Marantz 5220 Manuel d'utilisateur télécharger pdf (Page 63)

STD

NORTRONICS

-20n

20p,

+5-

MARANTZ

5220

PLAYBACK

RESPONSE

..... .. . ..

Cr02

...

TEAC

116SP

TOy9

FREQUENCY

(Hz)

4i.

0000

p0000

1111WHIM

MARANTZ

5220

RECORD /PLAYBACK

RESPONSE

SONY

LOW

NOISE

Ili

I1l

tft:.

FREQUENCY

(Hz)

120 -ps

response was

flat to within

±1

dB from 31.5

to 10,000

Hz. The 70 -ps

response rose slightly

in the several

thousand hertz

range

but

was within

±2

dB from 40 to 10,000

Hz.

The record /playback frequency

re-

sponse

was checked with the

three

tapes

for which the deck had

been

specifically

adjusted. Sony

Low Noise

(LN) was used as a NORMAL

tape,

Sony

CRO

for

chromium

-dioxide tape

and

Sony

FeCr for the ferrichrome. Re-

sponse checks were also

made with

other standard tapes

to verify com-

patibility: Maxell UD and Scotch

Clas-

sic. (Most

CrO_ tapes have

very

similar

magnetic

properties.)

The

Sony

LN tape yielded a

fre-

quency response

within

±2

from

13,500 Hz. The CrO_ tape, as ex-

pected,

produced a slightly extended

response: ±3 dB

from 22 to 14,500

Hz.

The

best

response was obtained

with

the ferrichrome tape: ±3 dB

from

23 to

16,500

Hz.

The recorder was evidently

slightly under

-biased for Maxell UD

tape,

since the

response

had a gentle

upward slope above 1000 Hz.

How-

ever,

was still

quite usable with the

NORMAL

tape

setting.

The

Scotch

Classic

ferrichrome has

different

properties

from the Sony

ferrichrome,

and

its

output

was emphasized

below

1000 Hz compared

to the

high -

frequency

level. It was still

within

±4

from 20

to 14,000

Hz.

All response

measurements

were

made

at a -20

-dB level. At 0 dB,

high -

frequency

response suffers

due

tape saturation,

with

the high -

frequency performance

improving

markedly as we progressed

from LN

FeCr tape.

line input of 58

mV or a

micro-

phone input of

0.16

mV was needed

for a 0 -dB recording

level at

1000

Hz.

The

microphone input overloaded

very

high

mV.

The

playback

output

depended on

the tape used,

varying

from a low of 0.65

volt with Sony

LN to

high of 0.81

volt with CrO5.

The

me-

ters

had

ballistic

characteristics

to those

professional

meters,

indicating about

95% of steady

-state

levels on a 0.3- second

tone burst.

Dolby level

tape

played

back

with

meter

indications within 0.5 dB of

the

Dolby

markings.

The NORMAL

tapes had the lowest

distortion and greatest

recording

headroom

1000 Hz. Both Sony and

Maxell tapes were quite

in their

performance, with

the

Sony

having

1.8% distortion at 0 dB and

reaching

the 3%

reference

distortion

level at

dB. Corresponding

figures

for

Maxell

UD were

1.6% and

+7 dB.

The CrO_

tape saturated

much lower

level,

with

distortion

occurring

+1 dB.

The two

ferrichrome

tapes

reached

distortion

+2 dB. Since

the

PEAK

light

flashed at

+7 dB,

it can

used

as an overload

indicator

only

with

ferric

-oxide

tapes.

Other

tapes

would

be driven

into saturation

long

before

the

lamp

would

flash.

The signal

-to

-noise

/N)

ratio was

measured

with

the three

tapes

relative

to the

recording

level

that gave 3%

playback distortion.

Measurements

were

made unweighted

(wide- band),

with

IEC

"A"

weighting

to reduce

the

effect of

less audible

low and

high

fre-

quencies,

and again

with

the

Dolby

system switched

in.

The three S/N

fig-

ures

for

Sony

tape were 50.8,

56.0,

and

62.5 dB.

With Sony CRO

tape,

they

were 50.5,

56.0, and

61.5

dB, and

with

Sony

FeCr tape,

they were 50.0,

55.0,

and

60.5

dB. The Scotch

Classic

ranked close

the

Sony

FeCr and

the

Maxell UD was

similar

to the Sony

in their distortion

and

noise charac-

teristics.

Through

the

microphone

inputs

maximum

gain,

the

noise

increased

only

4.5 dB,

which

is considerably

less

than

the

noise

added

most

cassette

recorder

microphone

amplifiers.

The

combined

unweighted

rms

wow and

flutter

was 0.11%

in playback

only

and

0.13%

in a combined

record

/playback

measurement.

The

tape

transport

re-

quired

93 seconds

to wind a

C -60

cas-

sette

in the

fast

speeds.

The recording

limiter

had a

very

fast attack

and

slow

decay.

Although

it had

no effect

on signal

levels below

0 dB,

virtually

eliminated

all

possibility

of overload

distortion.

(Even

50 -volt

input signal,

maximum

gain,

was

held

to safe

levels.)

The

headphone

output

was

too low

to be

really

useful

with

high

impedance

(200

ohms) phones,

which

are

much

more common

these

days

than

the 8 -ohm

phones

for

which

the

recorder

was designed.

The

Dolby cir-

cuits

tracked

well,

affecting

the

overall

record /playback

response by

less

than

2 dB at any

frequency,

recording

levels of

-20 and -30

dB.

User Comment.

Our

tests con-

firmed the specifications

for the

tape

deck.

The Model

5220

extremely

versatile

in its ability

to use

different

tape

formulations,

mix signal

sources,

and properly

decode

Dolby

trans-

missions with any

type of

tuner.

MARCH 1976

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Marantz 5220 Manuel d'utilisateur Page 63

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