5IOI33T I

The purpose of this booklet is to supply a fund of information that will increase your knowledge of and interest in open reel
tape decks. We realize that no manual this size could possibly answer every question you may have nor cover every feature and
technique used today. But, if this booklet helps you to enjoy your deck a little more, its basic purpose has been achieved.

-CONTENTS-
page 2 Tape Tracks and Channels on Open Reel Tape Decks

3 Introduction to Open Reel Tape Decks

4 Introduction (Part 2)

5 Bias and Equalization — General Theory

6 Quadraphonic Sound and 4-Channel Tape Decks

7 The Tape - Record Time vs Length

8 Tape— Judging Condition and Handling

9 Special Recording Techniques

10 Special Recording Techniques (part 2)

11 About Dolby NR

12 Timer and Remote Control

13 Owner's Care

14 Basic Trouble-shooting Chart

15 Tape Loading and Erasing

16 Lubrication and Optional Accessories

ENVIRONMENTAL CONSIDERATIONS
Your TEAC deck is well constructed and is adaptable to a wide range of conditions, but a few cautions should be observed to insure proper
operation and prolong unit's useful life.
TEMPERATURE EXTREMES
Do not operate the deck at temperatures above 100/F (38/C) or lower than 40/F (5/C). Direct sunlight, stoves, or heating devices nearby will
also raise the internal temperature of the deck which may cause damage to some components. Low temperatures may cause sluggish
operation and place an overload on the drive mechanism.
DUSTY ENVIRONMENTS
As with any precision machine having moving parts, your deck should be covered when not in use. Excessive dust may result in bearing or
tape head wear. Also protect yourtapes from dust.
HIGH HUMIDITY AND OCEAN SALT AIR
High humidity conditions will shorten equipment life from corrosion and possible fungus growth on the printed circuit boards. If near the
ocean, extra care should be taken to cover your deck after use. Covering will prevent salt air from corroding metal surfaces, especially the
bearings and internal connections.
EXTREME LINE VOLTAGE FLUCTUATION
If you are in an area where line voltage fluctuation is severe, the use of a voltage controller (VARIAC) may be advisable.
 Tape Tracks and Channels of The Open Reel Tape
Decks
1. Full track recording: The magnetic flux pattern produced by the head covers almost the whole surface of the tape. The entire tape
is recorded in one direction on ly.
2. Half track mon ophon ic: The flux pa ttern generated by the he ad co vers less than half of the tape surface and the recording head is
off-set to one edge of the tape. A monophonic signal is recorded on one half of the tape and then the reels are inter-changed and the
other half of the tape is record ed. T he sam e half track head is used fo r both passes. The tracks are, o f course, reco rded in opp osite
directions on the tape.
3. Half track stereo: Two reco rding sections (heads) are used to record two tracks simultaneously on the tape. Both channels are
recorded in the same direction on one pass through the tape.
4. Quarter trac k, 2-channel stereo: 2 record heads are used to record all 4 tracks on the tape. On the first pass through the tape, track
1 and 3 are recorded simultaneously. At the end of the first pass, the reels are inter-changed and tracks 2 and 4 are recorded using the
same two heads tha t recorded tracks 1 and 3 . The actua l program o n the tap e for trac ks 1 an d 3, and 2 and 4 is recorded in opp osite
directions but since the reels are inter-changed between passes, the tape is recorded and played in the forward direction for both passes
of the tape.
5. Quarter trac k, 4-track/4-channel (Qua drapho nic): The head assembly consists of 4 separate heads and all 4 tracks can be
recorded at the same time on a single pass through the tape.
6. Quarter trac k, single channel (Mo nopho nic): The 4 tracks on the tap e are reco rded o ne track at a time. At the end of each pa ss
through the tape the reels are interchanged and the next track is recorded. The order in which the tracks are recorded is 1, 4, 3 and 2.
Four track re cord ing gives maximum playback time how ever, the bene fits of stereo repro duction are lost.

DIAG RAM A.

Playback compatibility
Diagram A shows the relative track locations and dimensions on a standard prerecorded 1/4" open reel tape. The playback heads
closely correspond to the record heads depicted in the diagram. Some decks in fact use the same record head for playback also. A brief
study of the track locations and recording sequence for the various common tape formats will lead to many valid conclusions
concerning compatibility between various tapes and tape decks. Some of these conclusions are stated briefly below.

1. A half track mono deck can playback a pre-recorded full track tape.
2. A half track stereo deck can play either a full track or a half track tape but the signal from a half track mono tape on side 2
will be played b ack in the opposite direction. H owever, the right channel output can be turned dow n and the left channel only
used for playback of both sides of the tape. When playing a furl track tape the left and right channel will reproduce the same
sounds.
3. A four track stereo tape deck can playback bo th 4 track and 2 track tapes and from the p oint of compatibility has the widest
possible range of utilization. W hen playing a 2 track stereo tape on a 4 track recorder, track #1 will be completely covered by
the head. Track #2 will be slightly off alignment but stereo can still be enjoyed by compensating for the slight loss of track #2
volume with the volume or balance controls of the amplifier. On the other hand a four track tape cannot be played back on a
two trac k reco rder as bo th tracks #1 and #2, and #3 and #4 will be repro duced together resulting in m ixed unintelligible
sound.
There are of course other possibilities for playback compatibility that the inventive audiophile or home recordist can discover by
co nsulting this diagram and o ther sources. T he proc ed ures for recording in each of the various formats will be covered in the Owner's
Manua l supplied with each TE AC deck. T his section is intended to give the interested recordist a complete overview of standard
recording tape forma ts.
Almost all tape decks are designed and constructed to record and playback only one of the standard formats. A few 4-channel decks
have a selectible 2-track playback head for compatibility with pre-recorded 2-track tapes. Full track and half track monopho nic decks
for home use are rarely, if ever, available today. Full track professional decks may be purchased however.
 Introduction to Open Reel Tape Decks
Open R eel
Many articles have been written concerning the relative merits of open reel decks vs cassettes decks. Some of these articles have even
selected one or the other as being better. Our position, at TEAC, is that both types are excellent, can give good service and provide
many months and even years of recording and listening pleasure. A large number of audiophiles own both an open reel deck and a
cassette deck. Cassette decks have many advantages and features that continue to attract customers (especially convenience and price).
Open reel decks also have capabilities and features that appeal to many serious audiophiles. Here are some of them. Features such as
separate Record/Playback heads, Editing and cueing controls, mic-line mixing, monitoring functions, provide versatility for many
creative recording situations. The mo dern audiophile doesn't seem to be content to just record performances as they are. He or she
wants to create, to experiment, to modify. They want to put something of themselves into their recordings. The pro or semi-pro
recordist will find the high end performance and versatility a distinct advantage. Few, if any, records are made today directly from a
single live performance. A singer's voice is recorded at one time, instruments are added or changed, a chorus may be added and often
other special effects are mixed in. The final recording may be completely unrecognizable by the artist who sang the original song.
The higher speeds of the open reel decks make possible higher quality recordings which challenge the limits of one's entire stereo
system.
The quality, styling and price of open reel decks make them prestige items. A well designed open reel deck seems to blend in with the
most expensive furniture decor and even enhances the overall atmosphere of successful living. There are various head types and
co nfigurations. T his sectio n is intend ed to give you a basic idea of how som e of the systems op erate. Please consult your owner's
manual for complete details of the features and capabilities of your deck.

Earlier models of tape recorders used a combined Record/ Play head.

(Diagram A). W ith such a head, you cannot record and reprod uce at the
same time. Another disadvantage of the combined head was in the design
of the width of the head gap. Modern head technology generally dictates
that the gap width should be different between the record and playback
functions for optimum output and frequency response.
W hen there are severe space and cost limitations, combined record/play
heads are still used today, and even though these heads are well designed
and highly efficient they still represent a compromise of optimum head
design. Open reel decks which normally have no head space limitations
and usually com mand a higher price d ue to their special cap abilities,
norm ally have separate Record and Play head s. (Diagram B). T he sep arate
heads allow monitoring of the tape during recording. This system has
distinct advantages. You can insure that your tape is actually being
recorded properly as you record. The playback signal can also be
connected to the record head for special effects, such as sound-on-sound,
echo and sound-with-sound. (These techniques are explained on pp. 9,
10.)
W ith separate record and playback heads there will be a time delay
between the recorded signal and the reproduced signal. The delay depends
on two factors; the physical distance between the two heads and the tape
speed. For instance, if the record head and playback heads are 1-7/8" apart
and the tape speed is 3-3/4 ips, the delay is about 1/2 second. With the
tape speed increased to 7-1/2 ips; the delay is 1/4 second. At 15 ips the
delay is about 1/8 second. See diagram B.
For some recording situations, even this fraction of a second is not
acceptable. If a musician or audiophile
wanted to add a new instrument or voice to a song already recorded and
wanted to listen to the record ed so ng for timing and synchro nization, this
delay would present a problem.
 Introduction to Open Reel Tape Decks (cont)
Editing and Cueing
Editing means to change a tape by physically cutting out unwanted sections of a recording or adding sounds by adding pieces of pre-
recorded tape. The cutting and rejoining of sections of tape is called splicing. Cueing means to locate a section of tape by listening for
the beginning or end of a recorded section. High speed cue ing is done by ca using the tape to co ntact the playback head during fast
forward or rewind operation by retracting the tape "lifters." Manual cueing is done by moving the tape across the playback head by
turning the tape reels by hand. High speed and manual cueing are special features that are available on most TEAC open reel tape
decks.
MIC/Line Mixing
MIC/LINE mixing is a feature that allows the recordist to mix a line input and a microphone input together on the same track. An
internal mixer in the tape deck is required to accomplish this. You can add a live sound by MIC (your own voice or other sounds) to a
pre-recorded song connected to the LINE Inputs for real creative recording.
Monitoring function
Monitoring basically means to listen to the playback of a recording while recording. You can insure that the sound is actually going on
the tape properly without waiting until the tape is rewound and then played back. The deck must have separate REC and Play heads for
this monitoring function.
Splicing Tape
Editing tape is a fascinating way to make creative recordings by eliminating and joining different segments of a recording into one
pleasing tape. Long, silent or boring segments can be removed by p roper editing. In fact, as editing is a creative exercise, there is only
your imagination and the length of tape to limit the possibilities. Broken tape can also be easily mended by splicing, one of the steps
required in editing.
The first step is to precisely locate the section of tape to be removed.
On some T EAC decks this can be done by manually cueing the tape. Consult the Owner's Manual for operation of this feature in your
deck.
Next, use an Editing Block or a pair of scissors (demagnetized) to cut the tape at the places marked. Finally, the splicing is to be done.
A Tape Splicer is preferred, but a pair of scissors that have been demagnetized will be satisfactory. Before you proceed, have some
commercially available Splicing Tape available. Never use Cellophane (Scotch Brand) tape, for that adhesive will spread and
contaminate your head s.
1. Overlap the ends to be spliced by approximately ½ inch and align
them carefully.
2. Cut through the center of the overlapped area at a 45 to 60 degree
angle.
3. Butt the slanted ends of the cut tape together. Use a straightedge or
ruler to assure a perfectly straight alignment.
4. Apply splicing tape to the shiny base side of the tape (opposite to the
tape side that touches the head) as shown in diagram 2. Note that
splicing tape goes perpendicular to the recording tape.
5. Place the spliced connection on a hard surface and rub the splicing
tape b riskly with your fingernail or o ther hard smooth object. T his is to
assure a firm adherence to the splicing tape.
6. T rim off the excess splicing tape as shown in Fig. 3 -1 and 3-2. N ote
how to cut slightly into the recording tape to insure complete removal of
the excess.

IM PO RT AN T: E diting will destroy o r seriously "cut" any ma terial recorded on the other side of the tap e (track s 2 & 4). If editing is
anticipated, record only on one side of the tape. After editing, material can then be copied onto both sides of another tape. When
attaching blank "leader" tape onto your tapes, follow the same procedures given here for splicing.
 Bias and Equalization-General Theory
Bias
In order to get the magnetic particles on a tape to respond properly to the changing signal supplied to the record head, a pre-
conditioning bias is needed. Most home recorders today use an alternating current (AC) bias at a frequency of 50 to 150kHz. This bias
raises the magn etic level of the oxide p articles so that even small changes in the signal from the record head will cause relatively
similar changes in the magnetic level of the particles on the tape. Without this bias pre-conditioning, the oxide particles do not respond
properly to the signal from the record head. This high frequency bias signal is applied to the tape together with the desired audio signal
by the record head. Since the bias signal frequency is much higher than the audio frequency range, there is little chance that the bias
signal will interfere with the sound reproduction.
The amount of bias (bias level) affects the signal-to-noise ratio, distortion and the frequency response of the tape and hence of the deck
itself. To o little bias w ill allow more d istortion than is necessary. Bias also affects the output level of the tape. N ormally, as bias is
increased the signal level off the tape increases, up to a maximum output level which depends on the type and quality of the tape.
Increasing the bias level beyond this point causes the output level (and consequently, the S/N ratio) to decrease. The "optimum" level
of bias is usually a comp romise betw een the best results in S/N ratio, distortion and high frequency respo nse, and usua lly differs with
different types and brands of tape. For this reason, all TEA C tape decks offer the user a switch selection for different bias levels or a
bias adjustment. One or the other of these is absolutely necessary if the recordist expects to use more than one type of tape. If everyone
used the same type and brand of tape, the tape deck manufacturers could all set their bias circuits for a specific type of tape and
everything would be fine. But, there are many good brands and types of tapes available and many recordists use more than one type of
tape. E xperience and experimentation will help you dec ide which tape to use and w hat bias level is most appropriate
for specific situations.
TEA C offers charts and/or instructions on how to set the bias level for various brands of tape. These instructions should be followed
until the recordist develo pes sufficient knowledge (and has the p roper m easuring equipment) to make reliable tape evaluations.
Equalization
The EQ (equalization) selection must also match the type of tape formulation being used. If for instance, a deck was factory adjusted
for standard tapes and the recordist decided to use low noise/high output tapes with their accompanying high frequency emphasis, the
high freq uencies would sound to o bright.
The equ alization switch can be used to reduce this high frequency over-emphasis and resto re the o utput sign al to its original fidelity.
Conversely, if the deck is factory adjusted for low noise/high output tapes and the recordist decided to use standard tapes, the high
frequencies will be much lower and an equalization setting that emphasizes high frequencies should be selected to compensate for
these low levels. TEAC tells in our instruction manual what equalization level should be selected for various types of tape. Together
with the b ias setting, the suggestions sho uld be close ly adhered to until the audiop hile develop es the ex perience and knowledge to
decide for himself.
Freq uency Response
Frequency response is one of many parameters or specifications that manufacturers consider in the design of their open reel tape
decks. B ut it is possible to over-emp hasize this one parameter at the exp ense of others, such as signal to-noise ratio. In general, it's best
to consider a well designed tape deck as a series of compromises that are made to give the best overall operation and performance. The
following musical sound frequency chart will help you understand the basic requirements of frequency response versus actual
recordable frequencies.
 4-Channel Tape Decks
Introduction to Quadraphonic Sound
Pro pon ents of q uadraphonic so und m ay ove rwhelm the newcom er with high soun ding words like "sp atial effect, am bienc e, music hall
realism" or " surround sound" . In simple terms, the philoso phy behind the emergen ce of quad raphonic sound goes like this.
W hen a perso n attends a concert or other m usical production in an auditorium or concert hall he hears sounds from m any directions.
The primary or most significant sound originate from the direction of the orchestra, but there are also reflected sounds which one hears
from many other directions, including the sides, top and rear of the hall. The sound from the top and sides of the hall are often
insignificant because the primary sounds from the front tend to over-ride them. However, the sounds from the rear seem to add a
special dimension to the performance and give a sense of space and position to the listener. Without these rear sounds the "ambience"
of the auditorium would be lost and the listener would not enjoy the realism of being in the audience. To accurately record all of the
dimensions one "feels" at a live concert requires many channels but as a practical limit due to both space at home and financial
restrictions, 4 channels was determined to be the minimum number of channels required. These are the two front primary stereo
channels and two more rear channels that give the sense of position, ambience or "music hall realism".
Another use of 4-channel sound has also been investigated by some peo ple. T his is "surround sou nd". Althou gh the " music hall
ambience" concept and "surround sound" are often considered the same thing, there is a difference. The music hall ambience concept
attempts to put the listener in the audience at a concert or musical performance. The idea is to faithfully record and reproduce the true
sounds and realism of the hall. The sounds heard from each channel are b asically the same, with only a slight (though imp ortant)
difference in reverb eration, volume level and aco ustic phases.
Surro und so und b y contra st tries to put you in the ban d and even a llows you to "w alk through the band ". T he sounds on the 4 channels
are often quite different. A piano may emanate from channel 1, a bass may dominate channel 2 and channels 3 and 4 may contain other
sounds. The instruments and the volume levels may vary on each channel and the listener may get the impression that he is moving
around in the orchestra, some music experts call this type recording "gimmickry". Some others will say this type of 4-channel sound
provides vastly expanded creative p ossibilities.

Possible Speaker arrangements

4-Channel speaker placement

In order to get the same sound ambience and emotional satisfaction. Som e of the many possible speaker placements
atmosphere of the original recorded 4-channel music logically are shown in Figure 2. The geometry and size of the listening
requires that the speaker layout be the same as the original room will also affect the sound quality. A very small room will
mike placement. For instance, if you record using a mike severely limit the spacing and placement of your speakers. A
arrangement as shown in Figure 1 A, your speaker large listening room would offer more freedom of choice and
arrangement should be similar to 1 B. Acoustic properties of perhaps more problems with acoustics. One suggestion
the room or studio during recording versus these of the concerning speaker placement in order to get faithful
listening room may cause some differences in the sound reproduction of pre-recorded tapes is to try to picture your own
experience. Since music is an emotional as well as a physical listening room in the original auditorium or recording area.
experience you may want to experiment for the arrangement
that suits you best and gives you the greatest personal
 The Tape-Record Time vs Length
The Tape
The length of a full reel of recording tape as well as the recording time, is determined by the reel diameter and the thickness of the
base material.
The use of 1 or ½ mil base tape is recommended for 4 track high fidelity recording. Polyester base tape is preferred for use in humid or
extremely dry areas. Three recording speeds are commonly used, 3-3/4, 7-1/2 and 15 inches per second (ips). 15 ips is generally used
for produ ction o f master tapes a nd for professiona l and semiprofessio nal use. 7 -1/2 ips is com mon ly used fo r hom e high fidelity
recording. Generally speaking, the higher the recording speed, the better fidelity (especially at the very high audio frequencies).
However, due to the extremely high quality of the TEA C tape d ecks, record ings of excellent quality can be made at the lower speed s.
This provides maximum tape economy and extended playing time.
The recording time indicated in the charts below is for one single pass of the tape, therefore the total recording time will be either two
or four times that indicated, depending upon the method o f recording (2 track stereo or mono-pho nic).
7" reel
Base Tape length Recording time
7-1/2 ips 3-3/4 ips
1-1/2 mil 120 0ft. 30 min. 60 min.
1 mil 180 0ft. 45 min. 90 min.
1/2 m il 240 0 ft. 60 min. 120 min.

10-1/2" reel

Base Tape length Recording time

15 ips 7-1/2 ips 3-3/4 ips
1-1/2 mil 240 0 ft. 30 min. 60 min. 120 min.
1 mil 360 0 ft. 45 min. 90 min. 180 min.
1/2 m il 480 0 ft. 60 min. 120 min. 240 min.
Level Setting
Correct level setting of the MIC and LIN E Input Controls will assure full frequency response, maximum dynamic range, minimum
amount of tape noise and the least possible distortion in your recorded tape. This is based upon the nature of magnetic recording tape
which has a useable recording range as shown in the chart below.

When the input level (an audio signal of a specified voltage) is very low
or weak, it must compete with the hiss and noise always present at the
same low level on the tape. Stronger input levels, are recorded above
this tape noise and tend to cover or "mask" it so you hear only the
desired sound during playback. If the input level is too high, it enters
the region shown at the top of the chart, which represents the limits of
the tape. This limit says that no matter how much stronger you record,
the tape cannot accept and re turn the sa me strength of signal. T he result
is known as "sa turation distortion", and is heard as a garb led or harsh
sound. T he dynam ic range available is found betwee n this distortion at the high end and the noise at the low end . As the chart also
shows, there is a difference between recording tape. The tape on the left is representative of conventional or normal recording tape. To
the right is the improved kind of low noise/high output tape.
Input Level Controls (MIC and LIN E) are used to match the strength of the input signal to the requirements of the tape. If the input
signal is a little too strong these controls must be adjusted to reduce it to prevent distortion. If the signal is a little too weak, the
controls must be set to increase the preamplification for raising the signal above the tape's noise level. Of these two limits, the
distortion caused by high level inputs is used as a reference for setting the controls. Generally speaking, the shaded area at the upper
(right side ) of the V U m eters' scale indicates that distortion levels are being app roached. This area b egins at 0 VU . As the id eal is to
record the p rogra m witho ut distortion of the loud parts o r losing the purity on the q uieter parts, the record ing level must co nsider both
limits.
Choice of Tape
Most ma gnetic tape av ailable com merc ially today is clearly marked with its spec ifications, such as thickness, type of base material,
tape length (or ree l diameter) and other charac teristics.
Since TEAC open reel decks are factory adjusted for use with low-noise types of tapes as standard reference, we recommend that you
use the tape selection table printed in the Owner's Manual for selecting the tape to be used.
 Tape-Judging Condition and Handling
Tape condition can be judged by appearance when w ound on the reel and viewed from the side.
1) Is it neatly wound? 2) Are there steps or irregularities in the winding? 3) Is the color of the base uniform as seen from the side? 4) Is
the tape edge smooth?
Selecting the tape and reel
For recording, new tape is not necessarily needed. If the tape is of good quality the erase head will erase the previous recording as the
new recording is made. However, avoid using tape whose coating is worn, peeled off or stretched.

If the color of the winding is different throughout the reel it is an indication that two different types of tape have
been spliced in. In some cases, the color may differ according to production lot even for the same type tape, or between opposite sides
of the wound tape.
Normal condition reel
The use of a good quality reel is an important point in preventing damage to the tape edge or uneven stretching. Always use reels of
the same diameter.
Jud ging tape condition by h ow it trav els
Tapes which sna ke up and d own betwe en the guides or ov er the he ads will inevitably lead to level fluctuation and az imuth
misalignment.
Unevenly stretched tape which travels either higher or lower than the true path of the tape will in extreme cases drift off the pinch
roller.

Snaky motio n of an uneve nly stretche d tape is indicated b y the arro ws.

Ha ng do wn a length of tape to check straightn ess

Tape Storage and Handling

Magne tic tape recordings are superior to phonograph discs because, with proper care, they can be kept and replayed for many, many
years without degradation. During playback, the biggest dange r to the record ing is a magnetized or dirty point on the d eck, such as a
head o r capstan. Ca re for the record ing and the tape must be co ntinued even a fter playing it by following these guides:
1. Pro tect the ta pe from dust
Keep it in the plastic bag and the original carton.
2. Protect the tape from heat
Do not pla ce it on top o f audio com ponents. Sto re it in a co ol roo m but also avoid freezing tempe ratures. Kee p it out o f direct sunlight.
3. Pro tect the ta pe from stress
Tremendous pressure is built-up on the inner windings of tape. This pressure is acceptable unless you apply additional stress by
bending or squeezing the sides of the reels. This problem is increased if the windings are irregular. Fre quent starts and stop s will cause
uneven winding pressure and the tape will be unevenly wound from side to side within the reel. Slight pressure on the sides will then
break or crack the edge of the tape. Therefore, always prepare your tapes for long-term storage by re-winding them using the [ > ]
(forward) and [ < ] (Reverse) Playback operating speeds or the Uniform W ind speed (if your deck has this feature). The Fast Forward
and Rewind speeds normally apply a greater tape tension that is not recommended for tapes that will be unused for a long time.
4. Protect the tape from strong magnetic fields
Just as a Bulk Eraser will remove the recorded material, so will a permanent magnet or the voice coil of a speaker destroy your
favorite recording.
5. Protect the tape from humidity
Fungus growths will cause irreparable damage to the tape if stored in damp places. Keep the tape in the original plastic bag, but insure
that it is dry before storing.
 Special Recording Techniques
Sound-On-Sound Recording
The technique of recording sound on sound is basically a method for mixing the monophonic recording from one track with a
subsequent recording (generally live) on the second track (also monophonic). This proced ure can be repeated from one track into the
other until the no ise level (tape hiss) from successive rec ordings has added together to an un desirable level, probab ly after five or six
recordings.

1. Make a m onophonic recording on the Left channel (track 1).

2. Rewind the tape to the beginning of the recording.
3. Connect an audio cable from the Left channel OUTP UT jack to the Right channel LINE IN jack.
4. Insert a headphone plug into the PHO NES jack and microphone into the MIC R (right) jack.
5. Place the RECORD - MODE L (left) switch OFF and the R (right) switch ON.
6. Engage the Record/Pause mo de by depressing the R EC a nd PA USE control buttons.
7. Reduce the Left LINE Level Controls and the Left MIC Level Control. Make a preliminary level setting with the Right MIC Level
control, using SOU RCE Mo nitor.
8. Switch to TAPE-M ONIT OR. Release the Record Pause Mode by pushing the [REC ] but ton.
9. Listen only to the Left earpiece on the hea dpho nes.
10. W hile monitoring the Le ft channel with headp hones, make a mixed recording by adjusting the M IC-R and LINE -R Level co ntrols.
Observe the VU Meter (Right) but note that the reading will be slightly delayed because of the distance from the Record head to the
Playback head.

Sound-on-sound recording step chart

1st 2nd 3rd
MIC IN or LIN E IN jack L R L
MIC or LINE Level Control L R L
SOURCE TAPE TAPE
MONITOR SELECT Switch
and TAPE
VU M eter L R L
REC. MODE SELECT Switch Left Right Left
OUTPUT L L R
Headp hone Left Left Right
TE AC decks that have dual inputs and outputs facilitate Sound on Sound recording and make it possible to record Sound on Sound
with a Line Source as well as a Micropho ne Source as described above. P rocedures for Sound on So und with line are basically the
same as above; substitute "Right LINE" for "Right MIC" while maintaining the Right channel output stationary. For succeeding
recordings, simply reverse the channels each time, and use the alternate contro ls and switches.
If the LIN E co ntrol does not pro vide sufficient adjustment you m ight re-ad just the O UT PU T contro l to prevent saturation o r to raise it
to a satisfactory level for recording. If the mixed recording on track 3 (right channel) is unsatisfactory, you may record it again, for the
original material still remains on track 1.
Sound-with-Sound
"Sound with Sound", like sound on sound, involves recording m onop honic material one track at a time on each of the two channels.
Unlike sound on sound, however, there is no mixing of the first track signal together with the second track recording. During playback
after the second recording, you w ill hear two distinct channels simultaneously but they w ill not be synchro nized nor ha ve the affects
obtainable from stereophonic methods. Procedures are similar to monophonic recording, except the tape is rewound after the first track
is recorded so that the next recording is made parallel and in the same direction on the other channel. The first track is monitored
during the seco nd reco rding to retain a relationship b etween the two channels.
For example, in language training, the student's response will be on the second track, re-recorded as often as desired, without
destroying the teacher's recording on track 1. Perhaps more common is to record music on one track and then add dialogue or
commentary on the other or vice versa. Music is generally not recorded "with" music, however, for the two recordings will not be
synchronized.
Another interesting use for the Sound with Sound recording technique is to produce your own personalized "sing-along" Play your
favorite record and record in monophonic on one channe l. As you are recording you can add your voice to the other track via a MIC
input. During playback you can adjust the OUT PUT level of each channel to get the "best" blend of your voice and the original song
on the other track.
 Special Recording Techniques
Echo Recording
The echo repetition cycle is strictly limited by the spacing between the Record head and the Playback (monitor) head, and by the tape
speed. The higher tape speed (7-1/2 ips) gives the quicker echo. Echo persistence (the number of repetitions) depends upon the
strength of recording. Persistence can be increased by increasing the OUTP UT Level setting. Avoid oversetting the Level for
saturation will begin when the echo becomes too strong. Set the MONITOR switch to TAPE.
Sound on Sound and Stereo Echo Unit
Creative recording is especially enhanced with the versatile AX-10
Sound-on-sound and Echo U nit. On standa rd 2-channel dec ks with
separate record and playback heads, you can produce sound -on-sound
and a wide range of echo effects including normal or "mono" echo and
stereo or "cross" echo.
The M odel AX-10 Sound-on-Sound and Stereo Echo Unit is designed
to adapt a stereo tape recorder so that it can make sound-on-sound
recordings (mixing and recording from o ne track to the o ther) or app ly
echo effects du ring recording in stereo. Either process is simply
carried out by depressing the red buttons singly or in proper
combinations. This unit is adaptable only to stereo tape decks which
feature the ability to record on one track while playing back the
opposite track. In addition, decks with separate record and playback
heads and electronics are essential for the echo function.
W ith 4-channel decks, two AX -10's create da zzling q uadra-sonic
effects — like rotating echo and psuedo -quad from stereo recordings.
Also recommended for 4-channel decks is the AX-20 Mix-down Panel. A hand-held studio console, the AX-20 converts 4-channel
recordings into 2-channel stereo masters and, with the level controls on the deck, can be used for mixing and blending selected
channels during recording.

Recording Directly from a Source

Although most connection diagrams show the tape dec k connected dire ctly
to a stereo amplifier, it is not necessary to limit yourself to that one source
for quality recording. In fact, almost any standard audio component may be
connected from its output to the LINE IN jacks of the deck with the
following excep tions.
1. Never connect the Speaker output of any amplifier to the deck.
2. Turntable and phonograp h outputs need special amplification and
equalization from an amplifier before they can be recorded.
3. DIN cords are designed only for connection between the deck and a stereo
amplifier.
4. Electrical pickups for m usical instruments, electric guitars and electronic
organs are probably unacceptable. Check with your dealer or the unit's instruction manual before attempting to record directly from
these sources.
Dubbing (duplicating) tapes for yourself or others to enjoy is one of the many pleasures of tape recording. All that is needed is another
tape d eck o r player. Copying m ay be d one from o pen-reel to o pen-reel, to cassette o r to cartridge b y connecting the output of one to
the input of another.
If possible, all copies should be made from one "Master" tape: either the original recording you have made or a first copy from a
spliced and edited tape. If copy # 1 is used to make co py # 2 , then #2 to make # 3 , etc., the successive generations o f copies tend to
accumulate a small amount of tape noise from each sequential copy. The primary key to maintaining high quality copies is having a
Master tape recorded at as high an input level (without distortion) as possible for maximum dynamic range. Other means to reduce the
small losses in dynamic range from tape hiss build-up include: (a) the use of Dolby Noise Reduction processing during the original
(Master) recording; (b) the use of good quality "low noise/high output" tapes at every stage of recording and copying; and (c) the
establishment of identical playback and recording levels while copying.
 About Dolby NR
* " D O L B Y " a n d th e D o l b y D o u b l e -D s y m b o l " D O ' tr a d e m a r k s o f D o lb y L a b or a to r ie s In c .

Do lby Noise R eduction U nits

The Dolb y Noise R eduction U nits are designed to reduce the hiss noise that is an inherent problem in the tape reco rding process.
When dubbing or copying tapes without some type of hiss reduction, the hiss from the two decks becomes cumulative and can become
a serious problem. Dolby noise reduction units reduce this noise by special circuits which overemphasize the mid and high range
sounds during re-recording and then reduce these same sounds (and the inherent hiss of the tape and the recording circuitry) during
playback.
Since Dolby circuits are licensed by Dolby Laboratories Inc., there are no significant differences in the basic function of the
various TEAC Dolby Noise Reduction Units. The primary choice of which unit to buy depends on the features, convenience of
operation and controls and the quantity and types of inputs and outputs desired. Dubbing with the Dolby Noise Reduction Unit When
dubbing a master tape it may be advisable to record the master tape through a Dolby Noise Reduction Unit as shown in the diagram
below.

Dolby Laboratories Inc. have developed an effective noise reduction system which reduces tape noise and hiss by as much as 10 dB.
This system is available from TE AC C orp. in the AN -60, AN -80, AN -180, AN-30 0 and o ther mod els. When using a Dolby Noise
Reduction Un it with a TEA C dec k, note these following points:

1. Connect the Dolby NR unit directly to the deck. All audio cables from
the amplifier or other sources are then co nnected to the Dolby N R unit.
2. Unless specifically stated otherwise in the Dolby unit's Instruction
Manual, all instructions in this manual are still applicable. The type of tape
used in reco rding will determine the B IAS and EQ switch positions.
3. Before recording, be sure to perform the Dolby calibration procedure per
the instructions in the Do lby Noise R eduction U nit's Owne r's Manual.
Playback of Dolby encoded tapes
W hen playing back a tape which was Dolby encoded on a deck which does
not have internal Do lby circuitry, a separate D olby N oise R eduction U nit is
necessary. (Diagram N)

To enjoy the benefits of the Do lby Noise R eduction S ystem b oth

recording and p laybac k levels m ust be m atched. T herefo re, "D olby-
encoded", "Dolby processed", or Dolbyized" tapes must be played back
through a properly calibrated Dolby Noise Reduction Unit, available from
TE AC and other co mpanies.
Playback calibration for the Dolby NR System is simplified with the
TEAC Memory Marker Guides. The M-M guide on the OUTPUT
Control can be used to accurately ma rk the ca librated setting for q uick re-establishment of the calibration.

Please no te these points:

1. The Dolby NR System is not a filter and will not eliminate noises that
are present in the original recording.
2. Improvements in the recording tape itself (such as low noise/high
output tape) have significantly reduced the inherent tape noise level.
Although the Dolby NR System is still contributing to an improved
signal to noise ratio when using these tapes, the advantages of the system
may no t be so readily apparent.
W hen playing back a Dolby-encoded tape on a deck which has internal
Dolby circuitry, no external Dolby unit is needed. (Diagram O)
 Timer and Remote Control
Time r Controlled Reco rd and P layback T EAC makes a va riety of timer control adap tors sold sepa rately from the deck as accessories.
These timer control adaptors can be connected to the deck for automatic timed control of the Record and P layback functions of the
deck. During your absence o r while sleeping, yo ur favorite FM program can be reco rded ; or awaken yourself to a recording of a
favorite song or music.
Carefully read the op erating instructions enclosed with the timer control ad aptor, which explain how to connect it to the deck, how to
prepare the deck and set the recording levels for automatic, timed recording. After setting the timer control, push the [REC] or [Play]
button as de sired. W hen the timer reaches the designated time, record or playback will be started automatically when elec tricity is
provided by the A C clo ck timer control.

Remote Controlled Operation

To further enhance the flexibility and con venience o f TEA C tape d ecks,
TE AC produces many models of Rem ote C ontro l Units. T hese units
allow you to control all or most of the transport functions from up to 15
feet away from the deck. You can control the deck from the comfort of
your easy chair or have freedom to mo ve around during live recording
sessions.
For more specific instructions and capabilities of each of the timer
control adaptors and the remote control units, consult the operating
instruction man ual. T he following thre e illustrations will give you basic
hook-up information, pictorial views of the various units and a
com patibility chart for m any of the tape d ecks tha t TE AC sells
throughout the world. Be sure to get the correct unit that matches your
deck.

Timer Control Adapter/Remote Control compatibility chart

TEAC Model Remote Control Timer Control

Adaptor
A-2300SD RC-120
A-2300SR RC-140
A-2300SX RC-120
A-2340RS RC-140
A-2340SX RC-120
A-3300SR RC-140 RC-320
A-3300SX RC-120
A-3340S RC-120
A-4300SX RC-140
A-6100 RC-120
A-6300 RC-140
A-6600 RC-80
A-7300 RC-170
A-7300RX RC-170 RC-350
25-2 RC-170
40-4 RC-170
 Owner's Care
Cleaning and Degaussing
The single most important point in tape deck maintenance is frequent and proper cleaning of the heads. The heads should always be
cleaned before making important recordings and at least once for every 8 hours of use (record or playback). Dirty heads will cause a
reduction in high frequency response, irregular head wear, drop-outs and in extreme cases may cause the deck not to record at all. The
small amount of time and effort required will be more than compensated for by the higher quality of recording and reproduction
available if these procedures are followed.
Comm only used cleaning fluids are chlorothane, isopropyl alcohol and TEA C Head Cleaner (Fluid "A" in the TZ-261 kit).
Chlorothane is non-flammable and has excellent cleaning properties. Alcohol is harmless but is combustible and its cleaning properties
are lower. T EA C H ead Cleaning Fluid is non-toxic, non-co mbu stible and has excellent clean ing pro perties and its use is
recommended.
Using a stiff cotton swab or a piece o f gauze dipp ed in cleaning fluid, rub the entire head surface, being cautious not to scratch it.
Repeat the proce ss on each he ad until all discoloration and tape o xides are rem oved. Clean all metal parts ov er which the tape p asses,
such as capstan shaft, tape guides, tape lifters, etc.
The cotton swabs should have a rigid shaft, a satisfactory job cannot be accomp lished with the slender flexible types often seen.

During long periods o f use, the he ads m ay bec ome slightly magnetized . As a result, high freq uency respo nse will decrea se, noise will
develop, or in extreme cases, the high frequencies will drop-out or noise will be introduced into your valued pre-recorded tapes. To
keep your d eck o perating with its original fidelity the head s should thus b e deg aussed at least on ce for every 5 0 hours of use, with i.e.,
TE AC mo del E-l Head De magnetizer. Places specified for degaussing include each head, capstan shaft and guide post. Before
proceeding with the following steps move all the pre-recorded tapes sufficiently away from the degaussing area.
1. Turn OF F power to the deck.
2. Slide the switch of E -l ON, bring the tip close to the head and slowly mo ve it up and d own four o r five times.
3. Slowly draw it away from the head.
4. After finishing all points, turn OFF power to the demagnetizer only after it has been drawn at least 12 inches (30 cm) away from the
heads.

After p rolonged use the p inch ro ller will accumulate a film of oxide . Use only Fluid "B " from the T EA C T Z-26 1 kit as it is esp ecially
formulated for cleaning rubber surfaces. Do not use chlorothane as it will cause deterioration of the rubber roller.
Note: The newer tape formulations leave a gray or white residue which is difficult to detect. Regular cleaning schedules should be
established rather than relying on observation.
Care of the wooden cabinet
Ordinary furniture cleaner and polish can be used to maintain the attractive finish.
Cleaning the Faceplate.
A soft cloth and mild cleaning fluids (non-ab rasive) can be used to restore the luster of the faceplate. An oil-damped cloth will also
give good results, but take care not to get oil on the tape path components such as the pinch roller, capstan, etc.
 Basic Trouble-shooting Chart
Basic troub le-shoo ting of an open reel tap e dec k is similar to trouble-shoo ting any other electrical or electro nic equipment. Always
check the most obvious possible causes first including such things as: power cord, fuse, switch and control setting or position, proper
co nnectio ns to the desired inpu t and output signal, etc. Consult your O wner's Manua l for the correct operating procedure and
instructions.
Many of the most common problems are listed in the chart below.

SYMPTOM CORRECTIVE ACTION

Tape T ransport

VU meter lamps do not illuminate when power Power cord connected, fuse ok?
SW is turned on

No tape motion Is tape properly threaded and shut-off arm held in proper position?

Tape rubbing reel flanges Is reel properly seated, reel adap tor spacer installed o r remove d per instructions,
tape in good condition?

Playback Operation
No sound . VU M eter shows normal indication. Are connections between tape deck and amplifier properly made?

No sound, no meter indication Check co nnections and switch settings per pro cedure in O wner's M anual.
W as tape actually recorded? Try another tape.

Poor sound q uality Are heads clean? Is the tape in good condition and properly recorded?

Unstable sound. Same as above. Also, is pinch roller clean?

Recording

Does not Reco rd Check switch settings and connection per Recording proc ed ure in the Owner's
Manual.

Does not Reco rd, no audio at tape monitor but Record m ode switches ON, tape in motion, heads clean?
OK at SOURCE

Monitored sound is poor, distorted, noisy, etc. Are Input levels properly set, BIAS/EQ Switches in correct position for the type
of tape you are using?
Heads clean and demagnetized, tape in good condition?
Did you follo w correct R ecording procedure give n in Owner's M anual?
 Tape Loading and Erasing
TEAC's "QUIK-LOK" reel holders
Always secure these reel holders before operating the deck to assure
adequate, solid support for the tape reels. Install the clamp adaptors for
10% " reels (when required) to the reel table before mounting the large
reels. Follow the procedures below for mounting 7" reels or the adaptors
onto the deck. Numbers given refer to the illustration.
A) Rotate sections 2 and 1 of the reel shaft fully counterclockwise.
B) P lace the reel on to the reel shaft while slowly ro tating the re el CC W to
keep both tab sets in line.
C) When the reel is firmly seated on the reel table, turn sections 1 and 2
fully clockwise to secure the reel firmly in place. The tabs on section 2 of
the shaft should be ce ntered betwe en the slo ts on the reel.

10-1/2" reel clamp adaptor

When using large diameter tape reels use the reel clamp adaptor (TZ-
612).
1) Secure the reel clamp adaptor to the reel tables using the same
procedures as above.
2) Turn the locking knob of the adaptor fully CCW.
3) Align the 3 notches in the 10" reel hub with the 3 pair of detents on
the adaptor and push the reel all the way onto the adaptor.
4) Turn the locking knob of the adaptor tightly clockwise about 90
degrees until the reel is firmly secured to the adaptor. Whe n removing
the reel from the adap tor, turn the locking kno b CCW and use bo th
hands to ca refully pull the reel off the adaptor. T his adaptor includes a
special spacer (shown in diagram A) which must be used when adaptor
is used with NAB Stand ard 1 0-1/2 " me tal reels. T o use the adaptor with
Standard plastic reels, this spacer must be removed. Remo val of the
spacer is quite easy

1) turn the adaptor while ho lding the spacer until the ears of the spacer match the cut-outs at the back surface of the ad aptor 2) lift
spacer o ff of the adaptor 3 ) keep the spacer for future use with metal reels.

Erasing recorded tape

One of the a dvantages of reco rding tape o ver record s is that it can b e reco rded over and o ver again. T his raises the que stion of how is
the previous recording removed. Here are three different ways to erase earlier recorded material. Automatic erasing and recording: As
the photo shows, the re is an E rase he ad located to the left of the Record head in your d eck. Its function is to purge the trac ks of all
previous recording by means of a strong alternating magnetic field immediately before the tape reaches the Record head . This is done
automatically whenever you select record mode in the deck.
Erasing with the deck : You may e rase the entire tap e track (s) at a time with no recording by rotating the M IC and LIN E level controls
fully to MIN . and/or disconnecting the input connections. Start the deck in the Record Mode and tracks selected (by MO DE switched
ON) will be erased.

Bulk erasure: TEA C's M ode l E-2 B ulk T ape Eraser (or its equiva lent)
will quickly erase the entire tape in a few sec onds. This is the only
satisfactory way to erase a previously recorded ½ or full track tape to
prevent undesirable "cross-talk" or chatter from the former material. For
com plete d irections on ho w to use , consu lt the instructio n supp lied with
the Bulk Eraser.
 Lubrication and Optional Accessories
Use TE AC TZ -255 oil or equivalent.
Lubricate points listed below at every 1,000 hours of ope ration o r once a year if equip ment is infreque ntly used.
CAPSTA N SHA FT : Rem ove the dust cove r by turning it counterclo ckwise with fingers, apply approxim ately 2 d rops of oil to the oil-
cham ber felt.
PINC H RO LLER SHA FT: U nscrew the cap with fingers, apply one drop o f oil to the shaft bearing.

CAUT ION: Do not apply excessive quantities of oil, over lubrication can be a source of difficulty. Do not apply oil to any rubber
parts. Should oil be spilled onto rubber parts, remove immediately with TEAC rubber cleaning fluid.
Lubrication should be accomplished immediately after use while equipment is still warm.
After applying lubricant, leave tape deck in horizontal position for 1—2 hours until oil is thoroughly absorbed.

Optional Accessories
MC-106L RE-1002 RE-711
Dynamic 10-1/2" Metal Reel 7 inch Metal Reel
Microphone (small hub)

HP-120 RE-701 RE-702

Stereo Headphones 7 inch Plastic Reel 7 inch Plastic Reel
(large hub) (small hub)

TEAC,
The leader. Always has been.
TEAC CO RPOR ATION: 3-7-3, Naka-cho, M usashino, Tokyo, Japan Phone: (0422) 53-1111
TEAC CO RPOR ATION OF AM ERICA: 7733 Telegraph R oad, Montebello, California 90640 Phone: (213) 726-0303
TEAC AU STRALIA P TY.,LTD.: 165 Gladstone Street, South M elbourne, Victoria 3205, Australia Phone: 699-6000

PRINTED IN J A P A N • O 5 8 O K 4 • D -2 2 2 3 A M