Stromberg-Carlson ASR-220C Instructions For Installation Manual

Brand: Stromberg-Carlson

Model: ASR-220C

Type: Instructions For Installation Manual

Stromberg-Carlson ASR-220C: The ASR-220C is a versatile stereo pre-amp/power amplifier combination that offers a wide range of features and capabilities for the discerning audiophile. With its two phono inputs, one for magnetic cartridges and one for ceramic cartridges, the ASR-220C can accommodate a variety of turntables and record players. It also features two tuner inputs, allowing you to connect both an AM and FM tuner for a complete stereo listening experience. Additionally, the ASR-220C has a tape recorder input and output, making it easy to record and playback your favorite music.

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Considerable care has gone into the pack-

aging of this equipment. If alter unpacking

you discover signs of damage, notily your

dealer at once. Before putting your equip-

ment into operation, make sure that all

tubes are set firmly in their sockets and

that the circuit breaker (the red push-

button at the rear of the amplifier chassis,

on your left i,vhen viewing amplifier from

the rear) has been pressed in.

uentilution,

Good ventilation is required {or long life,

trouble {ree operation. Be certain that air

flow around the amplifier is not obstructed

by such objects as cabinets or books.

TnoLL\LLin,g

For panel or cabinet mounting make a cut-

out measuring 133/a inches by 47/a inches.

An attractive cover is available as an op-

tional extra if you wish to set the amplifier

in an open location. When used in this

manner, insert the ieet packed with the

amplifier into the holes in the bottom cover

of the chassis and press them home.

i)j'iler

The AC cord should be plugged into a wall

socket supplying between I05 and I25

volts, 60 cycles. One switched AC outlet is

provided on the amplifier for connecting a

tuner, phono, or tape player. Another out-

let provides 6.3 volts AC for possible instal-

lation of a pilot lamp that lights when the

amplifier is switched on.

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Illustration 2 suggests a number of pos-

sible components you may wish to connect

to your ASR-220C, either initially or step

by step. Connections are easy to make, par-

ticularly if you use the shielded cables

with skirted single pin connectors provided

with all Suomberg-Carlson components.

Shielded cables are also obtainable in vari-

ous lengths at any high fidelity dealer.

General Rule: Connect A OUTPUT of the

program source to A INPUT of the ampli

fier, and B OUTPUT to B INPUT.

Which is A and, which js B: A is usually

the channel oriented at the left of the lis-

tener (Right terminal oI any pair when

viewing amplifier from the rear), and B on

the right (Left terminal of any pair when

viewing from the rear). All Stromberg-

Carlson and most other manu{acturers'

components have channel connections

clearly marked A and B. If you cannot

find any markings, a simple experiment

may give you tlre answer. With most sym-

phonic stereo recordings the violins should

sound from your left speaker system. II

they do not, chances are your channels are

reversed.

Phono Insta,llation: Yorr ASR-220C pro-

vides you with two phono inputs for maxi-

mum flexibility. The MAGNETIC PHONO

input circuit of your ASR-220C presents a

47K load; the CERAMIC PHONO input a

1.0 meg. load. These values were chosen to

suit the majority of modern cartridges. A

few magnetic cartridges, however, require

a special additional load resistor across

their terminals to give optimum results.

Check the information supplied with your

cartridge.

Magnetic Phono: This designates the input

suitable for all types of low output mag-

netic and variable reluctance cartridges.

This is the input to use if your changer or

turntable has a magnetic cartridge.

Ceramic Phono: Use this input i{ your

changer or turntable has a higher output

ceramic or crystal cartridge.

Tuner Installation: Any monophonic tuner

may be connected either to the channel A

TUNER INPUT or the channel B TUNER

INPUT. Because of the versatility of the

ASR-220C, this tuner immediately becomes

a two speaker system operation when the

MODE SWITCH is clicked to the Mono-

phonic position. AM,zFM stereo tuners

should have the AM section connected to

channel B and the FM section to channel

A. This is recommended because the left

hand channel generally carries the. violins

and other instruments in the higher fre-

quency range. It is normally broadcast on

FM {or better broadcast quality and less

interference.

T ape Record,er I nstallation .. There are

three principal types:

1) The Tape Recorder-This includes

either a complete pre-amp,/amplifier or a

pre-amplification section and has full re-

cording facilities. It may be a 'packaged'

machine or a unit designed {or panel

mountrng.

2) The Play-Back Tape Deck-This unit

is designed only for play-back o{ pre-

recorded tapes, and will have NARTB

equalization and at least a pre-amplification

stage.

3) The Tape Transport - This mecha-

nism has neither recording nor NARTB

equalization nor a pre-amplification section.

Only the first two units can be used with

the ASR-220C. For playing pre-recorded

tapes, connect by running shielded cables

from the output jacks of your tape re.

corder or tape deck to the inputs (CE-

RAMIC PHONO or TUNER/AUX) of

your amplifier. Do not make the mistake of

connecting directly to the TAPE OIITPUT

jacks (located in the center of your ampli-

6er chassis), as these can only be used for

recording purposes with a tape recorder

having {ull recording facilities.

mxportant ruote-

power supply

When your tuner is connected

to the switched AC socket at

the rear of your amplifier, it is

switched ofi with your ampli-

fier. However, if you use this

socket to connect a turntable,

a changer, or a tape machine,

that instrument should always

be turned ofi separately with

its own switch. Most of these

machines are driven by idler

wheels. When not in use, these

wheels must be properly dis-

engaged to a neutral or ofi po-

sition, or serious damage may

result.

muke your own tape record,ings

If your tape recorder has full recording

facilities, you can connect it to the ASR-

220C and record while listening to any

recorded or broadcast program. Two out-

lets, one for each channel, are provided in

the center of the amplifier chassis. The

signal supplied to the tape recorder is es-

sentially flat and uncorrdcted, being tapped

ahead of the controls of your amplifier.

However, you can enjoy the program using

the full faiilities of your amplifier controls,

including volume, without afiecting the

correct recording characteristics or record-

ing volume as adjusted at the tape re-

corder itself.

The monophonic recorder can be connected

to channel A or B; a stereo recorder to the

appropriate A and B channels.

Standard 18-gauge lamp cord is recom-

mended for making your speaker connec-

tions, although there certainly is nothing

wrong with using single strand colored

wire. Note that there is a fine ridge on one

side o{ the lamp cord to help you in the

proper identification of connections.

Monophonic: Speaker or speaker system

terminals are usually marked in some way.

A color, a numeral, a letter, or a sign such

as a cross may be used. First connect the

ridged wire to the "positive" or '\ight"

speaker terminal (+). According to the

impedance of the speaker you are using,

attach this same wire to the 4 or B ohm

OUTPUT terminal of either channel. Con-

nect the other wire from the "common" of

the speaker to the "common" of the same

channel OUTPUT (C). t6 ohm speakers

are attached to the 8 ohm tapping. You

should now connect a ]oad resistor across

the amplifier output terminals o{ the chan-

nel that you are not using to "load" this

channel. Choose a 10 watt resistor of the

same ohm rating as the speaker you are

using and connect it to the free channel,

duplicating the speaker connections. How-

ever, if you wish, you may attach an ex-

tension speaker for use in another room

instead of a resistor. It is very important

throughout your speaker wiring that you

make absolutely certain that no loose

strands of wire are shorting out (touching)

adjacent terminals.

Stereo: Use the same code designation to

make identical connections for the two

channels. Proceed exactly as ahove. First

wire the channel A speaker system to

channel A OUTPUT; then similarly wire

the channel B speaker system to channel

B OUTPUT (See illustration). Nothing

more need be done.

Phasing: If one or both of your speakers

have no identification markings you will

have to phase the speakers correctly in the

following manner. Connect the speakers to

the correct impedance output terminal of

each channel. Choose a good monophonic

record containing sustained, deep bass

passages. While you listen to these pas-

sages, reverse the two connections of one

channel only. In one of the two positions

the bass will be out of phase-the speakers

will counteract each other and bass re-

sponse will lose both quality and volume,

In the other position the speakers combine

their bass energy and reproduction sounds

better and fuller. This efiect is most ap-

parent if the bass control is at maximum

(both channels) and the speakers are

placed about two feet apart, facing each

other. Fasten the wires down in the cor-

rectly phased position.

Center Channel Stereo: First connect the

two main channels as outlined above. Cor-

rect phasing if speaker terminals are un-

marked. Then connect the center channel

speaker, one lead to the 4 ohm terminal of

channel A and the other to the 4 ohm ter-

minal of channel B. Reverse terminals to

determine the best phasing position.

In many cases it is desirable to reduce the

volume of the center channel speaker. The

best way to do so is to use a "T" ot "L"

pad, easily mounted at the rear of the

speaker baffie. Ask for a connection dia-

gram when you obtain either one at your

local high fidelity or radio parts dealer.

If you use this A plus B'signal speaker for

monophonic reproduction in another room,

you do not have to check for phasing.

hunt,

Hum happens in the best of circles, par-

ticularly in ground loops. Every program

source should be grounded to the ampli

fier. And all of them in turn should be

grounded. Disconnect all sources and out-

puts from the amplifier except the speakers.

If there is hum, reverse the AC plug. Then

re-connect one program source at a time to

locate which, if any, induces hum. If one

does, and it is well grounded, move its con-

necting cables, even the whole piece of

equipment to various positions. You may be

troubled with hum induced by a strong AC

field. Phono pickups are especially sus-

ceptible to this type of field and should be

well shielded from the transformers or

motor of other audio equipment. If phono

hum persists, check installation instruc-

tions provided by the cartridge manufac-

turer. There are some general rules here

that you may wish to follow. The ground

side of the shielded cables {rom the car-

tridge should not make contact with the

turntable chassis, nor should the two shields

make contact except at the amplifier. Use

insulated shielded cables. The tone arm

should be grounded to the turntable chas-

sis and the latter to the motor. Tone arm

grounding, which is often efiected only

through the bearings, can cause hum. If

all other attempts to cure phono hum have

failed, try to achieve better grounding by

the use of fine braided wire.

6.3 P|LOT

TAMP OUTLET

SWITCHED

OUTTET

CIRCUIT

BREAKER

AM/FM STEREO TUNER

STEREO TAPE RECORDER

WITH PRE.AMP

MONOPHONIC

TAPE RECORDER

STEREO TAPE RECORDER

WITH PRE-AMP

STEREO CERAMIC CHANGER

OR TURNTABTE

STEREO MAGNETIC CHANGER

OR TURNTABI-E

MONOPHONIC

AM, FM, OR

SHORT WAVE

TUNER

MONOPHONIC

MAGNETIC CHANGER MONOPHONIC

MAGNETIC

TURNTABI.E

MONOPHONIC

CERAMIC TURNTABLE MONOPHONIC

CERAMIC CHANGER

TAPE

OUTPUT

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STEREO PRE-AMP/POWER AMPLIFIER COMBINATION

You now own one of the finest, most advanced stereo

amplifier-s. Every refinement contributing to high quality

stereo reproduction has been included.

The flexibility of the amplifier enables you to compen-

sate for different room acoustics, make use of a wide

variety of program sources, correct recording or broad'

cast deficiencies. It allows you to adjust tone quality,

volume and dimension of sound so that to your own ears,

in your own room, music and voice are reproduced with

complete realism.

Turn this control to the program source

you wish to select . . . phono, radio tuner,

or tape recorder.

Tuner/Aux: Depending on the radio tuner

you are using, this control position selects

either AM/FM stereo, FM multiplex or

monophonic AM or FM programs. If you

are not using a radio tuner, this position

permits you to select auxiliary program

sources such as television or tape.

Mugnetic Phono: If you are using a mag-

netic phono cartridge, this is the RIAA

(Record Industry Association of America)

compensated control position you will use

for playing all your records. RIAA is

the equalization characteristic universally

adopted by record manufacturers since

mid-1954. On play-back, your amplifier

compensates for the recording character-

istics and restores the original sound.

Ceramic Phono: If you are using a ceramic

(high output) cartridge, this is the setting

you will use for playing all your records.

You will note that both the treble and bass

controls consist of a'clutch'type arrange-

ment. The smaller knob (Channel A) will

move together with the larger one (Chan-

nel B)-unless one is held firmly while

the other is turned. Thus each stereo chan-

nel has its own, independent bass and

treble controls. This valuable {eature

allows you to compensate for a difierence

in tonal values that might occur between

the two channels of an AM/FM stereo

broadcast or with poorly recorded stereo

records and tapes. Where two difierent

model speaker systems are used, separate

tone controls are invaluable in obtaining

closer ]ikeness of sound. If one of the

speaker systems faces a heavily draped

(high frequency absorbent) area and the

other does not, separate controls again

permit you to equalize the two channels.

Ideally these controls should be set mid-

way - in the I2 o'clock position. This

assumes perfect balance between the

channels and ideal room acoustics.

If you listen in a very 'live' room, one that

has few drapes, carpets and comparatively

little upholstered furniture, high frequency

or treble response will be exaggerated ow-

ing to the large number of reflecting sur-

Iaces. Turning down (counter clockwise)

the treble control will re-establish the cor-

rect relationship between the high fre-

quencies and the rest of the audio spec-

trum. Conversely, increasing this control

setting will compensate f or a so called

"dead" room - where an abundance of

drapes, carpets and upholstered furniture

absorbs too much treble.

A similar situation arises with the low fre-

quencies. Bass is afiected by the size and

shape of your room, the height of the ceil-

ing and the response of your ears. Gen-

erally speaking it can be said that the more

wall area surrounding a speaker, the better

the bass response. A corner placement,

close to the floor, provides most efficient

bass response; free standing, away {rom

any wall, least efficient.

Adjust treble and bass so that in your own

room, in your favorite listening area, the

sound appears most realistic and true to

your ears. And don't hesitate to re-adjust

the controls when a record, radio program

or tape does not sound right. Your Strom-

berg-Carlson 220C amplifier has a variety

of controls so there need be no compro-

mise in listening quality.

Your 220C amplifier features independent

volume adjustment for each of the two

channels - combined on a dual 'clutch'

type control. Operate this flexible arrange-

ment as follows: With perfectly balanced

speakers and program material, line up

both volume controls by holding one knob

and turning the other until their center

markings coincide. Once set, operating one

will automatically move the other, thus

controlling equally the volume of both

channels simultaneously.

You may, however, be listening to unbal-

anced program material-such as an AM/

FM stereo broadcast. One channel sounds

Iouder than the other. In this case adjust

the separate volume controls by moving one

knob against the other until you obtain

correct balance between the two channels.

Once set, they will move together to raise or

lower the overall sound level of the whole

system without upsetting the corrected bal-

ance between the two channels.

Independent volume controls for each

channel make good stereo balance possible

where it is impractical to arrange the main

listening area mid-way between the two

speaker systems. If for example, your main

listening area is slightly left of the ideal

position, increase the volume of the right

channel until the balance sounds right. For

easiest balance adjustment use a mono-

phonic source which provides long, sus-

tained notes.

irnportant note-

circuit breaker

For your convenience, Strom-

berg-Carlson has installed an

'eternal fuse' in the form of a

circuit-breaker. In the case oI

an unusually high voltage surge

or component {ailure, the

circuit-breaker removes power

from the amplifier. Re-set by

pushing the red knob mounted

through the rear of the ampli-

fier chassis. If it continues to

disengage consult your service-

man.

Stereophonic: This position should be used

for all types of Stereophonic material. Both

speaker systems play.

Monophonic : Monophonic program mate-

rial sounds fuller, more realistic when

played back over rhe whole system rather

than one channel only. When you select this

setting, the monaural record, the FM broad-

cast, the AM broadcast, or the monaural

tape is Ied through both stereo channels to

both speaker systems. Therefore, select

Monophonic position for all monophonic

inputs.

This control position simply reverses the

left signal to the right channel and vice

versa. This may he useful for stereo broad-

casts.

A badly worn or in{erior turntable or rec-

ord changer-even a turntable used by

your local FM station-may introduce an

undesirable low frequency noise known as

"rumble." You can eliminate it by moving

this switch to the IN position, without sub-

stantially aflecting the good bass repro-

duction of the amplifier.

In the IN position this cuts out undesirable

high {requen:l:: :"-:}- L"- i::11: z":,""t:},

(particularly on older records) and radio

interferenee

(1)

(2)

(3)

(4)

o lf you can't wait, here is.a quick and easy way to get immediate results.

Switch on amplifier at A. face up. (center or 12 o'clock setting) Switch G, H and I

Turn Program selector B to the program source you wish to left'

to use. (5) Place record on turntable and set it in motion. lf you are

using tuner . . . switch it on and select station.

Turn Mode Selector C to 'Stereo' or 'Mono' accordine

to the program material you,re going to use. (6) Turn loudness control F clockwise to required volume.

For best results study the purpose and function of each con-

Turn Treble D and Base E Controls so that their pointers trol and adjust the implifier accordingly.

ASR.22OC

POWER OUTPUT (Continuous) . . . 12 watts per channel

(24 watts total)

POWER OUTPUT (music power,

IHFM standard). . . . ..14wattsperchannel

(28 watts total)

I NTERMODU LATION DISTORTION

(at rated output: 4:1 ratio, 60 and 7,000 cps) 2%

TOTAL HARMONIC DISTORTION

(at 1 kc, maximum power) .0.7o/o at

12 watts per channel

FREQUENCY RESpONSE . . . .-+0.5 db, 20-20,000 cps

HUM AND NOISE (db below rated output)

RESIDUAL (gain min.) ......80db

MAG. PHONO (gain max.) . . . .55 db

TUNER (gain max.) . . .70 db

SENSITIVITY

TUNER ....0.3V

MAGNETIC PHONO .3.5 MV

CERAMIC PHONO . .0.3 V

INPUT IMPEDANCE

TUNER .....lMeg

MAGNETIC PHONO . . .47 K

CERAMIC PHONO . . .1 Meg

OUTPUT IMPEDANCE 4, 8 ohms

Center Speaker (A+B): 4 and 8 ohms

(across 4 ohm taps)

TONE CONTROL RANGE

BASS (50cps).. ...-F15db

TREBLE(20kc) ....+12db

Front panel cut-out for component

mounting ....L3y8, x4y4,

Part No. 146012-034 GLP 23186 Printed in U.S.A.

Stromberg-Carlson ASR-220C Instructions For Installation Manual

Brand: Stromberg-Carlson

Model: ASR-220C

Type: Instructions For Installation Manual

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Stromberg-Carlson ASR-220C Instructions For Installation Manual

Stromberg-Carlson ASR-220C Instructions For Installation Manual

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