Philips N4506 - Input;Output Controls and Usage; Input and Output Controls; Use of Microphones; Listening-in During Recording (Monitoring)

Input and output controls
To
overcome
the
large
changes
in
output
level
caused
when
switching
from
one
input
source
to
another
this
recorder
is
fitted
with
adjustable
inputs
and
outputs.
Input
sensitivities
can
be
adjusted
as
follows:
@
Set
function
selector
€
to
its
lower
position.
@ Press record key
@
Set
the
recording
level
controls
@
and
@)
to
position
‘7’.
e Lift up cover
@
Set
the
appropriate
selector,
determined
by
the
input
used,
in
its
upper
position:
-
Switch
@)
selects
the
line
input
©;
The
input
sensitivity
is
set
via
the
controls
(left
channel)
and
(i)
(right
channel).
-
Switch
@)
selects
the
tuner
input
@;
The
input
sensitivity
is
set
via
the
controls
@2
(left
channel)
and
@
(right
channel).
-
Switch
@
selects
the
‘aux’
input
@;
The
input
sensitivity
is
set
via
the
controls
@
(left
channel)
and
(
(right
channel).
-
Switch
@
selects
the
phono
input
@);
The
input
sensitivity
is
set
via
the
controls
(left
channel)
and
@
(right
channel).
@
Play
the
connected
apparatus
and,
using
thumb
or
coin,
turn
the
appropriate
input
sensitivity
controls
clockwise
until
the
recording
level
meters
@
and
©)
indicate
100%
during
the
loudest
passages
(fig.
5).
The
overload
indicators
@®
and
@
should
just
fail
to
tight.
@
When
all
the
input
sensitivities
have
been
set,
press
stop
key
The
output
levels
from
the
recorder
are
also
adjustable
in
order
to
match
the
recorder
playback
volume
to
that
of
other
input
sources
connected
to
the
amplifier.
To
set
up
the
output
voltage,
a
pre-recorded
stereo
tape
is
required.
@
Connect
the
monitor
socket
@)
to
the
monitor
input
and
the
‘line
in/out’
socket
to
the
tape
recorder
input
of
the
amplifier.
@
Thread
the
pre-recorded
tape,
set
speed
selec-
tor
to
the
appropriate
speed
and
set
track
selector
@9
to
stereo.
@
Set
function
selector
€8
to
its
lower
position.
@
Switch
on
or
start
a
source
connected
to
the
amplifier
(e.g.
a
tuner)
and
set
to
a
particular
volume.
@
Press
start
key
@
to
commence
playback.
@
Alternately
select
on
the
amplifier
tuner,
re-
corder
and
monitor
playback
and
compare
the
relative
volumes
of
recorder
and
monitor
playback
with
the
tuner
playback
volume.
The
monitor
output
level
can
be
adjusted
with
the
controls
©
(left
channel)
and
@
(right
channel)
and
the
‘line
out’
output
level
with
the
controls
@)
(left
channel)
6
and
(g)
(right
channel).
Turn
these
controls
clock-
wise
(louder)
or
anti-clockwise
(softer)
to
adjust
the
relative
volumes.
Use of microphones
For
microphone
recordings
you
can
connect
two
mono
microphones,
one
to
socket
and
the
other
to
socket
ۤ,
or
a
stereo
microphone
to
socket
64.
Depending
on
the
position
of
track
selector
9,
the
recordings
made
in
each
case
will
be
either
stereo
or
mono.
For
mono
recordings
you
can,
if
desired,
connect
only
one
microphone
to
socket
64
or
68.
For
stereo
recordings
the
mono
microphone
for
the
left
channel
must
face
the
left
and
that
for
the
right
channel
the
right
of
the
sound
source.
For
speech
recordings
the
distance
between
mouth
and
microphone
should
be
about
30
cm.
For
music
recordings,
trials
should
be
made
to
determine
the
most
suitable
positions.
To
prevent
unwanted
recorder
noise
being
picked
up
by
the
microphones,
these
should
be
placed
away
from
the
recorder.
If
a
large
amount
of
background
noise
is
present
whilst
making
speech
recordings,
the
clarity
can
be
increased
by
setting
the
microphone
sensitivity
switch
@6
to
'~
20
dB’
and
reducing
the
distance
between
mouth
and
microphone
to
5-10
cm.
Switch
@
should
also
be
set
to
’~
20
dB’
if
you
are
recording
sounds
at
very
high
levels
or
with
very
high
peaks
(e.g.
beatgroups).
Listening-in
during
recording
(monitoring)
You
can
check
what
is
going
onto
the
tape
by
monitoring
during
recording.
Monitoring
through
a
headset
is
of
particular
advantage
when
making
microphone
recordings
since
it
averts
the
danger
of
the
microphone
picking
up
sound
from
the
loudspeakers
and
thus
causing
a
whistling
noise
(‘howling’
or
‘acoustic
feedback’).
By
means
of
monitor
selector
@,
which
operates
only
during
recording,
you
can
choose
between
‘after
tape’
and
‘before
tape’
monitoring.
-
‘A’
is
the
after
tape
switch
position.
The
signal
which
the
record
head
©
(fig.
6)
has
put
on
the
tape
is
reproduced
immediately
afterwards
by
the
playback
head
©,
Thus
what
you
then
hear
is
the
signal
as
recorded.
Note
that
with
monitor
selector
at
’A’
and
the
tape
stationary
(the
pause
key
being
engaged),
the
playback
head
gives
no
signal
and
so
nothing
is
heard.
-
'B'
is
the
before
tape
switch
position.
In
this
case
what
you
hear
is
the
signal
as
it
sounds
before
the
record
head
has
put
it
on
the
tape.
With
monitor
selector
@)
at
'B’
and
the
tape
stationary
(the
pause
key
being
engaged),
the
signal
as
it
sounds
prior
to
recording
is
continuously
heard.