Hafler 945 Most, This, Strongly, Will, Signal flow inside the unit, Are, These, During, Input

TAPE INPUTS and TAPE

O U T P U T S

TONE CONTROLS and TONE IN/OUT

The 945 incorporates two Tape Loops for use with audio tape decks or other input/output signal

processors. Due to the great flexibility of connection and control, the Tape

Loops are

probably

the

most

complicated

portion of

the

945 to understand and operate. Therefore, a thorough

reading

of

this

section

is

strongly

recommended.

Consultation

of

the

Functional

Block Diagram

will

aid

in

understanding

the

signal flow inside the unit.

TAPE DECK CONNECTIONS: The Tape Inputs

are

electrically

the

same

as the other line level

inputs,

but

are

selected

via

the

Tape

Monitor

1

and

2

buttons.

Activating

these

switches

(red

light

ON)

breaks

the main signal path after the Input Selector buttons and allows monitoring of a tape deck’s output,

during

recording or playback.

The Tape Outputs feed an

audio signal to a tape

recorder’s

input.

The

signal

present

at

Tape

1

Out is

the

same as indicated

by

the Input

Selector

buttons.

The signal present

at

Tape

2

Out

is

also

the

same

as indicated by the Input

Selector

buttons,

unless

Tape 1 is selected. Under

this

condition,

the

signal

present at Tape 2 Out is

the

same as

Tape

1

Input. This

arrangement

allows

dubbing

from

Tape

1 to

Tape 2.

If

only

one

tape

deck

is

connected to the system, Tape 2 is the preferred input.

This

allows

the

Tape

1 input to be used as an

additional

line

level

input.

If two tape decks are

connected

to

the

system,

and

tape copying

is to

be

performed,

connect

the

"source" deck

to

Tape

1, and

the

"destination" deck

to

Tape

2 .

SIGNAL PROCESSOR CONNECTIONS: The Tape Loops may also be used for connection of signal

processors

(such as equalizers, etc.).

The

Tape

Outputs are used to send

the

signal

to

the

processor,

and

the

Tape

Inputs

are used to return the

signal

from

the

processor.

If

only

one

signal processor is connected to the

system (and no tape deck),

Tape 2

is

the

preferred

loop.

This

allows

Tape

1

to

be

used as an

additional

line

level input. If one signal

processor

and

one

tape deck

is

connected to

the

system,

it is

usually preferred

to

connect

the

processor

to

Tape 2,

and

the

tape

deck

to

Tape

1.

This

will

prevent

the

processor

from

affecting

signals

sent to

the

tape

deck. If

it

is

desired

to affect signals sent to the tape deck, then

connect the devices in the

opposite

order.

If

two

signal

processors

are connected to the system, then a

decision must be made as

to

which

device should

come

first

in

the

signal path. This will depend on the

type of

device connected

and

the

effect

desired.

NOTE:

Though

rare,

it

is

possible

that

some external

devices

connected to

the

Tape

Outputs

may

cause

slight distortion to the main signal path when that device is turned off. This is due to possible

semiconductor

junction

rectification

in

unpowered

circuits.

If

this

is

suspected,

leave

power

applied

to

any

device

connected to the Tape Outputs

during

critical

listening.

A

common

system “malfunction” can often be traced to inadvertently

leaving

a

Tape

Monitor

button(s)

engaged (red light ON). In case of no sound from a selected line level

input, check

that

the

Tape

Monitor

button(s)

is

in the de-activated position (red

light

OFF).

The

Tone

In/Out button (on the Front Panel

or via the Remote Control)

activates

the

Bass and Treble

Controls when the button is lighted green. In the OUT mode (button

light is off), the Tone Controls are

completely

removed from

the

signal

path, regardless

of

Bass

and

Treble

knob

position.

Control

of

Bass

and

Treble

is

not

available

via

the

Remote Control,

although

preset

tone

settings

may

be

enabled

via the Remote Control Tone In/Out button.

The

Bass

Control

has a variable inflection, or

“hinge”

point

so

that

only

the

very

low

frequencies

are

affected

by

small amounts of knob rotation on either side of center.

This facilitates

small

amounts

of

low

frequency corrections

without

noticeably

altering

the

musical

balance

at

upper

bass

frequencies.

As

the

knob rotation

is

increased

further from

center,

frequencies

closer to

500

Hz

are

affected.

The Treble Control has a fixed “hinge” point at 1 kHz and has a “shelving” action above 5 kHz. This affords proper high frequency corrections without irritation from excessive boost at extreme high frequencies.

-13-