SA cae ett tara m/e aey//CONGRATULATIONS! You are now the proud owner of one of the finest pre-amplifiers available. Your 2900 is the result of many years of painstaking research and development by SAE’s engineer- ing and design team. The high caliber of our design staff and the dedication to the most precise engineering and production standards have made SAE products known around the world, as truly “state-of-the-art” components. In order to achieve maximum performance from your 2900, please read this manual thoroughly before operation. If you have any questions concerning its use of maintenance, please contact your dealer or the SAE Customer Service Department, P.O. Box 60271, Terminal Annex, Los Angeles, 90060. PRODUCT RECORD Model: SAE 2900 Preamplifier Equalizer Serial No, Purchased From: Name Address Date Purchased Sales Invoice No. Salesman Date Service Contract Card Mailed Service Contract No. Expiration Date TABLE OF CONTENTS UNPACKING INSTALLATION . CONNECTIONS .. : REAR PANEL CONNECTIONS . Phono 1 and Phono 2 . Gnd . Tuner ‘Aux. « Tape 1 and Tape 2 Main Out 1 and Main Out 2. ‘AC Power Connections AC Outlets .. ; OPERATIONS OF CONTROLS ... Selector Mode cee Volume and Output .... Balance . Tape EQ .. Bandwidth Frequency . Level Filters Headphone . GENERAL MAINTENANCE SERVICE ........ee SERVICE COVERAGE .... SPECIFICATIONS .. LIST OF ILLUSTRATIONS FIGURE 1. Typical Hookup FIGURE 2. Bandwidth Control ... FIGURE 3. Frequency Control .. FIGURE 4. Level Control ....... FIGURE 5. Frequency Range of Music .... . 8 FIGURE 6. Tape/EQ Flow Chart 10, 11, 12 FIGURE 7. Trouble Shooting Guide ....14UNPACKING Before leaving the factory, your unit was carefully inspected for physical imperfec- tions as a routine part of our systematic quality control to ensure a flawless appear- ance. After the pre-amplifier has been un- packed, inspect it for physical damage. Save the shipping carton and all pack- aging materials, as they were carefully designed to reduce to a minimum the pos- sibility of transportation damage. In the unlikely event that damage has occurred, immediately notify your dealer and request the name of the carrier so that a written claim to cover the damages can be initiated. THE RIGHT TO ANY CLAIM AGAINST A PUBLIC CARRIER CAN BE FORFEITED IF THE CARRIER IS NOT NOTIFIED PROMPTLY, AND IF THE SHIPPING CAR- TON AND PACKING MATERIALS ARE NOT AVAILABLE FOR INSPECTION BY THE CARRIER. SAVE ALL PACKING MATE- RIALS UNTIL THE CLAIM HAS BEEN. SETTLED. CAUTION: To prevent fire or shock hazard, do not expose this appliance to rain or moisture. INSTALLATION Adequate ventilation will extend the trouble free life of your pre-amplifier The 2900 may be mounted either hori- zontally or vertically. However, it should not be totally enclosed with other heat producing components. The cut-out for custom panel mounting is 5 in. high by 17.5 in. wide. Allow enough space around the opening to clear ad- jacent panel-mounted components. The outside dimensions of the front panel are 5.25 in. by 19 in. If your cabinet has doors or a lid, the mounting panel should be a minimum of .75 in. behind the doors or lid when closed to clear knobs and switches. The mounting holes on the bottom are tapped for a =6-32 screw size and the screws used for mounting must not project more than .25 in. into the unit, The 2900 is designed so that it may be used in a 19 in. rack mount installation. In this application it may be mounted by the front panel only. However, if extended ship- ping is planned, standard precautions should be practiced such as side ramps, tracks, or supports to protect the unit dur- ing rough handling. If you intend to use the 2900 in a stand alone application, the C-4 or C-5 cabinet, is available as an accessory. This hand- some cabinet features solid walnut sides which complement the 2900 beautifully.TURNTABLE 2 ) im = TURNTABLE | FIGURE 1. CONNECTIONS All rear panel input and output signal connections should be made with high- quality co-axial audio cables (RCA phono type). On the 2900, left channel inputs and outputs are labeled “CH A”. Right channel inputs and outputs are labeled “CH B”. Whenever rear panel connections are being made, the 2900 and the associated components should all be switched off. REAR PANEL CONNECTIONS PHONO 1 & PHONO 2- These inputs are for connecting turntable or changer out- puts. Connect the cable from Channel A of the turntable into the PHONO 1 CH A input jack. Connect the cable from Channel B of the turntable into the PHONO 1 CH B input jack. A second turntable is connected to PHONO 2 in the same manner. Phono 1 and PHONO 2 inputs are terminated with an input resistance of 47,000 ohms and an input capacitance of 100 picofarads (ap- prox.) ‘AMP 2 Typical Hookup GND — Under certain conditions it may be necessary to provide a common “ground” between the 2900 and your associated equipment. This may be accomplished by using the special GND terminal located on the rear panel TUNER — Connect the cable from the left output of your tuner to the TUNER CH A input on the 2900, Connect the cable from the right output of the tuner to the TUNER CH B input. AUX — This high-level input is provided for items such as a second tuner, TV Sound, ceramic phono cartridge or a playback tape deck. TAPE 1 & TAPE 2— Two full tape circuits are provided on the 2900. To connect a tape deck or other component to the TAPE 1 circuit, use the following procedure. The left (A) and right (B) outputs of the tape deck or other component are connected by audio cables to the jacks on the back of the 2900 marked TAPE 1 IN CH A and TAPE 1 IN CH B. The inputs of the tape recorder are connected to the jacks on the Ac LINE.2900 marked TAPE 1 OUT CH A and TAPE 1 OUT CHB. The same procedures used for the con- nection of a tape deck or other component to the TAPE 2 circuit. Other components normally connected in these circuits are equalizers, noise reduction systems and decoders. The control flexibility offered by these two circuits is discussed in the OPERATION section of this manual. MAIN OUT 1 and MAIN OUT 2 The 2900 was designed specifically for operation with SAE Basic Power Ampli- fiers. However, it is eminently suited to drive any other stereo power amplifier, or a pair of monophonic power amplifiers. If two monophonic amplifiers are used for stereo, it is strongly suggested that they be a matched pair. MAIN 1 and MAIN 2 outputs are connected directly to the amplifier inputs. Connect the MAIN OUT 1 CH A to the left input on the stereo power amplifier. Connect the MAIN OUT 1 CH B to the right input on the stereo amplifier. An additional stereo power amplifier may be hooked up in the same manner to the MAIN 2 outputs. AC POWER CONNECTIONS With the power switch in the OFF posi- tion, plug the line cord into any outlet furnishing 105-125 volts, 50 to 60 Hz. AC OUTLETS — Four AC convenience receptacles are provided on the rear panel. These receptacles are designed to power your associated equipment. Two outlets are SWITCHED, and power is supplied to these when the 2900 is switched on, the other two are UNSWITCHED and power is always available at these outlets as long as the 2900 is plugged in. These unswitched outlets are usually for turntables and changers. The 2900 AC receptacles are two prong and are designed for 2 prong plugs only. Connecting amplifiers with 3 prong plugs by either removing the ground prong, or using a 3 to 2 adapter is not recommended and may be hazardous. OPERATION OF CONTROLS SELECTOR—These buttons select any desired input (phono, tuner, or aux) except for tape 1 andtape2. Thephono 1 /phono2 button is used in conjunction with the phono selector button to choose phono 1 (out) or phono 2 (in), this phono 1 /phono2 button is ineffective without the phono selector button being depressed. MODE—This selector functions in the following way: stereo—With all mode buttons out, the CH A (left) input is connected to the CH A (left) output and the CH B (right) input is connected to the CH B (right) output. ‘A — When the A button is in, the CH A input is connected to the CH A and CH B outputs B — When the B button is in, the CH B input is connected to the CH A and CH B outputs. ‘A — mono — B — When both A and B buttons are in, the CH A and CH B signals are combined (A+B). This combined signal is then fed to CH A and CH B outputs. reverse — With the A and B buttons out and the reverse in, the CH A input is fed to the CH B output and the CH B input is fed to the CH A output. VOLUME and OUTPUT — The VOLUME control adjusts the volume level in both channels simultaneously. The OUTPUT switch will effectively extend the range of the volume control by 12 dB. When this switch is depressed the overall level of the Preamp is reduced by 12 dB. This OUTPUT switch is useful when using high efficiency speakers and at low listening levels to allow the volume control to be used over a broader range. The button is also useful in reducing level during phone calls and conversations with- out readjusting the VOLUME control. BALANCE—The BALANCE control adjusts for unequal volume level in either channel Moving the control to the left will dimin- ish the volume of CH B (right). Moving the control to the right will diminish the volume of CH A (left)TAPE monitor—The output of TAPE 1 or TAPE 2 can be monitored by using the source/ monitor and tape 1/tape 2 buttons. To monitor, depress the source/monitor but- ton and then select tape 1 (out) or tape 2 (in). copy—For recording from one tape ma- chine onto another (copy), use the follow- ing procedure. Depress the copy/source button. Then with the 2-1/1-2 button in the out (1-2) position, the output of Tape 1 is fed to the input of Tape 2 and the source (determined by the selector switch) is fed to Tape 1. When the 2-1/1-2 button is in (2-1), the output of Tape 2 is fed to the input of Tape 1 and the selected source is fed to Tape 2. With the 2900 is is possible to simultaneously listen to a selected input and also copy tape to tape. tape 2 (front)—These front panel jacks parallel the TAPE 2 jacks on the back of the 2900. Three conductor phone cables are required for these front panel inputs and outputs. The phone jacks use a tip- ring-sleeve configuration. On the 2900 the tip is CH A, the ring is CH B and the sleeve is common The tape 2 out (front) parallels the rear and both are always on. However, when a plug is inserted into the tape 2 in (front) jack, this jack will disconnect the TAPE 2 IN jacks on the rear. You will now be able to monitor the signal present at the front jack. To monitor TAPE 2 rear, the plug must be removed from the tape 2 in (front) jack. EQ (Equalization) —The parametric equal- izer in the 2900 is activated by depressing the in/defeat switch. This unique equalizer can be used after any input (line) including tape, or before the tape outputs (tape) to make modified tape recordings. Following is a discussion of the parametric equalizer tone control system. The parametric control philosophy is the result of some years of extensive research into the field of tone modification. The parametric approach may seem slightly more complicated at first, but in actual use it is found to be a much more flexible and responsive system. The primary controls of the 2900's equal- izer are grouped in two vertical sections, each section consists of a LEVEL, FRE- QUENCY and BANDWIDTH controls of a will be referred to as a ‘control group.” These control groups are designated as low frequency, and high frequency to indi- cate their primary area of use. The LEVEL, FREQUENCY, and BAND- WIDTH controls in a control group are inter- dependent. Any sonic effect you wish to create will require that you adjust not only the LEVEL control, but also the FRE- QUENCY and BANDWIDTH controls of a particular control group. Adjusting these controls for a desired effect will be dis- cussed in the section under "EQ Adjust- ment.” Here we will discuss the purpose of each control in a control group and its effect on the control group ‘OCTAVES 3.51152 25 3 35 36 BANDWIDTH FIGURE 2. Bandwidth Control BANDWIDTH The control is calibrated in octaves and is adjustable from .3 octaves to over 3.6 octaves. An octave is defined as the range from an initial frequency to twice that fre- quency (example: 440Hz to 880Hz is one octave). A fundamental part of music, the octave is used because of its direct rela- tionship to the purpose of the bandwidth control. The setting of the bandwidth control de- termines how broad the range over which that particular control group will operate, whether it is 3 octave (commonly used fornotch filtering to correct room resonances) or 3.6 octaves (used for broadband tone modification) or anywhere in between. 0 || 640 || FREQUENCY FIGURE 3. FREQUENCY This control is used in conjunction with the BANDWIDTH control, by setting its cen- ter frequency and thus determining the exact frequency range over which that particular control group will operate. For example, you want a particular control group to be effective for one octave cen- tered around 440Hz. First the BANDWIDTH. control is adjusted to one octave and then the FREQUENCY control is moved to 440Hz. Now the range from 330Hz (¥% octave below 440Hz) to 660Hz (V2 octave above 440Hz) will be modified by the set- ting of the level control in this control group. Frequency Control Level Control FIGURE 4. LEVEL As indicated in the previous example, once the FREQUENCY and BANDWIDTH have been selected (by their respective controls), the LEVEL control is used to determine the amount of boost or cut the control group will provide. The LEVEL con- trol can provide a maximum cut or boost of 1608, EQ adjustment — in order to equalize pro- gram material properly for your listening preference, you must first determine the problem you wish to correct, whether it's an overbearing vocalist or a paling tuba. Once you have localized the problem areas, then refer to the chart marked “THE FRE- QUENCY RANGE OF MUSIC" and the dis- cussion at the end of this section on characteristics of specific frequency ranges. With the help of this information you can pinpoint the approximate fre- quency region you wish to correct Once localized, choose the appropriate control group and use the following sug- gested procedure to tune the parametric equalized precisely. In the particular con- trol group you have selected, adjust the BANDWIDTH control to one (1) octave and the LEVEL to approximately +6dB. Now move the FREQUENCY control until you have emphasized the region you wish to correct. Adjust the FREQUENCY control until you have emphasized the region you wish to correct. Then the BANDWIDTH. and LEVEL controls may be adjusted to precisely correct the problem. The degree of flexibility the 2900 pos- sesses is almost infinite. The possibilities for room equalization, speaker correction and the infinite possibility in program modi- fication are now at your finger tips. SPECIFIC FREQUENCY RANGE CHARACTERISTICS The following discussion localizes common problematic conditions into specific frequency ranges. Use this infor- mation and the chart on the “Frequency Range of Music” to assist you in setting your parametric equalizer.THE FREQUENCY RANGE OF MUSIC (Fundamental ranges forthe prineipal instruments and voice i SOPRANO) FRENCH HORN BB TRUMPET | AAA | CONTRABASSOON ALTO SAXOPHONE BASS CLARINET. ENGLISH HORN \| ‘BASSOON | CLARINET VIOLIN ul TO ll eprrarsleotranslootrensjenersnclestrenslectrensentrensjestesaseorr on | qn | HAT | [ee Upper limit of ordinary pians scale feeera rele wi Middle x Lower limit of ordinary piano scale je Upper limit of organ scale 1 Lower limit of organ scale «60100 300 eee 3K TOK 20K| Bass tooren) TREBLE (TWEETER) ——t| (nonin urges) RANE Reprinted courtesy STEREO REVIEW Copyright 1969, Ziff-Davis Publishing Co. FIGURE 5. Frequency Range of Music20Hz to 80H2z—This range is primarily low frequency instrument fundamentals (bass, drum, and pipe organ). By increasing this range, the bass will take on a deep rich “sock” without booming or blurring the sound, Decreasing the controls will weaken and muddy the bass. 120Hz to 320H2—This area is the major har- monic range Of low frequency material. In- creasing this range results in muddy bass sound lacking definition and clean-tran- sient response. However, some material in recording may lack these overtones: and and therefore, sound extremely tight to the point of being strident. Proper use of con- trols in this range can offer good bass warmth without sacrificing definition. 320Hz to 1280Hz—The majority of funda- mental notes exists in this frequency band. Therefore, this range can result in the most dramatic changes in overall program energy. Increasing this range can give the sound more impact. However, if the material has too much impact, you can balance it out by decreasing the controls for smoother overall quality. The human ear is very sensi- tive to this range. You will find only a minor change is required to have major effects on the program material. 1280Hz to 5000Hz —This region controls those instruments that we generally con- sider to be high in frequency. These high frequencies can offer brightness to these instruments and clarity to the sound. The human ear has added sensitivity to this region: therefore, care must be taken since over-zealous use of controls in this range can introduce a brittle or dry sound. This characteristic occurs because the har- monic structure of these instruments is not being affected, and only the fundamentals are being changed. Therefore, an instru- ment inner-imbalance can occur. This re- gion is also the common crossover range for loudspeakers: and therefore, many “peaks” and “valleys” can occur because of crossover characteristics which could be exaggerated by different program ma- terial. The flexibility of the 2900 is very useful in this situation, By proper adjust- ment, these frequency aberrations can be compensated for. 5000Hz to 20,000Hz—This region is com- posed almost entirely of the harmonic structures that give instruments their unique sounds. This range offers proper balance to many of the percussion instru- ments, since they are very rich in harmonic content. This area can also add to the spar- kle and brilliance that many audiophiles seek, especially from high frequency string and woodwind instruments. Use of the con- trols in the 15kHz and 20kHz area is also very effective in compensating for the com- mon roll-off of high frequency drivers in the speakers. The above information offers a guideline in the use of the 2900. Only through experi- mentation and use will you become aware of the full flexibility. FILTERS —The 2900 provides two low fre- quency filters which are part of the EQ group and are activated by depressing the EQ in/defeat switch. The 30Hz filter is de- signed to remove subsonic components {i.e.,: rumble, record warp), which could re- duce the sonic clarity of the music and even damage speakers. This filter is also effective when making tape recordings from records, since these subsonic com- ponents can cause tape saturation and ruin otherwise excellent recordings. The 100Hz filter is designed to reduce the pronounced bass encountered in certain recordings and room/speaker combinations, The following diagram shows the pos- sible combinations of the TAPE 1, TAPE 2, and EQ circuits in the 2900. Remember that the filters are part of the EQ circuits, This interconnect flowchart has been provided to assist you in using the 2900's tape monitor, copy, and EQ/filter systems, These flowcharts indicate what signals are present and where in the 2900, and at the TAPE OUT 1, TAPE OUT 2 and MAIN OUT. Determine which flowchart and remarks fit your particular situation and then use the SWITCH POSITION chart for the proper tape monitor, EQ/filter and copy con- figuration.10 2900 TAPE, EQ/FILTER, COPY INTERCONNECT KEY = This block represents the SELECTOR switch. Any source selected by this switch (phono, tuner, aux.) will follow * the path indicated by the signal flowchart. =This block represents the tape deck or other device connected to the TAPE 1 jacks on the rear panel =This block represents the tape deck or other device connected to the TAPE 2 jacks on the rear (or front) panel. SELECTOR to TAPE OUT 1&2 (SELECTOR at stp) seugeroR te are our 142 ‘tare Tat ott itnpe a cutee COPY and —This block represents the equalizer and filter circuits of the 2900. Whatever signal flows through the EQ circuit will also be affected by the filters when they are activated. —This block represents the volume, balance and mode controls plus the signal appearing at the MAIN OUT of the 2900. ape Suan |?2900 TAPE, EQ/FILTER, COPY INTERCONNECT SWITCH POSITION FLOWCHART REMARKS oe 69 seuneton te ca 114.2 Pacer2900 TAPE, EQ/FILTER, COPY INTERCONNECT SeugcroRw coe tare 1 42 Bare utaHEADPHONE — These phone jacks are de- signed to drive any medium to high im- pedance headphones. When a headphone plug is inserted into headphone 1, MAIN 1 and MAIN 2 outputs are muted. BE SURE to lower the volume control to a safe level before removing this headphone plug. Headphone 2 does not mute the MAIN 1 and MAIN 2 output for convenient listening to both headphones and speakers. Power on — The power switch supplies power to the 2900 and the two SWITCHED convenience outlets. The LED must come on when this switch is depressed. If it does not, power is not being supplied to the 2900. IMPORTANT — The 2900 incorporates a re- lay muting circuit to offer you quiet turn-on and turn-off. As part of this feature, there is a 2-3 second delay in audio after turn-on. GENERAL MAINTENANCE Great care has been taken by the staff of SAE to assure that your pre-amplifier is as flawless in appearance as it is electron- ically. The panel is finished with a high- grade black anodizing process (MIL Spe- ification 8625-A-Type 2) for durability as well as beauty. If it should become finger- printed, it can best be cleaned by using a soft cloth dampened with a a solution of LIQUID detergent and water. UNDER NO CIRCUMSTANCES SHOULD A LYE SOLU- TION OR AN ABRASIVE CLEANER SUCH AS SCOURING POWDER BE USED ON ANY PART OF THE PRE-AMPLIFIER. FUSE The pre-amplifier is protected by a line fuse on the rear panel. When power is applied to the pre-amplifier and the LED does not illuminate, check the line fuse. It the fuse is faulty, replace it ONLY with a fuse of equal value. Replacement with a fuse of a higher cur- rent rating will not protect the pre-ampli- fier and will void the Service Contract. If after replacing the fuse, it blows im- mediately, an electronic component failure might be suspected. No further attempts to replace the fuse should be made. SERVICE SAE has a Customer Service Department to answer all questions pertinent to the in- stallation and operation of your unit. Please feel free to write us at any time and we shall endeavor to offer prompt and com- plete advice regarding your installation. If a problem arises which cannot be resolved through our combined efforts, we may wish to refer you to a local authorized repair agency or factory. To aid us in selecting a service station convenient to you, it would be helpful if you would indicate which major city is closest to your home. Please address inquiry to: Customer Service Department SAE, Inc., P.O. BOX 60271 TERMINAL ANNEX LOS ANGELES, CALIFORNIA 90060 Be sure to include the model number and the serial number of your unit. In the event your unit must be returned, an authorization MUST BE REQUESTED from SAE prior to its return. UNDER NO CIRCUMSTANCES SHOULD YOUR UNIT BE SHIPPED TO THE FAC- TORY WITHOUT PRIOR AUTHORIZATION If the original shipping carton has been lost or discarded, or if the carton is not in good condition, a duplicate carton may be obtained from our Service Department for a minimal charge. Always ship via recognized freight car- riers. Suggested carriers will be given in SAE’s Customer Service Department reply. Do not ship via Parcel Post. ALL PARCEL POST SHIPMENTS Will BE REFUSED. SERVICE COVERAGE U.S. (ONLY) SAE is proud to offer you an unprece- dented free Five-Year Service Contract on your component. In order to receive this valuable protection, the enclosed Service Contract Registration Card must be com- pleted and mailed to SAE within one hun- dred-twenty (120) days of purchase. If you 1314 do not receive your Service Contract Label within thirty (30) days after the Registration Card has been mailed, please contact SAE immediately. While waiting for the Service Contract Label, your sales receipt will serve as proof of purchase and must be presented to the Service Station in the event servicing is required within one hundred-twenty (120) days of purchase. INTERNATIONAL As stated above, the SAE 5 year service contract is valid only in the United States. Service in other countries will be provided by the exclusive SAE representative or his agents. Because of varying governmental regulations and conditions, the service period may differ from country to country. However, in every instance, the service agreement can only be honored in the country where the unit was purchased. In the event that there is no SAE representa- tive in your country please contact SAE or in CANADA: The Pringle Group 30 Scarsdale Road Don Mills, Ontario Canada, M3B2R7 TROUBLE SHOOTING GUIDE ‘SYMPTOM, 4, Unit will not turn on A B. Blown Fuse, PROBABLE CAUSE Not plugged into AC outlet A POSSIBLE REMEDY Connect AC line cord to outlet or try different outlet 8. Refer to General Maintenance section and replace fuse, 2. Unit turns on but no sound is | A, heard, aux, Switches in wrong position. | A B. Cables not connected properly. | 8 ©. Tape Monitor switch in Moni- |. tor position not allowing normal ‘operation of phono, tuner or Check positions. ‘Check cable connections. Move switch to “Out” position. 8 One or both channels inopera- | A. tive, Bad cables, 4. Unit hums. A units, Unit too close to power trans- | A, former of amplifier B. Lack of shielding between | 8. A. Try other cables (or inter- change. Isolate the input function as- sociated with the problem. It phono, reorient the preamp. in Telation to the power amplifier. Insert MU metal shield between units if reorientation is impos- sible, ©. Phono Cartridge. ©. Check cartridge ground con- nections, then move tone arm while operating to see if hum level varies. If so, reorient turn- table. 5. RF Interference. A Radio: radio program heard. TV: rasping buzz. 6 Tape recorders will not record phono, tuner or Aux position, Poor cable shielding, A Tape copy switch in wrong | A. Shorten cables or obtain cable with better shielding Refer to section on Tape Copy Switch.SPECIFICATIONS PREAMP T.H.D, (Total Harmonic Distortion) At any level to rated output from 20Hz to 20kHz is less than LM. (Intermodulation Distortion) At any level to rated output with any two mixed frequencies between 20Hz and 20kHz at a 4-to-1 voltage ratio is less than Rated Output ... PHONO - 2.5V RMS Frequency Response (RIAA Equalized) from 20Hz to 20kHz .... -. £0.25dB S/N (reference 10mvV input at 1kHz) 20Hz to 20kHz is greater than . .75dB A-Weighted 9008, Separation at 1kHz 550B Input overload at 1kHz is greater than . - 150mV Input Termination -. 47k Ohms. = 100 Picofarads (approx.) Input Capacitance . . - 38dB to tape out 60dB to pre out Gain LINE Frequency response from 20Hz to 20kHz S/N (reference 2.5V RMS out) 20Hz to 20kHz is greater than A-Weighted .. Separation at 1kHz is greater than Maximum output (10k Ohms load) Minimum load . +0.25dB 9508 » 11008 55dB 9v RMS 600 Ohms +. 25dB - 110-125 VAC, 50Hz to 60Hz, 25 Watts 9 Lbs. (4.08kg) + 10.5 Lbs. (4.76kg) Front Panel: 19 in. (48.3cm)W x 5.25 in. (18.3¢m)H Chassis 3.5 in. (8.89cm) (excluding knobs & connectors) C-4* (10 in. D.) or C-5* (4.5 in. D.) Power consumption . Weight Shipping Weight . Dimensions ... Cabinet (not included) “Assembly required 15elas Wea nel ehe mn eva 2s OC ee CELL)