in this application
must be properly calibrated beforehand according
to the procedure detailed in the Dolby unit's
instruction booklet. To achieve proper calibration,
it is necessary that the record level control on the
Dolby unit be adjusted to the proper Dolby level
by use of the reference tone transmitted by the
FM station.
For monitoring purposes, connect the Dolby unit
between the line outputs of the tape recorder and
the TAPE IN jacks on the 2226B.
When using a tape recorder containing a built-in
FM 25 uS de-emphasis circuit, a better signal-to-
noise ratio can be achieved by using only the FM
25 uS circuit in the Model 2226B instead of the
facilities in the tape recorder. Do not sm
emphasis circuits io te
ER EE m
TECHNICAL
DESCRIPTION
e GENERAL
Figure 7 is a block diagram of the Model 2226B
Receiver showing the main functional elements
and input and output signal routing. For clarity,
only the left audio channel is shown; the right
audio channel is identical. The MONO switch is
common to both channels, All audio controls are
ganged to their counterparts in the right channel.
e FM FRONT END
FM antenna signals are applied through the
antenna coil to the dual gate MOSFET RF ampli-
fier. The signals from the RF amplifier are fed
through the tuned RF tank circuit to the mixer
stage where the carrier frequency is converted to
the 10.7 MHz intermediate frequency. It is then
fed to the input of the |F amplifier.
Careful attention to the thermal and electrical
characteristics of the local oscillator has minimized
drift, thus eliminating the necessity for AFC.
® FM IF AMPLIFIER
The FM IF amplifier system is composed of one
IC expressly developed for FM IF use, plus one
transistor and three dual-element ceramic filters.
The IC includes a complete |F amplifier, limiter
stages, FM discriminator, and a 6-stage double
ended type differential amplifier providing excel-
lent AM rejection.
The FM discriminator is a quadrature type
detector composed of a doubly balanced demo-
dulator which yields high linearity and low distor-
tion of audio signals.
The characteristics of ceramic filters are ideal in
that the 200 kHz passband is phase linear, with
sharp cutoff slopes. Its exceptional phase linearity
assures the elimination of a major source of high
frequency distortion end a loss af stereo separa-
tion. The sharp cutoff slopes provide outstanding
selectivity, permitting reception of closely spaced
stations.
® FM STEREO DEMODULATOR
The stereo composite signal obtained from the
quadrature detector is fed to the MPX IC. The L
and R signal outputs from the MPX IC are applied
through the low-pass filter and the de-emphasis
circuit to the one (per channel) transistor ampli-
fier, The output (about 1100 mV) obtained from
this amplifier is fed to the L and R output termi-
nals at the rear panel through the SELECTOR
switch,
This stereo demodulating IC employs a PLL
(Phase Locked Loop) technique, whereby the
phase of the 38 kHz switching carrier signal in the
decoder is constantly interlocked with the phase
of the 19 kHz input pilot signal. Phase shift of the
switching carrier (38 kHz) is thereby eliminated
and deterioration of separation and distortion
does not occur,
The stereo demodulating 38 kHz carrier switching
signal is very clean with no even harmonic con-
tent. SCA rejection of approximately 80 dB is
obtained since resonant beats are not generated
between the second harmonic (76 kHz) of
the 38 kHz carrier switching signal and the SCA
signal (67 + 7 kHz).
The low pass filter and de-emphasis network have
been carefully designed so that a flat frequency
response is obtained up to 15 kHz on the audio
band. The phase locked loop IC MPX stereo
demodulator is equipped with a separate auto-
matic Stereo/Monaural switching circuit.
This circuit examines the input signal intensity
and activates the stereo demodulator circuit and
the STEREO indicator lamp automatically when
a 19 kHz pilot signal is present and when the
input signal is strong enough to provide quality
stereo reception.
When the input signal strength is below the
threshold level, the FM stereo broadcast is pro-
cessed as a monaural signal. Improved signal-to-
noise ratio is thus obtained in the MONO mode
during low signal levels.
® MUTING CIRCUIT
If there is no antenna signal present, any FM
tuner will generate some noise. The muting circuit
eliminates this noise. In addition, spurious noise
that is generated while tuning is also removed.
The muting circuit in the Model 2226B is inte-
grated into the IF stage. The circuit is also
designed to minimize popping noises which are
generated when muting is switched in and out.
|
E
e AM TUNER
The AM tuner section of the Model 2226B 15
composed of an IC (incorporating an RF amplifier,
local oscillator, mixer, IF amplifier, and detector)
and a one transistor audio amplifier, which ampli-
fies the detected audio signals. A two section
variable capacitor is used to tune the antenna and
mixer stages. The ceramic filters utilized in the
AM IF amplifier are designed for high selectivity
for interference-free high quality AM reception.
Following the AM IF amplifier, the AM detector
recovers the audio modulation and presents this
signal to the audio amplifying stage and the mode
selector switch. The AM tuner and IF amplifier
are subjected to the action of an effective auto-
matic gain control circuit which maintains a
constant volume level for all stations in the AM
band.
e SELECTOR SWITCH
The Model 2226B has the capability to operate
from a variety of program sources, such as AM or
FM broadcasts, turntable (PHONO), tape player,
or any other source capable or providing 200 mV
output level (AUX). The SELECTOR switch con-
nects the inputs of the TONE control amplifier to
the desired source.
® TAPE 1 MONITOR SWITCH
The TAPE 1 MONITOR switch selects between
the source and TAPE 1 MONITOR IN jacks.
When the TAPE 1 MONITOR switch is in its nor-
mal “out” position, the preamplifier receives its
input from the SELECTOR switch. When the
TAPE 1 MONITOR switch is depressed, the pre-
amplifier receives its input from the TAPE 1
MONITOR IN jacks.
® PHONO EQ AMPLIFIER
Phono signals of up to 100 mV can be handled
without overloading. The equalization network
provides precise equalization to the RIAA stand-
ard and sets the voltage gain of the phono pre-
amplifier to 40 dB (at | kHz).
® MONO FUNCTIONS
When the MONO pushswitch is in the “in” posi-
tion, the two channels are connected together
through mixing resistors. In addition, the left and
right channel tape input signals are connected
together through the same resistor network. This
facility allows all inputs to be converted to the
~~ monophonic mode.
e]
ESPE ES ET
e CONTROL CIRCUITS
The control circuits portion of the Model 22268
consists of the BALANCE, VOLUME, BASS,
MID. TREBLE, and HI FILTER controls. All
controls affect the left and right channels simul-
taneously. With the controls set for flat response
and VOLUME control at maximum, the overall
voltage gain from any high-level input to the loud-
speaker terminals is approximately 38 dB.
e BALANCE CONTROL
The change of alternation in each channel as the
control is moved from center has been designed
to decrease the level in one output channel while
maintaining the level in the other channel.
e VOLUME CONTROL
The VOLUME control attenuates both channels
simultaneously. Since the control is situated at
the input of the tone amplifier, there is no possi-
bility of over-loading the amplifier stages under
maximum rated output conditions. Thus, distor-
tion is kept to a minimum. After attenuation by
the BALANCE and VOLUME controls, the
signal is applied to the tone control amplifier.
e TONE CONTROL AMPLIFIER
The TONE CONTROL AMPLIFIER's circuitry
uses a continuously variable negative feedback
type configuration for lowest distortion. The sig-
nal from the TONE CONTROL AMPLIFIER
feeds the Hi filter circuit when the HI FILTER is
activated.
® AMPLIFIER
The amplifier section of the Model 2226B is a
direct coupled, full complementary circuit. It
utilizes current limiting and thermal compensation
circuits to provide safe, highly stable operating
conditions. The silicon output devices used in the
power amplifier section provide a large collector
dissipation margin.
MAINTENANCE
e CLEANING
The satin gold anodized finish of the knobs and
heavy aluminum front panel will last indefinitely
with proper care and cleaning. NEVER use scour-
ing pads, steel wool, scouring powders, or harsh
chemical agents, such as lye solution. These will
mar the finish. Clean with a soft, lint-free cloth or
cotton swab slightly dampened with a mild solu-
tion of detergent and water.
e FUSE REPLACEMENT
The Model 2226B is protected by a 2 amp 250 V
fuse. In the event the fuse blows out, replace it
ONLY with a fuse of the same type and rating.
Replacement with a fuse of higher rating will
not protect the instrument and will void the
warranty.
Before replacing the fuse, turn the power off. If
the replacement fuse blows out within a short
time after power is turned back on, refer the
problem to an authorized service facility.
e IN CASE OF DIFFICULTY
should you experience difficulties when operat-
ing your system for the first time, and you have
followed the procedure outlined in the ‘’Simpli-
fied Operating Procedures”, use of the following
data will help you correct or isolate the problem.
If these hints fail to remedy the situation, refer
the problem to your nearest authorized service
facility.
Receiver does not operate, and dial lamps do not illumi-
nate
1. Make sure power cord is properly connected.
2. Check AC line fuse; replace if necessary (the
unit should be OFF when replacing fuse).
Receiver does not operate, but dial lamp is on.
kK a. of controls such as SELEC-
; ONITOR, SPEAKERS swi
VOLUME, etc. AUD:
Turn off POWER and check connection of
cables from turntables, tape decks, speakers,
and other equipment. Make sure eaker wi
,
are not shorted together. a hol
Receiver operates in one channel only.
; gor my of BALANCE control.
» !Urn Off system power and trans
right) the speaker cables at de es
SYSTEMS terminals. If opposite channel
becomes inoperative when turned back on
either the cable or speaker is at fault. :
e ARA
No FM reception.
1. Release FM MUTING switch,
9 Connect FM antenna.
FM reception sounds scratchy or raspy.
1. Make sure FM antenna is connected properly.
2. Try re-orienting FM antenna.
3. Determine if you are in a poor reception area.
If so, refer to "OUTDOOR FM ANTENNAS"
section.
AM reception poor.
1. Swing out AM Ferrite-rod antenna on rear
panel.
Re-orient the AM ferrite-rod antenna.
Determine if other components in your sys-
tem, appliances, or fluorescent lights are caus-
ing interference.
2.
3.
4. Try an outdoor AM antenna. See ‘’OUT-
DOOR AM ANTENNA" section.
Loud hum in phono.
1. Check to see that phono plugs and jacks are
clean and properly connected.
2. Try connecting turntable ground wire (usually
colored green) to CHASSIS GROUND post
on rear panel of receiver.
3. If ground wire is already connected, try dis-
connecting it.
4. Make sure phono cartridge is wired properly
and making good contact with terminals in
tone arm.
RIN ATT
ел
EC TI
1 5 r L En
ETS
most competent and qualified service
achnicians should be allowed to service the
; 22268. The Marantz Company and its
tory-trained warranty station personnel have
3 ledge and special equipment needed
É “out and calibration of this precision
Е Г N Rn
Rh
ro A
are и
|
A
e event of difficulty, call the toll free tele-
ie number listed on the back of the Warranty
tain the name and address of the Marantz
orized Service Station nearest your home or
ess. In many cases, the dealer where you
sed your Marantz unit will be equipped to
Tm BT ee
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® REPACKING FOR SHIPMENT
Should it become necessary to repack your Model
2226B for shipment to the factory, to an author-
ized service station, or elsewhere, please observe
the following precautions:
Do not ship the unit installed in its accessory
walnut cabinet; remove the unit from the
cabinet before packing.
Pack the unit carefully, using the original
material as shown in Figure 8.
PLEASE NOTE that if you have discarded,
lost, or damaged the packing material, new
packing material may be obtained by writing
to the Marantz Technical Services Department.
The carton, its fillers, and packing instructions
will be returned to you at a nominal charge.
Ship via a reputable carrier (do not use Parcel
Post) and obtain a shipping receipt from the
carrier.
Insure the unit for its full value.
Be sure to include your return address on the
shipping label.
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MODEL 22268 TECHNICAL SPECIFICATIONS
AMPLIFIER SECTION
RATED POWER OUTPUT, MINIMUM
CONTINUOUS AVERAGE POWER PER
CHANNEL, BOTH CHANNELS DRIVEN...................eeereerreerecerrereeerereres—e 26W
1 ninieeeoriaconereonoroorarrorercrrióo retener: 20Hz to 20kHz
TOTAL HARMONIC DISTORTIOÓN................—.ce.rern=eooasonerrorecarearerrrerenea 0.1%
BE PENAÁNCE ....i.eoeeeie:riri:iorenecioorooccorareoocaaneorrecarerirrreres 8 OHMS
RATED POWER OUTPUT MINIMUM
CONTINUOUS AVERAGE POWER PER
N 33W
EE iar arate nad 20Hz to 20kHz
TOTAL HARMONIC DISTORTION......................e.e.....e-eeecexecaracroerenenees 0.1%
E UN eg en nl 4 OHMS
I.M. Distortion
(|.H.F. method, 60 Hz and 7 kHz mixed 4:1 at rated power output)
At 5 Glan load impedane® aaa radar ee aaa ETES TUE EN 0.1%
4 oh load impedanee AAA AA REE EE EE 0.1%
Da TT TN 45
U 1.5 \
Impedance fat MAIN IN] .....e..eccs0scoesrorarearrrreccrerrecore reccorororrmaccoranre 33 kohms
Frequency Response for Power Amp Only
(at 1 Watt output, 20 Hz to 20 kHz) ........._...-eceremecrrerevsvrvrevrvarceretocererecarera: +0.5 de
PREAMPLIFIER SECTION:
Phono
PA EN Fe re ms a sma mm mee re sh A aka hE AE Ee ee es se Bese ew ae eee A 100 mV
ECON EIA sui exa eee Aaa ra EA паев) в dnd EE JE Sos TE 1.5 uV
Dynamic Range
(Dynamic Range is the ratio of input overload to equivalent input noise)
PT SEE eC EE SR Ce PO GO b= Rs Te MS BE I © Le
1 E ee Tm wm mdm Bm, dm do RA da Era OR BLES
A a tl lr a a CUE EA Aa a E 100 PF
E os EIAX 2 Hy to 70 kKHE ua. a AA E AAA A wa ws ae +1.0 dB
Signal-to-Noise Ratio
E RS IE a EE a a a aa A a ER EA A 75 dB
High Level (Aux and Tape)
E a a E a e AA EE aa e A 180 mV
E a as il ra ada ASA waa ME 20 k ohms
Frequency Response
lincludes power amp)
en Nao ae 15 Hz to 60 kHz +1.5 dB
Signal-to-Noise Ratio
МЫ НМ НН a riera vaa NE a a 90 dB
Output Levels
BERR et ПОМ и Роба И ИИ aaa aaa ura NA 775 mV
ASMA aus antro a pau e a EA e aa a a an 15V
(ref, 500 mV at Aux inputs, mainamp disconnected] ........re.ee.eee.ereexooraouaanenen.. 4.2 \
Output Impedance
E E a eo NE EA a Era Cao. E: 600 ohms
Bra ua ea a E Cia EA Ra e LE 900 ohms
FM TUNER SECTION:
Sensitivity
E es oe Ee aT, MUDA 3
BN ONO Si uu a A Re E a e E o = ) =
(Stereo) . .
SE Ee A a RR EAR EA ra NC a saco... 37.3d8f(d0 uv)
Pal Tidal * A г = y E =
Quieting Slope (Mono) a и
RF Input for 30 dB Quieting EE We WE Noid Rh HW A PU Me 0.3 dBf ( 1.6 uV)
Quieting at: 66 de
TT DEE NK KK WR PF A amp Sa - 55 dB
O E a iaa aaa Fara ECRACa EE ds gi hi .. 60 dB
A AE AA EEE er ES os 70 de
Nerd paa AA ‚. 75 @В
Quieting Slope (Stereo)
Quieting at: {
A ih hh nh ae ns REE AER ERR EE EE am Ea EEA AS Ee re mee a a a ar 42 dB
40dBf ( 55 uV) a a dm Ah ES aw Ew ew 53 dB
Penn rame use mm BER ad ee WE 58 dB
iaa ise md me sb Re a A 65 de
Distortion (Mono) at 65 dBf (1000 uv)
a o oa ada al a ae Te pT dae i a 0.25%
ua aaa Ea AAA AA 0.15%
Cr ada aaa ed ade AE 0.35%
Distortion (Stereo) at 65 dBf (1000 uv)
Pen вов a AAA EA AAA 0.35%
Aa aa UA aaa a 0.3 %
a a a ir Eras aa Fi A CA 0.55%
Distortion (Mono and Stereo)
A a es iaa Era o A ae da AE AAA дсинй жв 0.6 %
Hum and Noise
at 65 def (1000 uv)
A arar AAN es 73 de
Frequency Response
30 Hz to 15 kHz
E aaa aa aa oa aaa aa AR +0.2 dB, -1.5dB
PL 8 ee EE ee PTT +1.5 dB
dd are ed ETE 1.0dB
1 ee nn nn sn sn rm mn ve runs a cn eee aa TE
Spurious Response Rejection EE a a aa EN aA RR CCC a Y et eee ER
Image Response Rejection EA Na AA E AE A NA a e ade aro or EE
T1 ee dae TE EEE 90 dB
PER OIE a aa na AE Ra DAN ANA DON Eo AUN a RNE ANA 50 dB
Stereo Separation
o AE N a 40 dB
SB Co TEN eN E Ob OR EC 40 dB
Te: a Male nea aho ano À 60 dB
AM TUNER SECTION:
E aa a Ar dale Far aa Cas 1
a e UNNE LON CGT NUM La
ea AE NN AE EE
EE ER A. A e e one AD ee Coc
"1e 45 de
Spurious Response Rejection
se оо кченажисая doc
GENERAL:
Ta 7 Ea A A ee
Power Consumption at rated output, both channels DETAL, a ht AN DA A оо TE
E Nes a EA E ia 0 E 5 o
AFA o A i int se en SR a GA Ra 27 W
Paneth сора
TA A 440 mm (17-5/16 inches)
> (aa о бое ух сочно a SS Re 137 mm ( 5-3/ 8 inches)
0 N ee ко дав ee A Ca ts 362 mm (14-1/ 2 inches)
E e a a E.
Packed for Shipment E ae EN mo o RE EA A MA
OCA E a a i )
Printed in Japan
220585!02-0