Sherwood S-1000 Manuel

Table des matières

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OPERATION,

INSTALLATION,

and

SERVICE

INSTRUCTIONS

ais

S-1

v0

a

Pe

for

the

Afherwout,

7),

7,

yh

aw

ad

ou

oy

i.

4

a

SS

S-1000

““

MUSIC

CENTER”

HIGH

-

FIDELITY

AMPLIFIER

TECHNICAL

DATA

Power

Cu

20

watts

(40

watts

peak)

@

2%

IM

Distortion

(60:7kc/4:1)

or

4%

harm.

distortion.

Load

Impedance

Taps:

16,

8,

and

4

ohms.

Inverse

Feedback:

14

db.,

also

selection

of

Positive

or

Negative

current

feed-

back

from

speaker.

Damping

Factor:

7:1

normal,

also

2:1

or

minus

2:1.

Power

Response:

(20w.)

20

cps.—30

kc+1

db.

Frequency

Response:

(44w.)

7

cps.—100

ke.+1

db.

Tone

Control

Response:

Flat

setting,

20

cps

—20

ke.+

14

db.

Tone

Control

Range:

@

15

kc,

20

db.

boost

or

cut.

@

40

cps.,

16

db.

boost,

19

db.

cut.

Rumble

Filter:

@

27

cps.,

12

db.

rejection;

100

cps.

less

than

2

db.

down.

Phono

Equalizer

Curves:

LP,

AES/RIAA,

LONdon,

EURopean

Sensitivity:

Radio—0.45v

Phono—4.5mv.,

adjustable

with

phono

level

control.

Max.

Input

Capability:

Radio—10v

for

less

than

1%

1M

dist.

Phono—150mv

for

less

than

1%

IM

dist.

Max.

Hum

&

Noise:

Vol.

control

@

min.,

90

db.

below

rated

output.

Radio

input

(controls

max.),

80

db.

below

rated

output.

Phono

input

(controls

flat),

60

db.

below

rated

output

pesuivatent

to

t

1\4uv

referred

to

input

grid).

;

os

Power

Consumption:

110-120v,

60

cps.,

105

watts,

fused.

F

Tube

Complement:

(2)6L6GB,

12AU7A,

(2)

12AX7,

2729,

SY3GT,

&

pilot

lite.

Size:

14

x

10%

x

4

in.

high.

Shipping

weight:

23

Ibs.

4

Voltage

Feedback

{

Ve

I2Aax7

pod

S

GDNESS

V2

\2AX7

I2AUTA

ar

age

:

1

3

\f2

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Sherwood

uieinUS

SHERWOOD

ELECTRONIC

LABORATORIES,

INC.,

CHICAGO

18,

ILLINOIS

—=2*=

‘

GENERAL

INFORMATION

#6-32

BEZEL

STUDS

Your

new

Sherwood

“Music

Center”

amplifier

&

HEX.

NUTS

affords

you

with

the

fullest

enjoyment

possible

in

the

field

of

true

high

fidelity.

The

S-

1000

amplifier,

though

:

METAL

CABINET

simple

to

operate,

has

many

operating

features

per-

mitting

the

utmost

in

listening

pleasure

in

any

situa-

tion.

It

is

to

your

advantage

to

read

through

the

entire

instruction

book

carefully

in

order

that

you

may

best

benefit

from

these

features.

UNPACKING

-

After

unpacking

your

amplifier,

ex-

amine

it

carefully

for

indications

of

damage

caused

by

shipping.

If,

for

example,

the

cabinet

has

been

dented

or

tubes

broken,

file

a

claim

immediately

with

your

carrier

or

dealer.

Enclosed

with

these

instructions,

are

four

mount-

ing

screws

and

washers

and

your

warranty

card.

The

warranty

card

explains

Sherwood’s

one-year

warranty

against

defects.

It

should

be

mailed

immediately

to

fulfill

warranty

requirements.

SSN

sos

N=

s

N=

s&s

INSTALLATION

The

S-1000

amplifier

usually

is

placed

so

as

to

afford

the

greatest

operating

convenience

--

ona

chair-

side

table,

desk,

bookshelf,

or

in

a

conventional

radio

cabinet.

We

recommend

that

the

record

changers

or

turntables

be

located

within

ten

feet

of

your

amplifier’s

input

panel.

The

speaker,

however,

may

be

placed

as

far

as

50

feet

from

your

“Music

Center”

amplifier.

REASSEMBLING

ON

PANEL

-

1.

Locate

metal

bezel

and

nameplate

on

cabinet

panel

front

with

studs

ex-

tending

through

the

4holes

previously

drilled.

2.

From

the

rear

of

the

panel,

replace

the

four

No.

6-32

nuts

on

bezel

studs.

3.

Replace

chassis

through

the

rear

of

its

metal

cabinet.

4.

Replace

the

four

No.

6-32chassis

48-32

MTG.

SCREW

tele

|

ae

&

WASHER

WOOD

PANEL

Cross

Section

View

of

S-1000

Cabinet

IMPORTANT

-

Allow

at

least

2

inches behind

the

rear

of

your

amplifier

for

adequate

ventilation

and

cabling

convenience.

Never

place

the

unit

near

radia-

tors

or

in

front

of

heating

vents.

Excessive

heat

tends

to

shorten

the

life

of

the

parts.

(This

is

anim-

screws

through

the

bottom

of

the

cabinet;

tighten

these

portant

fact

to

remember

incaringforallthe

elements

gcrews

with

the

chassis

front

extending

beyond

the

of

your

high-fidelity

system

suchas

records

andtape.)

front

of

the

metal

cabinet

by

an

amount

equal

to

your

cabinet

panel’s

thickness

plus

1/8

in.

You

will

notice

PANEL

MOUNTING

-

The

S-1000

amplifier

is

a

self-

that

the

chassis

mounting-screw

clearance

holes

in

.

contained,

self-cabineted

unit

which

is

easily

adapted

the

bottom

of

the

metal

cabinet

are

elongated

slots

for

panel

mounting

in

custom

cabinetry.

The

enclosed

providing

for

panel

thicknesses

up

to

1/2

in.

5.

Slide

full-size

mounting

template

and

cross-sectional

view

the

entire

assembly

into

your

cabinet

from

the

rear

shows

details

of

such

an

installation.

so

that

the

knob

shafts

are

centered

through

the

panel

holes

and

the

chassis

front

surface

is

tight

against

Follow

the

instructions

on

the

template

for

cutting

the

rear

of

the

nameplate.

6.

Using

the

four

No.

8-32

the

front

panel

holes

as

well

as

the

access

and

ven-

screws

and

washers

supplied,

secure

the

amplifier

to

tilation

holes

on

the

mounting

board.

Never

hang

the

mounting

board.

7.

Replace

knobs.

amplifier

from

the

front

panel

without

a

supporting

mounting

board

or

rails,

cut

as

shownon

the

template.

ELECTRICAL

CONNECTIONS

CHASSIS

DISASSEMBLY

-

1.

Remove

the

five

front

SPEAKER

OUTPUTS

-

Examine

your

speaker

system’s

panel

knobs

with

a

steady

outward

pull.

2.

Unscrew

nameplate

to

determine

its

rated

impedance.

Your

the

four

rubber

mounting

feet

from

the

bottom

of

the

speaker

system

will

have

two

leads

which

are

to

be

cabinet.

3.

Remove

the

four

No.6-32

chassisscrews

connected

to

your

“Music

Center”

amplifier.

Connect

and

washers

located

on

the

cabinet

bottom.

4.

The

of

ene

of

these

leads

t

to

the

terminal

on

the

transformer

entire

chassis

can

now

be

withdrawn

from

its

cabinet

©

of

your

amplifier

er

which

is

marked

With

a

number

cor-

through

the

rear

opening.

5.

Remove

the

polished

responding

to

the

impedance

of

your

speaker

system

metal

bezel

and

nameplate

from

the

cabinet

front

by

(the

transformer

is

accessible

from

the

rear

of

the

unscrewing

the

four

No.

6-32nuts

accessible

from

the

amplifier).

Connect.the

second

lead

from

your

speak-_

inside

of

the

cabinet.

er

system

to

o..terminal..“G"

of

the

transformer.

ra

ays

_Plastic-covered

lamp

cord

serves

as

excellent

speaker

connecting

leads

and

may

be

extended

as

far

as

50

ft.

with

little

power

loss.

For

shorter

distances

TV

antenna

lead

can

be

used

and

is

especially

con-

venient

for

installation

under

a

rug.

To

add

a

remote

speaker

or

to

obtain

a

greater

distribution

of

sound

(psuedo-stereophonics),

two

speakers

with

the

same

impedance

ratings

may

be

used.

In

this

case,

connect

one

of

each

pair

of

speak-

er

leads

to

“G”

and

the

two

remaining

leads

to

the

transformer

terminal

with

a

number

equal

to

one-half

of

one

of

the

speakers’

rated

impedance.

It

may

be

necessary

to

“phase”

the

two

speakers

by

reversing

both

of

the

leads

from

one

of

the

speakers.

PHONO

INPUT

-

The

shielded

lead

from

your

phono

arm

should

be

provided

with

a

shielded

“phono-type”’

plug

which

should

be

plugged

into

the

amplifier

jack

labelled

“Phono”.

To

avoid

loss

in

high-frequency

response,

it

is

recommended

that

this

lead

not

exceed

10

ft.

in

length.

The

phono

input

connection

feeds

the

phono

pre-

amplifier

and

has

been

designed

primarily

for

use

with

a

magnetic

or

variable-

reluctance

(constant-velo-

city

type)

cartridge.

The

cartridge

load

is

located

directly

across

the

phono

input

jack

and

is

47,000

ohms.

This

value

correctly

loads

most

pickups

(such

as

the

GE)

for

flat

high-frequency

response.

Should

a

pickup

be

used

where

the

manufacturer

recommends

a

lower-valued

load

for

flat

response,

install

a

resistor

across

the

pickup

terminals

which,

in

parallel

with

47,000

ohms,

will

result

in

the

recommended

load

impedance.

Constant-amplitude

type

pickups

(including

crystal,

ceramic,

capacity,

Weathers

frequency-modulation)

can

be

operated

into

the

same

phono

input

jack;

how-

ever,

the

wire

shorting

the

47

ppf

capacitor

must

be

cut.

For

access

to

this

shorting

wire,

remove

the

chassis

from

its

cabinet

(see

preceding

instructions

on

chassis

disassembly).

Cut

the

wire

connected

to

the

phono

input

jack

(identified

with

red

tape)

and

re-

place

chassis.

TUNER

INPUTS

-

Three

high-level

input

jacks

label-

led

“A”,

“B”,

and

“C”

are

for

use

with

radio

tuners,

TV_receivers,

and

other

equipment

with

at

least

0.5v

output.

A

shielded

cable

complete

with

a

shielded

“*phono-type”

plug

should

be

used

to

connect

each

of

these

sources

to

your

amplifier.

Unless

the

source

has

a

low-impedance

output

such

asa

cathode

follower

(with

which

up

to

50

ft.

of

cable

can

be

used),

the

shortest

possible

connection

should

be

made

to

prevent

loss

of

high-frequency

response.

All

tuners

should

have

volume

controls

to

adjust

their

output

voltage

levels

for

correct

operation

of

the

loudness

control

in

the

S-1000.

(See

Listening

to

Tuners

in

Operation

Sec-

tion

for

further

details.)

TAPE

RECORDER

INPUT

and

RECORDING

OUTPUT

-

For

all

positions

of

the

Selector

switch,

the

Recording

Output

jack,

accessible

through

the

cabinet

bottom

opening,

is

a

cathode-follower

output

jack

which

pro-

vides

a

flat

response

independent

of

the

tone

and

loud-

ness

controls.

With

the

Selector

in

the

Tape

position

this

jack

is

disconnected,

preventing

feedback

through

the

recorder

itself.

Recording

connections

are

made

with

shielded

cable

(up

to

50

ft.

may

be

used)

with

a

“phono-type

plug

from

the

S-

ecording

Output

to

the

recorder’s

input.

The

playback

connection

is

made

with

a

similar

cable

from

the

recorder’s

output

to

the

high-level

in-

put

jack,

marked

Tape,

on

the

S-1000

rear

panel.

EQWER

CONNECTIONS

=

Plug

the

S-1000

line

cord

in

to

a

wall

outlet

supplying

110-120v.,

60

cycle

AC

only.

A

phono

changer

or

other

equipment

(consuming

not

more

than

200

watts

combined

power,)

may

be

plugged

into

the

outlet

on

the

rear

of

theamplifier.

The

power

to

this

equipment

is

controlled

by

your

amplifier’s

“on-off”

switch.

OPERATION

Before

turning

on

the

amplifier,

make

certain

that

all

tubes

are

firmly

seated

in

their

sockets,

and

that

the

tube

shields

are

making

good

contact

with

their

bases.

Adjust

Bass

and

Treble

to

“O”

(flat

response),

Loudness

Control

counter-clockwise

to

-75,

and

move

both

filter

switch

buttons

to

the

left

(their

normal

or

“out”

positions).

‘

To

operate,

turn

power

Off-On

switch

clockwise

to

first

click:

the

pilot

light

should

now

glow.

LISTENING

TO

PHONOGRAPH

-

Turn

Selector

switch

to

Phono

and

select

a

push-button

corresponding

to

the

+10

db.

BEGSIE

O

db.

|

|

LLU

|

10

db.

an

|

-20db.

|

ILIES

—30db.

—40db.

Liat

Loupness

ConTROL

CHARACTERISTICS

|

—

50

db.

20

50

100

200

500

IK

2K

5K

10K

2

FREQUENCY

IN

CYCLES

PER

SECOND

‘

;

eek

ge

Rae

6.8K

RUMBLE

FILTER

DAMPING

FACTOR

Re

270K

Centro/

Chas

1Opf

Re

10M

¥

eno

a

Ra

A

WAS

Do

OL

AG

eon

AS4

Cs7

4TK*

lw

AUTA

«

+2350v

20

=

sz

TO

FILAMENTS

Cag

rt

inks

Sees

A

Pte

"Music

Center”

High-Fidelity

—

NOTES

*Match

within

3%.

All

re-

sistors

are

%

watt,

*10%,

tolerance

unless

otherwise

specified.

All

fractional-

valued

capacitors

are

in

pf

and

are

400v.

molded

paper;

other

capacitors,

except

electrolytics,

are

in

ppf

and

are

mica

or

ceramic.

Notation

Multiplier

K

1000

M

_

1,000,000

ul

1/1,000,000

DC

voltages

are

measured

with

VTVM

and

are

with

117v,

power

source,

Volt-

ages

shown

in

parenthesis

are

rms.

mid-frequency

Sensitivities

for

20

watts

output

with

tone

controls

at

flat

and

loudness

and

level

controls

at

maximum.

Selector

switch

is

shown

in

its

most

counter-clock-

wise

(phono)

position.

Sherwood

SIOOO

hy

oe

ae

a

9

*

BASS

MAX.

ins

Tone

ConTROL

AND

FILTER

CHARACTERISTICS

200

500

IK

FREQUENCY

IN

CYCLES

PER

SECOND

recording

curve

(as

shown

on

the

chart

on

page

8)

which

“is

recommended

for

the

brand

of

record

you

have

cho-

sen.

When

in

doubt

concerning

a

brand

of

record

not

listed,

use

AES/RIAA

which

is

a

compromise

now

be-

ing

used

by

most

companies

for

new

recordings.

LOUDNESS

CONTROL

-

The

loudness

control

automa

-

tically

provides

correct

equalization

of

extreme

high

and

low

frequencies

for

any

listening

level

as

shown

in

the

accompanying

diagram.

Equalization

is

made

inac-

cordance

with

the

Fletcher-Munsen

curves.

To

ad-

just,

turn

the

control

to

“O”

while

playing

one

of

your

higher-output

orchestral

LP

recordings.

Set

the

Phono

Level

control,

accessible

through

the

cabinet

bottom

opening,

for

a

relatively

loud

listening

level.

Now,

by

using

the

Loudness

control,

instruments

and

voices

will

maintain

full

“presence”

and

balance

as

the

sound

level

is

reduced

toward

inaudibility.

Demonstration

of

the

control’s

effectiveness

may

be

accomplished

by

switching

the

Power

Off-On

switch

to

“Loudness

Off”

where

the

loudness

compensation

is

removed

and

the

control

acts

as

a

conventional

volume

control.

No

change

in

volume

level

occurs

when

this

switch

is

used.

BASS

AND

TREBLE

CONTROLS

-

Independent

in-

crease

or

decrease

of

bass

or

treble

response

is

ac-

complished

with

the

tone

controls.

The

calibrations

are

accurate

references

to

the

decibel

boost

or

attenuation

at

30

and

15,000

cycles

per

second

with

intermediate

responses

as

shown

on

the

accompanying

graph.

These

controls

have

unusually

smooth

actions

because

of

their

freedom

from

“shelving”

in

their

intermediate

posi-

tions.

This

results

in

a

less-obvious,

yet

more-pleas-

ing,

change

in

tone.

PHONO

SCRATCH

FILTER

-

Older,

worn

records,

fre-

quently

have

a

high

“hissing”

or

“scratching”

sound

‘which

consists,

primarily,

of

very

high

frequencies.

Moving

the

Phono

Scratch

Filter

switch

to

the

right,

switches

in

a

12

db./octave,

5

Kc.

filter.

This

filter

eliminates

most

of

these

undesirable

high

frequencies

without

the

disturbance

to

the

entire

treble

response,

that

would

be

incurred

by

turning

down

the

treble

con-

trol.

The

scratch

filter

operates

only

in

the

phono

pos-

ition

and

is

completely

independent

of

phono

equalizer

and

tone

controls.

RUMBLE

FILTER

-

Asimilar

action,

but

inverted

with

frequency

(see

frequency-response

graph),

is

per-

formed

by

the

Rumble

Filter

switch.

In

this

case,

the

12

db./octave

filter

gives

little

attenuation

to

most

im-

portant,

bass

frequencies,

but

does

attenuate

by

12

db.

the

very

low

27-cps.

note

that

is

generated

by

phono

equipment

with

motor

‘‘rumble”.

Although

some

less-

effective

speaker

systems

may

not

fully

reproduce

this

note,

its

troublesome

effect

may

still

be

heard

as

added

intermodulation

distortion

due

to

inadequate

speaker

capabilities.

Consequently,

improved

listening

results

with

the

rumble

filter

in.

This

filter

can

be

operated

in

combination

with

the

bass

control

to

give

varying

degrees

of

attenua-

tion

(see

graph).

Rumble

filter

operation

is

effective

in

all

selector

positions.

LISTENING

TO

TUNERS

-

With

the

Selector

switch

in

positions

“A”,

“B”,

or

“C”,

the

corresponding

high-

level

input

from

a

radio

tuner,

TV,

etc.

will

feed

through

the

amplifier.

Proper

adjustment

of

the

volume

control

on

each

tuner

or

TV

source

unit

is

made

with

the

S1000

Loudness

control

turned

to

“O”

and

with

one

of

the

higher-volume

orchestral

programs

serving

as

source

material.

Now

adjust

the

volume

control

on

the

tuner

for

a

relatively

loud

listening

level.

There-

after,

use

only

the

loudness

control

to

vary

the

sound

level,

the

tuner

volumecontrol

to

remainat

its

preset

position.

MAKING

RECORDINGS

-

Tape,

wire,

or

disc

record-

ings

may

be

made

through

the

S-1000

amplifier

from

any

of

its

several

sources

such

as

phono,

tuner,

etc.

by

incorporating

the

connections

recommended

under

“Tape

Recorder

Input

Connections”.

Since

the

S-

1000

controls

are

not

effective

during

recording,

all

re-

cording

level

or

tone

adjustments

must

be

made

with

the

recording

equipment.

Monitoring

of

the

recording

operations

is

possible

without

disturbing

the

recording

in

any

manner

by

using

theS-1000

front

panel

controls

(except

the

Record

Equalizer

and

Scratch

Filter

switches

which

should

be

preset

in

accordance

with

the

record

being

played).

Turning

the

Selector

switch

to

Tape

readies

the

system

for

playback

from

the

recorder

with

all

am-

plifier

controls

operating

in

their

normal

manner.

The

S-1000

recording

output

is

automatically

disconnected

in

this

position,

permitting

no

chance

of

feedback

going

through

the

recorder

to

interfere

with

the

playback

operation.

DAMPING

FACTOR

SELECTION

-

Accessible

through

the

cabinet

bottom

cutout

is

the

damping-factor

selec-

tor

switch.

In

its

normal

or

mid

position,

only

voltage

feedback

is

utilized,

with

a

resultant

speaker

damping

of

7.

This

means

that

the

16-ohm

terminal

of

the

transformer

has

an

internal

impedance

(as

seen

by

the

speaker)

of

16/7

or

2.3

ohms.

Since

a

typical

high-fidelity

speaker

with

a

rating

of

16

ohms

might

have

a

DC

resistance

in

its

voice

coil

winding

of

about

10

ohms

and

this

10

ohms

is

=6-

we

EO

effectively

in

series

with

the

voice

coil,

further

lower-

ing

of

the

amplifier

output

impedance

by

increasing

its

damping

factor

is

to

no

avail,

unless

a

negative

damp-

ing

factor

can

be

developed.

Such

a

negative

damping

factor

is

available

with

the

S-1000

by

switching

the

Damping-Factor

Selector

to

-2

where

current

feed-

back

from

the

speaker

is

added

to

the

voltage

feed-

back.

Damping

of

-2

means

that

the

16-ohm

tap

ap-

pears

as

a

negative

8

ohms

to

the

speaker,

increasing

its

damping

accordingly.

The

improvement

in

the

speaker

system

operation

lies

in

reduced

transient

hangover

and

lower

distortion.

Such

increased

damping

reduces

the

bass

response

at

the

resonant

frequency

of

the

speaker

system,

in

which

case

it

may

be

desirable

to

compensate

with

the

Bass

control.

Where

well-damped

speaker

systems

are

being

utilized,

the

normal

+7,

or

even

the

+

2

damp-

ing

position

may

be

preferred

to

improve

the

bass

response.

HUM

NULL

ADJUSTMENT

-

After

your

new

amplifier

has

been

in

operation

for

at

least

1

hour,

it

is

advis-

able

to

check

the

adjustment

of

the

Hum-Null

Control.

This

control

is

accessible

at

the

rear

of

the

cabinet.

It

should

be

adjusted

for

minimum

hum

from

the

speaker

with

the

Selector

on

Phono,

Loudness

and

Bass

at

maximum,

Rumble

Filter

out,

and

the

phono

cartridge

connected

by

without

the

turntable

operating.

If

a

magnetic-type

cartridge

is

being

used

and

if

it

is

suspected

of

hum

pickup,

a

check

can

be

made

by

substituting

the

cartridge

and

its

lead with

a

short

circuited

phono

plug

inserted

into

the

phono

input

jack.

Repeat

hum-null

adjustment.

Reducing

magnetic

cart-

ridge

hum

can

sometimes

be

accomplished

by

moving

the

record

player

with

respect

to

nearby

power

trans-

formers

or

motors.

Also

check

for

a

single

good

ground

connection

to

the

turntable

frame,

phono

arm,

and

cartridge

case.

Finally

try

reversing

the

AC

line

card

plug

in

the

wall

outlet.

Hum-null

adjustment

may

also

be

necessary

if

the

a

epreamplfier

tube

is

replaced.

JAAXT

5

JEAUTA

2)

CL6i

HMM,

Z

BYE

vA

,)

FFA

Hy,

e272

ra

Your

werieod

amplifier

is

covered

by

a

full

one-year

warranty

against

defective

material

or

work-

manship

(except

tubes

which

carry

the

standard

RETMA

90-day

warranty).

This

warranty

is

effective

from

the

date

of

sale

to

the

original

purchaser

and

is

void

if

the

equipment

has

been

altered

in

any

manner,

or

if

the

enclosed

warranty

card

has

not

been

return-

ed

to

S.E.L.

within

ten

days

from

purchase.

S.E.L.

maintains

a

complete

service

department

SERVICING

The

amplifier

circuitry

is

exceptionally

stable,

using

parts

noted

for

longest

life

wherever

possible,

Your

amplifier

should

need

little

service

except

for

normal

tube

replacement.

To

facilitate

your

own

servicing

when

necessary,

try

to

isolate

the

inoperative

stage,

aided

by

the

block

diagram

on

page

2.

For

example,

should

the

tuner

in-

put

operate,

but

not

the

phono;

then

the

Z729

tube

may

be

suspected,

etc.

For

more

elusive

troubles,

check

the

DC

voltages

shown

on

the

schematic

diagram

with

a

high-impe-

dance

voltmeter.

To

check

the

operation

still

more

carefully,

AC

mid-frequency

voltage

sensitivities

are

shown

in

parenthesis

at

most

of

the

grids

for

full

20-watt

power

output.

TUBE

SUBSTITUTION

-

6L6GB’s

have

been

specified

for

use

as

output

tubes.

Where

replacement

is

neces-

sary

and

this

type

is

not

available,

either

the

6L6GA

or

6L6

metal

tube

may

be

used

as

substitutes.

These

tubes,

however,

do

not

have

the

advantages

of

the

button

base,

etc.,

associated

with

the

more

recently

designed

6L6GB.

The

premium

5881

tube

also

may

be

used.

When

replacing

output

tubes,

it

is

desirable

to

use

matched

pairs

of

tubes

to

facilitate

low

distortion

and

optimum

bass

response.

Matched

tubes,

such

as

those

originally

supplied

in

the

S-1000

Amplifier,

are

avail-

able

either

from

your

High

Fidelity

Supplier

or

the

S.E.L.

Service

Dept.

/

,

The

_low_

noise

Z729

tube

is_

replaceable

by

t

EF86.

With

either

‘type,

the

individual

tube

—

in-

uences

the

phono

hum

and

noise

level.

Therefore

care

should

be

taken

in

its

selection.

A

A

12AU7

tube

may

be

used

instead

of

the

newer

12AU7A

which

is

supplied

with

your

amplifier.

How-

ever,

the

12AU7A

has

a

construction

less

subject

to

microphonics.

WARRANTY

and

laboratory

where

equipment

of

its

manufacture

will

be

repaired

at

nominal

rates.

To

avoid

shipping

delays,

local

service

is

usually

advisable.

Before

returning

any

equipment

to

S.E.L.

for

repair,

please

write

to

Service

Department,

Sherwood

Electronic

Laboratories,

2802

W.

Cullom

Avenue,

Chicago

18,

Illinois,

giving

full

details

of

any

operating

difficulties

encountered.

SF

SUGGESTED

PHONO

EQUALIZER

SETTINGS

FOR

VARIOUS

RECORD

BRANDS

Records

are

made

with

the

treble

range

boosted

(to

mask

surface

noise)

and

the

bass

range

attenuated

(to

reduce

dis-

tortion).

Therefore,

a

corresponding,

but-inverted,

response

curve

must

be

used

in

playing

each

record.

However,

all

records

are

not

made

with

the

same

curve.

The

nearest

correct

equalization

setting

is

tabulated

in

the

chart

below

for

most

record

brands.

For

brands

not

appearing

here,

use

the

AES/RIAA

equalization

position

which

is

a

compro-

mise

curve

recently

adopted

by

most

recording

companies.

The

frequency

response

for

each

record

equalization

curve

is

shown

on

the

graph

at

the

right.

Allied

Angel

Atlantic

Amer.

Rec.

Soc.

Bartok

AES/RIAA

AES/RIAA

LP,

Bass

+5

*

AES/RIAA

LP,

Bass+5

Blue

Note

Jazz

AES/RIAA,

-Bass

+

2

Boston

LP

Caedmon

AES/RIAA

Camden

AES/RIAA

Canyon

Capitol

Capitol-Cetra

Cetra-Soria

Colosseum

Columbia

Concert

Hall

Contemporary

Cook

Decca

EMS."

Elektra

Epic

Esoteric

Folkways

(most)

Good-Time

Jazz

Haydn

Society

*

except

use

EUR

for

binaural,

inside

band

only

>

ml

AES/RIAA,

Bass

+2

AES/RIAA,

Bass

+2

AES/RIAA,

Bass*

2

AES/RIAA,

Bass

+2

AES/RIAA,

Bass

+

2

AES/RIAA,

*

|

oe

AES/RIAA,

Bass

+2

LP,

Bass

+5

i3P

AES/RIAA

LP,

Bass

+5

AES/RIAA,

Bass

+2

LP

a

7)

al

wy

LJ

ro}

w

a

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

no

change

AES/RIAA

AES/RIAA

-AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

no

change

no

change

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

no

change

AES/RIAA

AES/RIAA

no

change

AES/RIAA

AES/RIAA

id

woo

ELECTRONIC

LABORATORIES,

INC.

ee

td

ma

iz

Recorp

EQuatiZATION

CHARACTERISTICS

100

200

FREQUENCY

L’Oiseau-Lyre

London

(ffrr)

Lyrichord,

old

new

Mercury

MGM

Oceanic

|

Pacific

Jazz

Philharmonic

Polymusic

RCA

Victor

Remington

Riverside

Romany

Savoy

Tempo

Urania,

most

some

Vanguard

Bach

Guild

Vox

Walden

Westminster

European

78’s

&

Older

Amer.

78’s

IK

IN

CYCLES

PER

SECOND

LON

LON

LP

or

AES/RIAA

LP,

Bass

+5

AES/RIAA,

Bass

+2

AES/RIAA

LP,

Bass

+5

AES/RIAA

AES/RIAA,

Bass

+2

LP,

Bass

+5

*

AES/RIAA,

Bass

+8

LP,

Bass

+5

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

LP,

Bass

+5

AES/RIAA,

Bass

+5

AES/RIAA

LP,

Bass

+5

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

AES/RIAA

no

change

EUR,

also

boost

bass

&

treble,

poor

records

need

scratch

&

rumble

filter

in.

-8-

ae

lo

Gar

.)

2802

WEST

CULLOM

AVENUE

—

CHICAGO

18,

ILLINOIS

Ore,

|

ge

se

oe