marantz 5420 Stereo Cassette Deck Instructions

marantz 5420 Stereo Cassette Deck

FOREWORD
To obtain maximum performance and enjoyment from the Model 5420 Stereo Cassette Deck, please study these instructions carefully. Do not plug in or connect this cassette deck until you have read and complied with this handbook of instructions.

This is a universal handbook designed to provide instruc­tions in English, French, and German for all Marantz products sold worldwide. Your Marantz product has been specially prepared to comply with the household power and safety require­ments that exist in your locale. Please check the alphabeti­cal suffix following the serial number of your Marantz product. Refer to the following table to note the differences that exist between your unit and the unit pictured and described in this manual.

• A-Operating Voltage: 240 V AC.
• C-Operating Voltage: 120 V AC. Unit cannot be converted to operate on other voltages.
• E-Operating Voltage: 220 V AC.
• N-Operating Voltage: 220 V AC.
• P-Operating Voltage: 120 V AC.

Should it become necessary to convert this unit to a different operating voltage, please note that a proper fuse must be substituted for the one currently in the unit?
FOR WARRANTY INFORMATION, CONTACT YOUR LOCAL MARANTZ DISTRIBUTOR.

AFTER UNPACKING

It is advisable to retain all original packing material to prevent damage should you wish to transport or ship the Model 5420 (refer to page 16 for repacking and shipping instructions). Be careful that you do not inadvertently throw away or lose the parts packed with the unit. Please inspect your Stereo Cassette Deck carefully for any signs of shipping damage. Our very strict quality control and professional pride ensure that each Model 5420 left the factory in perfect condition. _If the unit is damaged or fails to operate, immediately notify your dealer. If the unit was st, shipped to you directly, notify the transporta­tion company without delay. Only you, the consignee, may institute a claim against the carrier for shipping damage. Save the carton and all packing material as evidence of damage for their inspection. If necessary, contact your dealer or, as a last resort, your Marantz importing agent, who will fully cooperate under such circumstances.

ABOUT YOUR MODEL 5420

In choosing the Marantz Model 5420, you have chosen more than just a stereo cassette deck. You have chosen a four-channel input active mixer with panpots, a Dolby Noise Reduction System, and a rugged, reliable, cassette recorder with ferrite heads, all built in a single unit. Even though they share a common chassis, these three building blocks retain the flexibility of separate components. Tl1e mixer section and/or the Dolby System can be used on external equipment, such as a reel-to-reel tape deck or public address system, independently of cassette opera­tion. The 5420 also has the circuitry necessary to decode DOLBY FM broadcasts, and special bias and equalization to record on Chromium Dioxide and Ferri-Chrome low noise cassette tapes. Along with features and versatility, the Model 5420 reflects Marantz’s state-of-the- art -technology. The Marantz Company is a wholly-owned subsidiary of Superscope, Incorporated, whose legacy of experience with cassette and reel- to-reel tape decks is un excel I ed in the audio industry. Your Model 5420 is thereby assured of providing continuous high-quality performance and long operating life.

QUICK REFERENCE INDEX

Figure 1 shows the location of the main controls and switches on the Model 5420. Listed by each feature is the number of the page where a description about the feature appears.

Before proceeding with connecting your new tape deck, take a few moments to acquaint yourself with some of the features and terminology you will encounter in this book.

CONNECTING THE MODEL 5420

REAR PANEL SIGNAL CONNECTIONS
Figure 2 shows the tl1e location of the input and output jacks on the rear panel. These jacks are for “permanent” connectior1s. Front panel jacks and tl1eir use will l)e discussed later.
All connections to the rear panel should be made with tl1e power to tl1e entire system turned off. Tl1e rear panel signal connection$ are arranged in stereo pairs. All signal connections should be made with shielded audio cables. To avoid confusion, connect one cable at a time between the 5420 and tl1e other components of your system. This is the safest way to avoid cross- connecting channels or confusing signal source outputs with inputs. When con­necting audio cables, insert the connectors completely into the jacks. Loose connections may cause hum and noise.

The DOLBY NR SYSTEM and the RECORD/MIXER CONSOLE in the Model 5420 can be used on external equipment independently of cassette operation. For example, if you already own a reel-to-reel tape deck without a Dolby circuit, you can use the Dolby circuit in the Model 5420 to improve the recording quality of your reel- to-reel machine. The Model 5420 is specifically designed to perform this function through a convenient pushbutton switching network. First, however, it is necessary to reconnect your equipment in the set-up procedures outlined in the following section. Or,ce the initial connections between the external deck, 5420, and receiver have been made, future use of the 5420’s Dolby ancJ mixer on external equipment will be made far more convenient. If your additional tape deck or recorder is currently connected to the tl1e rear panel of your receiver, disconnect it completely. The following section will explain how to connect the Model 5420 to your audio system and how to reconnect your existing tape deck.

LINE 1/FM IN LINE INPUTS

These jacks are the primary Line inputs for Model 5420, arid will accept signals from any line-level source. They are also the inputs for the DOLBY FM circuitry in tt1e Model 5420. Therefore, these jacks should be con­nected to the set of tape output jacks on your receiver, wt1ich will supply signals from FM and other audio sources. If you own an audio system comprised of separate compone11ts, connect tt,e LI NE 1 /FM IN jacks of the Model 5420 to the tape output jacks of your preamplifier.

LINE OUTPUTS AND OUTPUT LEVEL CONTROLS
The LINE outputs are tl1e primary outputs of tl1e Model 5420. Connect the LINE outputs to the tape monitor input jacks of your receiver. Do not connect the Model 5420 to the aux binary inputs of your receiver.

The LEVEL controls located next to Lile LINE out)uts determine the volume output of etlcl1 cl1annel. They operate tl1e same as a volume co11trc>I, ancl car, l)c turn, ECL with a screwdriver. Tl1e purpose of these acljusLrnents is tc) match the output level of the Model 5420 tc.> tl1e input sensitivity of the tape monitor circuits in Yoji’s receiver. When tl1e LEVEL controls are. properly adjLrsteci, the volume through your speakers will remain constant as tl1e tape monitor is switcl1ed in and out. Of course, you can’t make these adjustments until the system is set up, so for the present time, the LEVEL controls should be set approximately one quarter turn al) the minimum volume setting.
Now that the Model 5420 is connected to your receiver, connect your additional (external) tape deck as follows:

EXT DECK OUTPUT JACI
The EXT DECK output jacks supply audio signals from the Model 5420 directly to the external tape t1eck’s li11e inputs. Connect as shown in Figure 2. The EXT DECK output jacks are not affected by the output LEVEL controls.

LINE 2/EXT DECK LINE INPUT JACK
Like the LINE 1 inputs, the LINE 2/EXT DECK jacks accept signals from any line-level source. They are designed to route the output from an external tape deck through the Dolby circuitry in the Model 5420. Connect the line outputs from the external tape recorder directly to tl1e LINE 2/EXT DECK jacks on the Model 5420 tsec Figure 2}.

DIN JACKS
The REC-1/PLAY and REC-2 jacks are DIN-type recorder jacks that permit the use of European five-wire recorder cables to connect similarly-equipped components. The REC-1/PLAV jack duplicates the function of the LINE 1/FM IN and LINE OUTPUTS jacks, since rnay l>e connected to your preamplifier. The R EC-2 jack clu1)I i­cates the function of the LINE ?./EXT DECK and EXT DECK jacks and may be connected to yoL1r external tape recorder.

AC POWER SOURCE CONNECTION
With the POWER switch set to tf”le OFF (out) position, plug the AC line cord into an AC outlet providing tl1e proper voltage.

CAUTION:
DO NOT PLUG THE MODEL 5420 INTO A DC OUTLET, AS SERIOUS DAMAGE WILL OCCUR.

If your receiver has a switched AC outlet or1 its rear pa11el, you may find it convenient to plug the Moclel 5420 i11to that outlet. Now that you have connected your Moclel 5420 to your receiver and external tape recorder, you are doubtlessly eager to try it out, So, the following section will outline a simplified operating procedure to follow so you can begin recordin·g and listen to your new Stereo Cassette Deck immediately. After becoming familiar with the Stereo Cassette Deck, you may take full advantage of its many features and operating versatility.

OPERATING INSTRUCTIONS

First, set the controls and switches on the Model 5420 as follows:

• POWER Switch OFF (out)
• PANPOT Switch OFF (out)
• TAPE TRANSPORT Controls
• DOLBY NR SYSTEM Switches STOPPED
• ON Switch OFF (out)
• EXTERNAL Switch OFF (out)
• FM-OFF Switch (in)
• FM-ON Switch (out)
• BIAS/EO SELECTOR Switches Depress button that matches kind of tape used.
• LIMITER OFF (out)

RECORD/MIXER CONSOLE Controls

• All LEVEL Controls Minimum (”O”)
• All MIC/LINE Selectors LINE (in)

After setting the controls and switches, record on a blank cassette as follows:

1. Depress the POWER switch. The meters will illumi­nate, indicating the unit’s power is on. If they don’t, check to make sure the power cord is plugged in. Turn on the source equipment (receiver,. turntable, etc.)•

2. Before inserting the cassette, take up the slack of the tape to prevent it from becoming entangled around the capstan. Twist the tape hub inside the cassette with your fingernail or with a pencil.

3. Depress the EJECT button fully to open the cassette compartment and raise the cassette holder.

4. Insert the cassette with the desired side for recording up. Close the lid.
   NOTE: The cassette can only be inserted if the cassette holder is raised.

5. Play the audio signal source (phono, tuner, etc.) with the tape monitor switch on tl1e receiver in the ”source” position.

6. Press the RESET button on the tape COUNTER to reference the beginning of the recording.

7. Place the Model 5420 in the record mode: Depress the record (REC) and PLAY buttons simultane­ously. The REC light between the VU meters will illuminate.
   NOTE: The smoothest w.ay to engage the record mode is to depress the REC button first. Then, while holding it down, depress the PLA V button.

8. Slide the MASTER LEVEL control to its maximum setting (10). All other controls should be set at zero.

9. Gradually increase the left and right LINE LEVEL controls while watching the VU meters. Adjust the level controls so that the loudest passages of the program deflect the pointers of the meters as fully as possible with the minimum triggering of the PEAK level indicators (1 night emitting diodes).

10. Set the tape monitor switch on the receiver to the ”tape” position.
    NOTE: If the volume level changes when the tape monitor is switched in, adjust the output LEVEL controls on the rear panel of the 5420. The volume level should remain constant as the tape monitor is switched in and out.

11. When finished recording, reduce the MASTER LEVEL control to zero and press the STOP button.

12. Rewind the tape by depressing the rewind (REW) button. Stop the tape when the COUNTER registers zero, or use the MEMO RY feature (see page 9).

13. Play back the tape by pressing the PLAY button.

The Model 5420 is now playing back the tape you just recorded. The following section will explain how to add more sopl1 situations to your recording technique.

MAKING OPTIMUM CASSETTE RECORDINGS

The Model 5420 Stereo Cassette Deck, augmented by its built-in Dolby Noise Reduction System, is capable of making really excellent recordings. But the quality of recording can also be negatively influenced by some other very important factors. I inferior tape, poorly mair1tained heads, and improperly set recording levels can spoil your recordings. So that you can realize the full potential of your investment in Model 5420, the following section will explain a few techniques of skillful recording.

THE TYPE AND BRAND OF TAPE YOU USE
In cassette recording, the type and brand of cassette you use have the greatest influence on the quality of your recordings. Therefore, buy the best cassettes you can. Your Marantz dealer will assist you in selecting a nationally recognized name brand of low-noise, clean­running tape? For best results, use a 60 or 90-minute cassette.
Chromium Dioxide (Cr02) and Ferri-Chrome (Fe-Cr) tapes provide better fidelity than normal tape. Wl1en using these kinds of tape, depress the appropriate BIAS/EQ SELECTOR push switch on the 5420 to provide the correct bias and equalization to suit the characteristics of the tape.

CLEAN AND DEMAGNETIZED HEADS
The RECORD/PLAYBACK and ERASE heads are the most important parts of the stereo cassette deck. After tape rubs against the heads during record and playbacl<, brown oxide deposits from the tape accumulate on the heads, guides, and pinch roller. Even the best cassette tapes will shed some particles of oxide. The accumulation of this oxide will cause loss of high-frequency response, loss of sound volume, intermittent sound drop-out, and unsatisfactory results when recording or erasing tar>e. If your Model 5420 exhibits any of the preceding symptoms, immediately clean the heads. if the exile is allowed to build up, it may cause the heads to wear out prematurely, causing permanent damage. Therefore, tf1e heads must be kept clean. The rubber pinch roller on the tl1e cassette mechanism provides a simple, visual indication of when to clean tl1e heads. If you can see a stripe of brown oxide around ·tl1e perimeter of the pir1ch roller, it is time to clean the entire tape path.

To clean the tape path, use cotton swabs and denatured alcohol (available at any pharmacy). Please note that common ”rubbing alcohol” should not be used because it has high water content. Clean the tape heads, capstan, guides, pinch roller – everywhere the tape touches – until no more oxide can be picked up on a clean cotton swab. Tl1e experienced audiophile keeps a bottle of denatured alcohol and a package of cotton swabs next to his cassette deck and he gives the tape path a thorough cleaning at the beginning of every usage as a matter of habit. This is an excellent practice for assuring cleanliness and the best possible recording conditions. It requires only a minute to do.
Tape heads and guides also become magnetized after a period of use. When this occurs they cause excessive noise and can even partially erase the tape. The tape heads and · guides should be demagnetized periodically (about every nine hours of playing time) with a demagnetizer. Instruc­tions are enclosed with the demagnetizer.

CAUTION:
BEFORE USING THE DEMAGNETIZER, TURN OFF THE POWER TO THE MODEL 5420.

To gain access to the heads for cleaning and demagnetization,

1. Turn off the power.
2. Depress the EJECT button and remove the cassette.
3. Remove the lid to the cassette compartment. To remove the lid, leave it open and gently press down on the left and right corners of the I id near the hinges (see Figure 4). While holding it down, pull it toward you slightly, then swing it backward, away from you.
4. Reach inside the cassette compartment and push the cassette holder down.
5. Push the PLAY button. The heads and pinch roller will protrude into the cassette compartment. The head surfaces may now be inspected.
6. After cleaning and demagnetizing, press the STOP button.
7. Replace the lid to the cassette compartment. Insert the ·hinges as far _as they will go with the I id surface straight up and down. Swing the lid toward you about 45 degrees. Push down on the rear corners of the lid while gently pushing against the hinges. When the lid is properly installed it will close and open freely.
8. Depress the EJECT button fully to lift the cassette holder.

PROPER RECORDING LEVELS

One of the beauties of music is its dynamic range, in other words, the contrast of very soft to very loud passages. Capturing this contrast on tape requires that the recording levels be set so that the loudest passages you intend to record don’t saturate the tape and cause distortion. Yet, the recording levels shouldn’t be set too low, because the soft passages would simply disappear in the residual noise.

The proper technique is to anticipate the loudest section of the music you want to record and set the recording levels using the VU meters as a guide before any recording actually takes place.

If, for example, you are recording from a phonograph record, you should at the outset find the loudest section of the record. To set the recording levels on the 5420, insert the cassette, depress the PAUSE button, and then place the Model 5420 in the record mode. This technique allows the recording level to be checked and adjusted without actually recording anything on the tape. Once the levels are set for the loudest portion of tl1e music, leave them where they are. Start the phonograph record over at the beginning and release the PAUSE button to com­mence the recording.

NOTE:
Most cassette manufacturers splice a few inches of clear leader tape to the beginning and end of the magnetic recording tape. The leader tape cannot be recorded, and it usually takes about six seconds to pass by the heads when the tape is played from the beginning.

When taking up the slack in the cassette before inserting it for recording, advance the tape so that the spliced area of the tape is just ready to pass the recording head (see Figure .5). By knowing exactly where the recordable tape begins, you can assure that the beginning of the program will be recorded.

FRONT PANEL FEATURES

VU METERS AND PEAK INDICATORS
Two large VU meters in the Model 5420 monitor the relative recording and playback level of each channel. All meters are ”time sensitive” devices. In other words, it takes a short amount of time for the meter to respond to a quickly applied signal. Even though the meter needle and other moving parts are very lightweight, they still have some inertia and are relatively sluggish when com­pared to the instantaneous nature of audio peaks. The meters, then, indicate an average value reading with which to monitor the average level and balance of the two channels.

The Model 5420 is also equipped with separate left and right channel PEAK indicators which, when used in conjunction with the VU meters, are a valuable aid to proper recording level adjustment. The PEAK indicators, unlike the meters, react instantaneously to audio transients during recording. Each indicator illuminates if an audio transient is strong enough to cause tape saturation (distortion) occurs. If the PEAK indicators flash repeated­ly, the recording level should be reduced.

PEAK LIMITER
The peak LIMITER, when in use, automatically reduces the record level during sudden volume surges. By prevent­ing the peak recording level from exceeding O VU, the peak LIMITER minimizes distortion. The LIMITER is not the same as a11 A.L.C. {Automatic Level Control) circuit; it is designed rather as a safeguard against high ir1put signals that you had not anticipated when you adjusted the record levels initially. The LIMITER is also advantageous when recording sources such as radio programs or live music whose peak volume levels are sometimes unpredictable.

If the recording levels were set much too high and the LIMITER was activated, it would tend to “compress” the dynamic range of the music. In other words, not only the peaks but al I loud passages would be reduced in volume. Therefore, the recording levels should be set before the LIMITER is turned on.

PHONES JACK

This jack accepts headphones utilizing a standard tl1ree conductor phone plug. It is internally connected to the output circuitry to provide adequate sound level with popular low impedance stereo headphones. Two or more sets of headphones may be used with the aid of ”Y” connectors (available at your dealer). However, the output level will drop as additional headphones are added.

FOLD-OUT LEG
Underneath the Model 5420 is a hinged fold-out leg. When it is folded out, the Model 5420 will sit at an angle, allowing the meters to be easily seen from across the room. This also makes the controls easier to operate when the 5420 is placed on a bookshel·f.

MEMORY COUNTER

The MEMORY COUNTER is used for precise program relocation, whether at the beginning of the side or far into the recorded tape.

1. Locate the desired starting point and depress the RESET button to register this starting point. (”000” shown on the Tape Counter).
2. Depress the MEMORY ON button.
3. Play (or record) the tape.
4. Depress the rewind (REW) button to rewind the tape. The tape motion stops and the rewind button releases automatically wher1 the original starting point is reached. Actually, the tape stops at “999”, one count before “000” to avoid missing starting point of the program.

TOTAL SHUT OFF

The TOTAL SHUT OFF feature will automatically disengage the tape transport when the end of the tape is reached in any transport mode (play, rewind, etc.). The TOTAL SH UT OFF feature will also activate if the tape should jam.

RECORD/MIXER CONSOLE
The RECORD/MIXER CONSOLE mixes four separate inputs into a stereo output which can be recorded by the Model 5420 or applied to external equipment. The RECORD/MIXER CONSOLE consists of four independently selectable input channels, four straight-line level controls, and a stereo MASTER LEVEL control. Each input channel can select between a MIC or LINE input signal by means of a MIC/LINE push switch. When the push switch is released, the input channel receives signals from its corresponding MIC input on the front panel.

NOTE: When microphones are selected for recording, do not monitor through speakers, as this will cause howling (acoustic feedback) which could damage your audio equipment. Use headphones for monitoring.

The level of tl1e selected source for each input channel is cor1trolled by a straight-line level control or ”slider.” The four input sliders combine their audio signals in a stereo mix in the proportions chosen by you, the recordist. They assign the audio inputs to the left and right stereo outputs of the mixer as indicated by tl1e letters L and R above each slider slot. Printed between each pair of input sliders are the numbers 0 through 10. These numbers provide reference points at which to set the sliders if you wish to duplicate a particular mixer setting. This reference is especially useful during live recording, where tile levels may have to be alte·red as the music progresses and then reset to their original positions for a second take.

The MASTER LEVEL slider adjusts the total stereo output level of the RECORD/MIXER CONSOLE. Its purpose is to control the audio level of the entire mixture of the four input cl1annels without changing the input slider positions and without affecting their proportionate audio levels. If, for instance, the four input levels are mixed in the exact proportions you want, but the VU meters register too high a reading, reduce tl1e MASTER LEVEL accordingly.

The MASTER LEVEL ·slider can be used to ”fade out” or ”fade in”. For example, when making a cassette recording of a phonograph record, you may wish to fade out the music gradually just before the end of the tape is reached. This way, you will avoid the abrupt cut-off of sound that occurs during playback when the cassette runs out of tape. Likewise, the music could be ”faded in” at the beginning of the cassette.

Another technique called ”cross-fading” involves reducing the levels of one stereo source while simultaneously increasing the level of another. The MASTER LEVEL in this case remains stationary. This technique maintains the sound level when changing from one sound source to another. Experimentation and practice will reveal other mixing techniques.

PANPOT SYSTEM

The Model 5420 has two panpots. Each panpot is like the stereo balance control on your receiver. It shifts the sound from one side of the stereo image to the other. In the case of the Model 5420, the panpot assigns a monophonic audio source to be placed in an existing stereo image – either left, right or anywhere in between. To activate the PANPOT SYSTEM, depress the. PANPOTS pushswitch (IN). For normal stereo recording, leave the PANPOTS to switch out. When the push switch is in, the signal sources connected to the LINE 2/EXT DECK input jacks {MIC 2, L, and R) become pannable. Instead of being assigned exclusively to the left and right outputs of the mixer, these two sources can now be independently placed anywhere in the stereo image.

For example, to add narration while recording a stereo cassette, connect the narrator’s microphone to the MIC 2 L (or R) jack. The program to be narrated should be applied to the LINE 1 INPUT jacks. Use the PANPOT SYSTEM to place the microphone in the CENTER of the stereo image. When played, the narration will be heard from both loudspeakers. The panpot can be moved while the recording is taking place. This will give the illusion that the narrator is moving across from one speaker to the other.

USING THE MIXER AND PANPOTS WITH EXTERNAL EQUIPMENT

The RECORD/MIXER CONSOLE and the PANPOT SYSTEM can be used with a reel-to-reel recorder, or with a public address system, or with any other external equipment independently of cassette operation.

All the mixing and panning controls are used exactly the same as when recording a cassette. The exception, of course, is that a cassette is not recorded. The external equipment to which the mixture is applied may be connected to either set of output jacks. To activate the RECORD/MIXER CONSOLE, first, the REC button must be depressed. However, this button cannot be depressed unless the record interlock device inside the cassette compartment is pushed back by either an inserted cassette or by hand. The ea? best method is to insert a cassette. Then, push the PAUSE button and place the Model 5420 in the record mode. As long as the tape doesn’t move, it won’t be recorded.

NOTE:
If the external equipment is connected to the LINE 2 output jacks, it is only necessary to press the REC button to apply the mixer.

Next, in the DOLBY NR SYSTEM switch group, push the EXTERNAL button. If you wish to record a cassette at the same time, place the tape transport mechanism in the record mode com­pletely by depressing both the REC and PLAY push­buttons simultaneously.

NOTE:
When using the MIXER and PANPOTS to record on an external tape deck, the input level controls should be adjusted so that its VU meters will register the same readings as the VU meters on the 5420. Then, it is only necessary to watch the meters on the 5420 to set proper recording levels while mixing. An accurate method for matching the levels of the two machines is explained in the Dolby Calibration section. See page 11.

DOLBY SYSTEM

BASIC DOLBY PROCESS
The Dolby system increases the level of low volume mid­and high-frequency signals during recording and reduces the level of these signals by an identical amount during playback. As a result, the playback signal is identical to the original source signal, but the level of background noise generated by the tape recorder is greatly reduced. A Dolbyized FM broadcast is subjected to the first phase of the noise reduction process before being transmitted. When these signals pass through the Dolby playback circuitry, the mid-and high-frequency noise is greatly reduced.

The Dolby Noise Reduction System in the Model 5420 can be used for recording, or for playing back Dolbyized cassettes. The very same Dolby circuitry can be used with an external tape recorder not having its own Dolby System. The following section will explain how to operate the Dolby Noise Reduction System in the 5420 to process cassettes, FM broadcasts, and external sources.

CASSETTES
The Dolby Noise Reduction circuit in the Model 5420 is designed for maximum convenience when recording or playing back a cassette. The calibration levels have been internally preset at the factory, so the only adjustment to make is that for the recording level. The procedure for Dolby recording and playback is identical to that for non-Dolby except that the DOLBY NR SYSTEM ON push switch is depressed after the recording levels are set.

DOLBY FM BROADCASTS
Dolbyized FM broadcasts contain Dolbyized audio infor­mation to which a special pre-emphasis is applied for the purpose of improving the noise reduction process: The pre-emphasis time constant (25 µS) is different from that used with non-Dolbyized broadcasts. To properly recover the original program material, a complementary time constant at the receiver is required. A 25 microsecond FM de-emphasis circuit is built into the Marantz Model 112, 125, and 150 stereo FM tuners and should be activated when recording or listening to Dolby FM broadcasts through your Model 5420. If your present tuner does not have such a circuit, set the FM DE-EMPHASIS switch on the rear panel of the Model 5420 to 25 µS to activate the corrective network.

NOTE: If you are using the de-emphasis circuit built into the tuner, leave the FM DE-EMPHASIS switch on the Model 5420 at ”FLAT”. Do not use both de-emphasis circuits simultaneously.

To listen to a Dolbyized FM broadcast, proceed as follows:

1. The tuner or receiver should be connected to the LINE 1/FM IN jacks -never to the LINE 2/EXT DECK jacks.

2. Apply the proper de-emphasis as out Ii ned above.

3. Depress the DOLBY NR SYSTEM ”ON” push switch.

4. Depress the FM-ON push switch.
   NOTE: The RECORD/MIXER CONSOLE becomes inef­fective when the FM-ON push switch is depressed.

5. With a cassette inserted, depress only the REC button on the tape transport. Do not depress the PLAY pushbutton unless you want to simultaneously record the FM program on cassette.

6. The Dolby FM calibration levels have been pre­adjusted at the factory and should not normally need to be readjusted when used with the Marantz tuners and receivers equipped with ”DOLBY FM” push­switches. However, when used with receivers or tuners not so equipped, FM calibration will be required. For this purpose, FM CAL controls are provided on the rear panel. The controls should be adjusted so that the Dolby reference tone transmitted by the FM station at the beginning of a Dolby broadcast registers DO on the VU meters. Once the levels are set, they do not need to be readjusted unless a different tuner or receiver is connected.

The decoded Dolby FM program can be monitored through the amplifier system. If you are recording a cassette at the same time, the cassette will be Dolby encoded to obtain the maximum effect from the noise reduction process. Likewise, a Dolby-encoded recording of the FM broadcast can be made on the reel-to-reel deck connected to the EXT DECK OUTPUT jacks, provided the record calibration procedure has first been performed on the reel-to-reel deck. See ”CALIBRATION”, page 11.

EXTERNAL TAPE RECORDER

Like the MIXER CONSOLE and PANPOT SYSTEM, the Dolby system in the Model 5420 can be used as a Dolby encoder or decoder for an external tape deck not equipped with its own Dolby circuits. Because of the dissimilar playback level characteristics of various tape recorders, EXT PLAY CAL controls are provided on the Model 5420. The EXT PLAY CAL controls to determine the input sensitivity of the Dolby circuit when playing back a Dolbyized program from the external unit. It is necessary to adjust the input and output level controls of the external tape deck and the rear panel EXT PLAY CAL controls on the Model 5420 when using the Dolby system. The following section will outline calibra­tion, recording, and playback procedures.

CALIBRATION
If you haven’t already done so, obtain a Dolby System Calibration Tape Cassette from your Marantz dealer. The tape is prerecorded with a 400 Hz tone at the specified Dolby level and is used for setting the input and output levels of your external tape deck and the EXT PLAY CAL levels on your Model 5420. Use and store the calibration tape carefully to avoid accidental erasure. For example, do not store the calibration tape on top of your power amplifier, because the magnetic fields produced by the transformer in the amplifier could partially erase tt1e tape. (The same holds true for any cassette tape!). the external tape recorder should be connected directly to the rear panel as outlined in “CONNECTING THE MODEL 5420,” page 4.

FOR RECORDERS WITH THREE HEADS

Set the TAPE MONITOR SW ITCH on your receiver to “TAPE”

NOTE:
The Dolby System cannot be used on an external deck having an A.L.C. (Automatic Level Control system). The external deck must have adjustable record level controls.

1. Depress the DOLBY N R SYSTEM ”ON” push switch.
2. Depress the FM-OFF push switch.
3. Release the EXTERNAL push switch to the out (“internal”) position.
4. Depress the NORMAL BIAS/EO push switch.
5. Load the Dolby Calibration cassette into the Model 5420 and play it. The VU meters will register to DO (±1 dB).
6. Turn on the external tape deck. Thread the tape to be recorded.
7. Set the monitor switches on the external deck to “Source”, and in Record Mode, adjust the VU meters on the external deck register “O”.
8. Set the Monitor switches to ”tape,” and begin recording. adjust the output levels so that the VU meters register DO. After the output levels are set, a record about 30 seconds of the tone. Stop the tape on the bot, tape decks.
9. Proceed to “FOR ALL RECORDERS”.
   NOTE: The above procedure for calibration may not necessarily be compatible with the Dolby N R circuits in different recorders or systems. For universal compatibility, Marantz offers a stand­ard reel-to-reel alignment tape which is available at your local Marantz dealer.

To calibrate the output level controls of your external tape deck using the reel-to-reel call)ration tape,

1. Play back the calibration tape on the external tape deck (do not perform steps 7 through, 9 above), adjusting playback level controls to provide ”O” VU on the external deck. Remove calibration tape.
2. Load the external deck with blank tape and place in record mode with its monitor switch set to ”tape”.
3. With a signal from the 5420 as in step 5 above, adjust the record level controls of the external deck for ”O” VU on its VU meters.
4. Record approximately 30 seconds of the tone, and stop both decks.
5. Proceed to ”FOR ALL RECORDERS”.

FOR RECORDERS WITH TWO HEADS

1. Follow steps 1-6 of “FOR RECORDERS WITH THREE HEADS”.
2. Place the external deck in record mode, anci adjust its record level controls for a VU meter indication of O VU. Record about 30 seconds of the tone.
3. Rewind and play back the tape you just recorded.
4. Observe the VU meters again. If they register O VU, proceed to “FOR All RECORDERS.”
5. If the meters indicate other than O VU, readjustment of the record level controls is necessary, as follows. The object is to adjust the external deck’s record level controls so the playback level achieved ir1dicates 0 vu.
   • If the meter indication is more than O VU, repeat steps 2 through 5, but decrease the record level in step 2 to slightly below O VU.
   • If the meter indication is less than O VU, repeat steps 2 through 5, but increase the record level in step 2 to slightly above O VU.

FOR ALL RECORDERS

1. Rewind and remove the Dolby Calibration cassette from the Model 5420.
2. Depress the EXTERNAL push switch on the 5420.
3. Rewind the tape on the external deck to the beginning of the tone recording, and play it back.
4. With a screwdriver, adjust the left and right EXT PLAY CAL controls on the rear panel of the Model 5420 so that tt1e VU meters register DO. Calibration is complete.

IMPORTANT:
After the correct calibration level has been achieved on the VU meters, DO NOT change the external recorder’s re­cord or playback level controls or the 5420’s EXT PLAY CAL controls. Doing so will necessitate repeating the Dolby calib­ration procedure.

HOW OFTEN CALIBRATION IS NECESSARY
It is necessary to check tl1e Dolby J)layback calibration to suit each source bei11g played. When recording on tape, recalibrating the entire system is required whenever a change in tape speed has been made or whenever a different type or brand of tape is used. You may wish to record about 30 seconds of the 400 Hz tone onto the beginning of every tape that will be used for Dolby- processed recording on your external deck. By using the method, you can check (and, if necessary, adjust) the EXT PLAY CAL settings without having to fumble with a separate alignment tape. Since tl1e calibration is extremely stable and should not have to be repeated (except to periodically check it), I suggested that you mark the settings of your tape recyclers out) Ut-level controls with a felt-tipped pen. Doing so will enable you to easily reset tl1e co11trols if they are inadvertently moved.

RECORDING

To record with Dolby on your external tape deck, proceed as follows:

1. Depress the REC button on the 5420. (Remember that a cassette must be inserted before the button wi II go down.)
2. Depress the DOLBY N R SYSTEM ”ON” push switch.
3. Depress the FM-OFF push switch.
4. Depress the EXTERNAL pushswitcl1.
5. To set the recording levels, use the controls on the RECORD/MIXER CONSOLE and the VU meters on the 5420. As stated before, do not change the positions of tl1e level controls on the external deck.
6. Input signals can be Dolby recorded through all the input terminals (MIC 1/LINE 1, MIC 2/LINE 2). The PANPOT SYSTEM may also be used.

CAUTION:
If the output of the external tape recorder is connected to the LINE 2/EXT DECK jacks, either reduce the LINE 2 sliders on the RECORD/MIXER CONSOLE to 0, or switch the MIC/LINE 2 selectors to MIC. Otherwise, the external tape deck will be forced to record its own output, causing feedback oscillations.

It is possible to record, Dolby on both the Model 5420 and the external tape deck similar. In step 1 of the ”RECORDING” procedures, above, simply place the Model 5420 in the record mode. It is possible to copy a Dolby encoded cassette tape on your external deck so that the external copy is also Dolbyized. Proceed as follows:

1. Depress the DOLBY N R SYSTEM ”ON” switch.
2. Depress the FM-ON push switch.
3. Release the EXTERNAL push switch.
4. Play the cassette and record 011 on the external deck. This 1) procedure allows simultaneous listening to the decoded cassette via the 5420 LINE OUTPUT jacks.

PLAYING

To play back a Dolbyized tape from an external tape deck, proceed as follows:

1. Press the STOP bL1tton on the Model 5420’s tape transport to release the REC bL1tton.
2. Depress the DOLBY N R SYSTEM ”ON” push switch.
3. Depress tl1e EXTERNAL push switch.
4. Depress the FM-OFF push switch.
5. Play the tape on the external deck.

MULTIPLEX FILTER
The rear panel MPX FILTER switch activates a high filter which is specially designed to block the high-frequency multiplex pilot and subcarrier signals which are present in stereo FM broadcasts. Although these pilot and subcarrier signals are outside the human hearing range, they can inhibit the action of the noise reduction circuit when making Dolby encoded recordings ot standard FM stereo broadcasts.

Normally, it is the job of the tuner or receiver to filter out these undesired signals. Most high-quality turner sections already provide sufficient (40 dB) pilot and subcarrier rejection. In fact, with all Marantz tuners and receivers, the use of the MPX FILTER is unnecessary. However, to ensure correct operation of the noise reduction circuitry when used with other brands of tuners that may not have sufficient pi lot and subcarrier rejection, the MPX FILTER is provided. If you are using a non-Marantz tuner, and if the Dolby circuit seems to have no effect when recording from FM stereo, then activate the MPX FILTER. The filter will then block the high-frequency interference and allow the Dolby circuitry to operate as designed.

TECHNICAL SPECIFICATIONS

Signal to Noise Ratio

• with Fe-Cr or Cr02 tape . . . . . . . . . . . . . . . . . . . . . . . • . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50d8
• with standard tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . • . . . . . . . . . . . . . . . . . 48dB
• DOLBY N R ON improves S/N ratio by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 OdB
• Total Harmonic Distortion• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 2%

Frequency Response

• with Ferri -Chrome tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30 Hz to 17 kHz+ 3 dB
• with Cr02 tape ………………………………………………………30 Hz to 16 kHz± 3 dB
• with standard tape……………………………………………………………………………………………………….45 Hz to 14 kHz± 3 dB
• Wow and Flutter ………•……………………………………………………. 0.0 7% W.R.M.S.

Input Impedance

• Mic ………………………………………………………………………….. 10Kn
• Li n e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .. . . . . . .. . . . . . . .. . •· . . . . . . . . . .. . . . . . . . . . .. .. . 68 Kn

Input Sensitivity

• M i c .. .. . . .. . . . . .. . . . . . . .. . . . . . .. .. . . . .. . . . . .. . . .. . . . . .. . .. .. .. .. .. . . . .. . . . .. . . . . . . . . . . .. . _ .. .. . . . .. 0. 2 5 m V ( -7 Od B )
• Line ………………………………………………………………………………………………………….. 70mV(-21dB)
• Line Output Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 0mV (+1dB)
• Line Output Impedance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . • . . 6Kr2
• Headphones Output Impedance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8r2

GENERAL

• Power Requirements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22QVI’\, , 50Hz (This unit can be converted by a qua I ified technician to operate on 110/120/240V”v, 50/60Hz.)
• Power Consumption. . . . . . .. . . . .. .. . . .. . . . . . . . . . . . . . . . .. . .. .. . . .. . . . . . .. . . . . . . . . . . . . . .. .. . . . . .. .. .. . . . . . . .. .. . 25 Watt

Dimensions:

• Width .. . .. .. . . . . . . .. . . . . .. . . . . . . . .. .. . . . . .. .. . .. . . .. .. .. .. . . . . . .. .. – .. . .. .. .. . . . . 17- 5/16 inches
• Height. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6-1 /2 inches
• Depth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12-3/4 inches

Weight:

• Mode I 54 20 0 n I y .. . . .. . .. .. .. . .. . . .. . . .. .. . . . .. . . . .. . .. .. .. .. .. . .. .. . .. . .. . … _ .. . .. .. .. .. .. . . .. . .. .. . .. .. . . . .. . . ………… . 19 pounds
• Packed for Shipment ………………………………………………………………………………………………………………… 24 pounds

MAINTENANCE

CLEANING
The satin gold anodized finish of the aluminum front panel and the smoked Plexiglas window will last indefinitely with proper care and cleaning. NEVER use scouring 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 solution of detergent and water.

IN CASE OF DIFFICULTY
If your set is not operating properly, check the following points:

1. Tape not running.
   • I mp proper connection of power cord.
   • POWER switch in OFF position.
   • Defective cassette.
2. Record button will not go down.
   • No cassette inserted.
   • No erasure prevention tab on the cassette.
3. Tape runs but no sound.
   • Tape not recorded.
   • Improper or incorrec_t connection of amplifier or speaker.
   • Volume control of the amplifier is in the MIN position.
   • Amp ifier select switch, not in TAPE position.
   • DOLBY NR SYSTEM switch in EXTERNAL position.
4. Level meter is dead during recording (no recording).
   • MIC/LI NE select switch, not in the correct position.
   • DOLBY NR SYSTEM switch in FM-ON position.
5. Distortion in so_und.
   • Record level is too high.
6. Wow in sound
   • Tape head is dirty.
   • Pinch-roller (or capstan) is dirty.
   • Defective tape (warped or stretched tape}.
   • Tape is not wound neatly or it is wound too tight.
   • Defective cassette with excessive tape drag.
7. Excessive noise.
   • Tape head requires demagnetization.
   • Defective tape.
8. Hum in sound.
   • Improper connection of the shielded cable.
   • AC magnetic field from the power transformer of ex­ternal equipment is in close proximity to the tape head.

REPAIRS

Only the most competent and qualified service technicians should be allowed to service the Model 5420. The Marantz Company and its factory-trained warranty station person­nel have the knowledge and special equipment needed for the repair and calibration of this precision instrumer1t. In the event of difficulty, refer to the I ist of Authorized Marantz Service Stations packed with the Model 5420 or write directly to the location listed below for the name and address of the Marantz authorized service station nearest your home or business. Please include the model and a serial number of your unit together with a full description of what you feel is abnormal in its behavior.

Marantz Company, Inc.

• National Service Dept.
• P.O. Box 577 Chatsworth, CA 91311 U.S.A.
• Superscope Canada, Ltd. 3710 Nashua Drive
• Mississauga, Ontario Canada L4 V1 MS
• Superscope Europe, S.A. Boite Postale 4 430 avenue Louise 1050 Bruxelles (Belgique)
• Superscope G mbH Max Planckstrasse 22 0-6079 Sprendl ingen West Deutschland
• Marantz France 18, Rue de la Felicite 75017 Paris, France

REPACKING FOR SHIPMENT

Should it become necessary to repack your Model 5420 for shipment to the factory, to an authorized service station, or elsewhere, please observe the following precau­tions:

• Pack the unit carefully, using the original material as shown in Figure 6. PLEASE NOTE that if you have discarded, lost, or damaged the packing material, new packing material may be obtained by writing to 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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