McIntosh C-28 Owners manual

THE MCINTOSH C 28 SOLID STATE STEREO PREAMPLIFIER

Reading Time: 37 Minutes

Price $1.25

Your MC 28 Stereo Preamplifier
will give you many years of pleasant
and satisfactory performance. If you
have any questions, please contact:

CUSTOMER SERVICE

Mclntosh Laboratory Inc.
2 Chambers Street
Binghamton, New York 13903
Phone: [phone]

WARNING: TO PREVENT FIRE OR SHOCK

HAZARD, DO NOT EXPOSE THIS UNIT TO RAIN

OR MOISTURE.

Take Advantage of 3 years
of FREE Service . . .

Fill in the Application NOW.

CONTENTS

Adjusting The Top Panel Controls.. 8

Using The Front Panel Controls.. 9, 10

Using the Pushbuttons.. 11
Balancing Your Stereo .. 12, 13

Listening To Your Stereo.. 13

Performance Limits and Ratings .. 14, 15

Service Contract.. 1

Installation.. 2, 3

How to Connect.. 4, 5, 6, 7

Performance Charts.. 16

Technical Description.. 18

Block Diagram .. 20

THREE YEAR SERVICE CONTRACT

An application for a FREE THREE YEAR SERVICE CONTRACT is included with this manual.

The terms of the contract are: or mishandling is not covered by the SERV-

ICE CONTRACT.

4. The SERVICE CONTRACT is issued to you as

1. Mclntosh will provide all parts, materials and
labor needed to return the measured perform­ance of the instrument to the original per­formance limits free of any charge. The
SERVICE CONTRACT does not cover any ship­ping costs to and from the authorized service
agency or the factory.

2. Any Mclntosh authorized service agency will
repair all Mclntosh instruments at normal
service rates. To receive the free service under

the terms of the SERVICE CONTRACT, the
SERVICE CONTRACT CERTIFICATE must ac­company the instrument when taken to the
service agency.

3. Always have service done by a Mclntosh

authorized service agency. If the instrument

is modified or damaged, as a result of un-

authorized repair the SERVICE CONTRACT

will be cancelled. Damage by improper use

the original purchaser. To protect you from
misrepresentation this contract cannot be
transferred to a second owner.

5. For your protection Mclntosh selects only
dealers who have technical competence to
guide purchasers fairly, and provide service
when necessary. To receive the SERVICE
CONTRACT your purchase must be made
from a Mclntosh franchised dealer.

6. Your completely filled in application for a
SERVICE CONTRACT must be postmarked
within 30 days of the date of purchase of
the instrument.

7. To receive the SERVICE CONTRACT all in­formation on the application must be filled
in. The SERVICE CONTRACT will be issued
when the completely filled in application

is received at Mclntosh Laboratory Incor­porated in Binghamton, New York.

Copyright (c) 1970 By Mclntosh Laboratory Inc.

1

How To Connect

CONNECTING A RECORD PLAYER TO PHONO 1

Connect the cable from the "left" channel of the

record player into the "L" PHONO 1 input jack.

Connect the cable from the "right" channel of the
record player into the "R" PHONO 1 jack.

PHONO 2 is provided for the use of a second record
player.

Connect the cable from the "left" channel of the
record player into the "L" PHONO 2 input jack.

Connect the cable from the "right" channel of the

record player into the "R" PHONO 2 input jack.

CONNECTING A MICROPHONE

Connect the cable from the "left" microphone to
the "L" MIC input jack. Connect the cable from the
"right" microphone to the "R" MIC input jack.

CONNECTING A TAPE DECK FOR PLAYBACK

Connect the cable from the "left" tape recorder head
on the tape deck (one without its own electronics)
to the "L" TAPE HEAD input. Connect the cable
from the "right" tape recorder head to the "R" TAPE
HEAD input.

CONNECTING A STEREO TUNER

Connect the cable from the "left" channel tuner out­put to the "L" tuner input jack.

Connect the cable from the "right" channel tuner
output to the "R" TUNER jack.

AUX

Any high level program source such as another tuner
or a TV set can be connected to the input jacks
marked "AUX."

CONNECTING A TAPE RECORDER

To Record:

Connect a cable from the "L" TAPE OUTPUT jack

marked TAPE 1 to the "left" high level input tape

recorder.
Connect a cable from the "R" TAPE OUTPUT jack

marked TAPE 1 to the "right" high level input of the
tape recorder.

Connect a second tape recorder in the same fashion
to the TAPE 2 outputs.

To Playback Monitor: Connect the cable from the
"left" channel output of a tape recorder to the high
level inputs . . . "L" TAPE 1.

Connect the cable from the "right" channel output of
a tape recorder to the high level input . . . "R" TAPE.

Connect a second tape recorder in the same fashion
to the TAPE 2 input jacks.

4

5

CONNECTING THE C 28 TO POWER AMPLIFIERS

Connect the MAIN output jacks to the input of a
stereo power amplifier. The "L" jack is connected to
the "left" amplifier input jack. The "R" jack is con-

nected to the "right" amplifier input jack.

The output impedance at the MAIN outlet is 100

ohms. Longer cables than are supplied can be con­nected between the C 28 and the amplifiers. The
length of the cable is limited by the capacity of the
cable. The total capacity must not exceed 1000 pF.
For instance: cables with a capacity of 25 pF per

foot may be 40 feet long. 13.5 pF per foot cable

may be 75 feet long. The input impedance of the
amplifiers should be 47,000 ohms or greater.

CTR OUTPUT

Use the CTR output to feed left plus right signal to a

separate power amplifier for monophonic back-

ground music or for a center channel speaker.

SPEAKER CONTROL RELAY

To control main and remote loudspeakers from the
front panel of the C 28 an accessory Mclntosh SCR
control is needed. Plug the cable from the SCR con-

trol in the SPEAKER CONTROL RELAY receptacle.
The speakers are then connected to the SCR con-

trol. The AC outlets on the SCR have a total capa­city of 2400 watts.

AC OUTLETS

There are 4 black AC outlets, 2 green AC outlets,
and one red AC outlet. The power to the black AC
outlets is controlled by the front panel switch. Use
these outlets for a tuner, tape recorder, etc. The

green outlets are controlled by the top panel switch
marked "Power Amplifier." The total capacity of all
AC power outlets is 600 watts. To prevent burnout,
use the AC outlets on the CR for power requirements
exceeding 600 watts. The red receptacle is on at all
times. Use the red outlet for a turntable or record
changer. The turntable is protected by this arrange­ment. It is necessary to turn off the turntable or rec­ord changer with its own AC switch.

GROUND CONNECTION

A single ground post is provided. Grounds for turn­tables, record changers, tape decks, etc. should be
connected to this post. The left and right program
cables and the ground wire from that source should

be wound or twisted together. To avoid hum, make
sure the ground wire does not make any connec­tions to the shields of the left and right program
cables between the program source and the C 28.

6

7

Adjusting The Top Panel Controls

You will enjoy the best in stereo performance more

when the stereo system is properly balanced. For

proper balance each channel must be equal in loud­ness and similar in frequency response. Use the top
panel LEVEL controls to balance system loudness
and the top panel BASS TRIM controls to balance for
frequency response differences at low frequencies.

Do not use the front panel BALANCE control to
correct for system unbalance. The BALANCE control
is used to adjust for any unbalance in the source

material, the record, etc.

Before attempting to balance the output of the C 28

make certain the front panel controls are set properly.

Turn the VOLUME control to the OFF (totally coun-

ter-clockwise) position.

Set the MODE SELECTOR to STEREO and the
BALANCE control at the center or 12 o'clock position.
Turn the tone controls to the center or 12 o'clock
position. The HF and LF pushbuttons should be in

the OUT position and the COMPensation control in
the FLAT position. Turn the INPUT SELECTOR to
TUNER.

Depress the PANLOC buttons and pull the pre-

amplifier out to the adjust position. The controls on

the top panel are now easily adjusted.

On the top panel turn the BASS TRIM controls
counter-clockwise. Turn all the level controls to the
clockwise position. Turn the POWER AMPLIFIER
switch on.

With the tuner turned on, turn up the VOLUME
control on the front panel until a comfortable room
loudness is reached.

Then switch the INPUT SELECTOR to PHONO 1,
the MODE SELECTOR to L TO L & R, use a mono-

phonic record and turn down the top panel LEFT
PHONO 1 LEVEL control to match the loudness of the
tuner. Repeat the procedure with the RIGHT PHONO

1 LEVEL control. When the channels are equally loud
the system is balanced for loudness.

Repeat the same steps for PHONO 2.

Bass Trim

A control has been provided in each channel that

adjusts the bass loudness. These controls are used
to compensate for the differences in loudspeaker re-

sponse at low frequencies or for the room in which
they are used. They are variable controls that provide
up to 6 dB of boost below 100 Hz. With the control
in the counter-clockwise position the response is flat.
Clockwise rotation increases the bass loudness. Ad­just one channel at a time.

Headphone Level

A control has been provided in each channel to
adjust the loudness of the program when using head­phones. The controls adjust the output in each chan­nel to the HEADPHONE jack only and do not affect
the program loudness from the loudspeakers. To ad­just for comfortable headphone listening first adjust
the VOLUME control to the front panel to normal
room loudness. Then, while wearing the headphones,
adjust the HEADPHONE LEVEL control to the desired
loudness level.

Output Level

A control has been provided in each channel that
adjusts the output of the preamplifier. Use these con-

trols to compensate for minor differences in loud­speaker efficiency or amplifier gain. These controls
adjust the level to the MAIN OUTPUTS only.

With the MODE SELECTOR in the MONO (L + R)

position set the BALANCE control to 12 o'clock. Ad-

just the top panel OUTPUT LEVEL controls until the

loudness from each loudspeaker is equal.

Center Channel Level

A control has been provided that adjusts the com­bined left plus right program level to the CTR output
jacks.

Power Amplifier On/Off

A switch has been provided that will control the
AC power to the green POWER AMPLIFIER recepta-

cles independently of the C 28 front panel control.
Use this switch to turn off the amplifier when listen­ing to the headphones, etc.

IMPORTANT: TO HEAR THE PROGRAM FROM THE
LOUDSPEAKERS THIS SWITCH MUST BE IN THE
ON POSITION.

8

Using The Front Panel Controls

In the upper left of the front panel is a concentric
control. The large outer knob is the BALANCE con­trol. The small center knob is the COMPENSATION

control.

BALANCE

The BALANCE control adjusts for unequal loud-

ness in either the left or right channels. The loud-

ness of the channels can be varied relative to each

other without affecting their combined loudness.

Left . . . turning the control to the left accents the

left channel by reducing the right channel output.
Right . . . turning the control to the right accents

the right channel by reducing the left channel out-

put.

COMPENSATION

The COMPENSATION control is a three position
switch.

Pres: In the left of center position the response of

the C28 is shaped to emphasize the upper mid-

frequencies.
Flat: In the center position the response of the C 28

is unmodified.

Loud: The LOUDness control automatically pro-

vides the correct amount of bass required to com-

pensate for the change in response of the human

ear at low loudness levels.

When the volume is reduced, the music will
seem to lose much of its bass and some of its
treble. This effect is due to the sensitivity charac­teristic of human hearing. The response of the hu-

man ear to bass and treble pitch decreases more
rapidly than its response to pitch centered in the
mid-tonal range. The LOUDness switch converts
the volume control to a loudness compensated
control. Use LOUDness to listen at low volume and
still hear full-frequency range.

INPUT SELECTOR

Aux: Connects the output from any high level pro-

gram source requiring flat amplification to the high

level input stage. Such a source could be a tele-

vision set. In the AUX position the gain is 20 dB to

the MAIN outputs, 0 dB to the TAPE outputs, and

17.5 dB to the LINE outputs. The input impedance

is 250,000 ohms.

Tuner: Connects the output from any AM, FM or
MPX FM tuner to the high level input stage. In the

TUNER position the C 28 has flat amplification.
There is 20 dB of gain to the MAIN outputs, 0 dB
to the TAPE outputs and 17.5 dB to the LINE out-

puts. The input impedance is 250,000 ohms.

Phono 1: Connects the output of any magnetic
phono cartridge to the low level input stage. The
response has been shaped to compensate for the
characteristics of the magnetic phono cartridge.

The gain at 1,000 Hz is 62 dB to the MAIN outputs,
42 dB to the TAPE outputs and 59.5 dB to the LINE
outputs. The input impedance is 47,000 ohms.

Phono 2: Same as PHONO 1.

Mic: Connects the output of any high impedance
microphone to the low level input stage. In the MIC
position the C 28 has flat amplification. The gain
is 60 dB to the MAIN outputs, 40 dB to the TAPE
outputs and 57.5 dB to the LINE outputs. The input

impedance is 500,000 ohms.

Tape Hd: Connects the output of any tape head (a
tape deck without its own electronics) to the low

level input stages. The response has been shaped
to compensate for the characteristics of the tape

head. The gain at 500 Hz is 64 dB to the MAIN out­puts, 44 dB to the TAPE outputs and 61.5 dB to the
LINE outputs. The input impedance is 500,000
ohms.

MODE SELECTOR Connects the program to the

loudspeaker in the following seven ways:
L to L & R: Connects the "left" input to both loud-

speakers.
R to L & R: Connects the "right" input to both loud-

speakers.
Stereo Rev: Connects the "left" input to the "right"

loudspeaker and the "right" input to the "left"

loudspeaker.
Stereo: Connects the "left" input to the "left" loud-

speaker and the "right" input to the "right" loud­speaker.

Mono (L + R): adds the "left" input and the "right"

input and then connects the L + R program to both

amplifiers and loudspeakers.
L + R to L: Connects the "left plus right" program

to the "left" loudspeaker only.
L + R to R: Connects the "left plus right" program

to the "right" loudspeaker only.

9

VOLUME ON/OFF

Turning the VOLUME totally counter-clockwise
turns the C28 OFF. The VOLUME control regulates
the loudness in both channels. The VOLUME con­trol has been precision tracked throughout the lis-

tening range (0 to -65 dB) for accurate stereo

balance.

BASS

The C 28 has separate 11 position tone control
switches in each channel for bass and treble.

Left: Adjusts the bass loudness from the left loud­speaker. Clockwise rotation increases the bass

loudness while counter-clockwise rotation de-

creases the bass loudness. Each step of the tone

control adjusts the bass loudness 4 dB.
Right: Has the same effect on the sound from the

right loudspeaker.

TREBLE

Left: Adjusts the treble loudness from the left loud-

speaker. Clockwise rotation increases the treble
loudness while counterclockwise rotation de­creases the treble loudness. Each step of the tone

control adjusts the treble loudness about 4 dB.
Right: Has the same effect on the sound from the

right loudspeaker.

PANLOC

Mclntosh developed PANLOC mounting brings pro­fessional installation technique to stereo. Depress­ing the PANLOC button fas with a ball point pen)
will release the instrument. It can then be pulled
toward you to the "adjustment" position. In this
position the top panel controls can be adjusted.

10

Using The Pushbuttons

The C 28 is designed to be used with one, two or
three tape recorders, for example—tape playback
from a tape deck (one without its own electronics)
and, in addition, two complete tape recorders. The
front panel pushbuttons control the latter. The push­buttons permit normal playback of either recorder,

monitor of either recorder as recordings are being
made, or copying tapes from one recorder to another
while listening to a separate program.

TAPE 1

PUSHBUTTON OUT ... The program source is fed
to the power amplifiers and heard through the loud­speakers.

IN ... The program source becomes the recorded
tape on the tape recorder connected to TAPE INPUT

1. The recorded program from tape recorder 1 is fed
to the power amplifiers and heard from the loud­speakers.

With the pushbuttons in the monitor position a
rectangle is lighted in RED above the pushbutton.
When the RED light is on only the tape can be heard.
To listen to other sources the pushbutton must be
out and the light off.

TAPE 2

The second complete tape recorder can be oper­ated in the same fashion.

TAPE 2 pushbutton also controls the program from
a tape recorder plugged into the front panel jacks

marked TAPE INPUT and TAPE OUTPUT. When a
tape recorder is plugged into the front panel jacks all
the facilities for TAPE 2 are automatically switched
to the front panel packs. A tape recorder plugged
into the TAPE 2 INPUTS and OUTPUTS on the back
panel is automatically disconnected.

Use the front panel pushbutton TAPE 2 to record

on or playback from a tape recorder plugged into

the front panel jacks.

TAPE COPY 1->2

This pushbutton, when pushed IN, connects the
TAPE 1 OUTPUT jacks to the TAPE 2 INPUT jacks
without affecting the program being heard from the
speakers. In this position a copy of the program on
tape recorder 1 can be made on tape recorder 2.
With the pushbutton IN a rectangle is lighted in

ORANGE above the pushbutton.

To monitor the tape copy procedures use the TAPE

1 MONITOR pushbutton.

TAPE COPY 2->1

This pushbutton, when pushed IN, connects the
TAPE 2 OUTPUT jacks to the TAPE 1 INPUT jacks
without affecting the program heard from the
speakers. In this position a copy of the program on
tape recorder 2 can be made on tape recorder 1.
With the pushbutton in the IN position a rectangle is
lighted in ORANGE above the pushbutton.

To monitor the tape copy procedures use the TAPE
2 MONITOR pushbutton.

LF (LOW FREQUENCY FILTER)
Use the LF filter switch to reduce objectionable

low-frequency noise created by a turntable or record

changer or acoustically coupled feedback.

OUT . . . filter disconnected.
IN ... low-frequency rumble and noise below 50

Hz are reduced when the switch is pushed to the IN
position.

With the LF pushbutton in the IN position a rec­tangle is lighted in GREEN above the pushbutton.
When the GREEN light is on the low frequency filter
is in operation.

HF (HIGH FREQUENCY FILTER)

Use the HF filter switch to reduce objectionable

high-frequency noise such as record scratch.

OUT . . . filter disconnect

IN ... rolls OFF response sharply above 7000 Hz

With the HF pushbutton in the IN position a rec­tangle is lighted in GREEN above the pushbutton.
When the GREEN light is on the high frequency filter

is in operation.

SPEAKER PUSHBUTTONS

Speakers can be turned on and off when properly

connected with the accessory Mclntosh SCR control.

(See diagram Pg. 7)

If the program is to be heard from the main speak­ers only, the REMOTE pushbutton is pushed IN. This
turns off the remote speakers and lights a rectangle

in BLUE above the pushbutton. The BLUE light indi­cates that the remote speakers are off and no pro­gram can be heard from them.

If the program is to be heard from the remote
speakers only the MAIN pushbutton is pushed IN.
This turns off the main speakers and lights a rec-

11

tangle in BLUE above the pushbutton. The BLUE light
indicates that the main speakers are off and no pro­gram can be heard from them.

To hear program from both main and remote

speakers, both the MAIN and REMOTE pushbuttons

must be out and the BLUE lights must be off.

FRONT PANEL JACKS

TAPE INPUT - TAPE OUTPUT

When a tape recorder is plugged into the front
panel jacks all the facilities for TAPE 2 are automatic­ally switched to the front panel jacks. A tape recorder
plugged into the TAPE 2 INPUTS and OUTPUTS on

the back panel is automatically disconnected.

Use the front panel pushbutton TAPE 2 to record

or playback from a tape recorder plugged into the

front panel jacks.

HEADPHONES

The front panel HEADPHONE jack has been de­signed to feed low impedance dynamic headphones.
Electrostatic headphones generally require higher
power than dynamic headphones. They must be con­nected to the output connectors on the power am­plifier.

Plug headphones into the front panel HEADPHONE
jack. Adjust the front panel VOLUME control for com­fortable headphone listening. (See Pg. 8}

An amplifier in the C 28 provides the power that
feeds both the HEADPHONE jack on the front panel
and the LINE OUTPUT jacks on the rear panel. If you
choose to listen to headphones only it is not neces­sary to operate the power amplifiers that feed the
loudspeakers.

To turn the power amplifiers off use the switch on
the top panel of the C 28 marked POWER AMPLIFIER.
This switch controls the AC to the green POWER
AMP receptacles on the back panel. With this switch
in the OFF position nothing will be heard from the
speakers.

Balancing your Stereo

The performance and enjoyment of a stereo sys­tem is greatly increased when the sound is properly
balanced. The balance of the stereo system is af­fected by many things including room acoustics,
furniture placement, room shape, small differences

in loudspeakers, etc. Factors that affect proper stereo
balance are correct phase for both channels and
equal program loudness.

TO BALANCE LOUDNESS

1. Set the MODE to MONO.

2. Play a familiar recording.

3. Turn the BALANCE control to the 12 o'clock posi-

tion.

4. While the program is playing, stand between the

two loudspeakers. Listen for a difference in loud­ness between speakers. Balance the system by
adjusting the controls on the power amplifiers.
Next, set the MODE selector to STEREO. If there
is then a difference in loudness turn the BAL­ANCE control toward the speaker that is not as
loud. Adjust the BALANCE control until the sound
is equally loud from both speakers.

12

Listening to your Stereo

LISTENING TO STEREO RECORDS

Turn the INPUT SELECTOR to PHONO 1, or

PHONO 2, whichever is connected to the record

player you wish to hear.
Set the MODE SELECTOR to STEREO.
Adjust the VOLUME control to the desired volume.

LISTENING TO MONOPHONIC RECORDS

Turn the INPUT SELECTOR to PHONO 1, or

PHONO 2, whichever is connected to the record

player you wish to hear.
Turn the MODE SELECTOR to MONO.
Adjust the VOLUME control to the desired volume.

LISTENING TO A TUNER

Turn the INPUT SELECTOR to TUNER.

Adjust the volume to a comfortable level.

LISTENING TO A TAPE RECORDER

Two tape recorders can be used with the C 28.

Connect a three head tape recorder to TAPE 1 inputs.

Connect a second three head tape recorder to TAPE

2. Recording and monitoring can be done using
either tape recorders.

Press the TAPE 1 or TAPE 2 pushbutton IN, which

ever is connected to the tape recorder you wish to

hear.

Turn the MODE SELECTOR switch to STEREO or

MONO, depending on the program on the tape.

Adjust the VOLUME control to the desired volume.

To monitor while recording your tape recorder

must have separate record and playback heads and

separate electronics. The pushbutton switch lets you

monitor the quality of tape recordings made during

the recording process. When the TAPE pushbutton

is in the IN position it will play the sound from the

tape as it passes the playback head, a moment after

it is recorded. The recording process continues as
usual. When the switch is in the OUT position pro-

gram that is being recorded is heard.

HOW TO COPY TAPE

Put the tape to be copied on the recorder con-

nected to TAPE 1 input.
Press in the TAPE COPY 1->2 pushbutton.
The signal available at the OUTPUT TAPE 2 jacks

is the playback of TAPE 1.

Record on the recorder connected to OUTPUT
TAPE 2. The recording can be monitored by press-

ing in the TAPE 2 pushbutton. Instantaneous com­parison on the recorded program with the original
can be heard.

LISTENING TO TAPE DECKS

To listen to tape from a tape deck, proceed as fol-

lows:

Turn the INPUT SELECTOR to TAPE HEAD.
Turn the MODE SELECTOR to MONO (L + R) or

STEREO, depending on the program on the tape.
Adjust the VOLUME control to the desired volume.

USING MICROPHONES

Microphones in stereo may be used with the C28.

The two MIC channels amplify microphone signals.

They have a sensitivity of 2.5 millivolts and an input

impedance of 0.5 megohm. For lower output micro­phones input transformers should be used to raise

the voltage output to the 2.5 millivolt range.

13

Performance Limits

and Ratings

Performance Limits are the maximum deviation

from perfection permitted for a Mclntosh instrument.

We promise you that your C 28 must be capable of

performance at or exceeding these limits or you get

your money back. Mclntosh is the only manufacturer

that makes this guarantee.

FREQUENCY RESPONSE

+0 -0.5 dB 20 Hz to 20,000 Hz

DISTORTION

0.1% at rated output level, 20 Hz to 20,000 Hz

INPUT SENSITIVITY AND IMPEDANCE

Auxiliary, Tuner, Tape 1, Tape 2, 0.25 volts at 250,­000 ohms. Phono 1 and Phono 2, 2 millivolts at

47,000 ohms (1,000 Hz). Microphone, 2.5 millivolts

at 500,000 ohms

Tape Head, 2 millivolts at 500,000 ohms (500 Hz)

HUM AND NOISE

Auxiliary, Tuner, Tape 1, Tape 2, 90 dB below
rated output
Phono 1, Phone 2 and Tape Head, 78 dB below
10 millivolts input, equivalent to less than 1.2
microvolts at the input terminals
Microphone, 1.5 microvolts at the input terminals

OUTPUT LEVEL AND IMPEDANCE

Main Output 2.5 volts with rated input, less than
100 ohms source impedance, to operate into 47,000
ohms or greater

Tape Output 0.25 volts with rated input, less than

150 ohms source impedance, to operate into 47,000
ohms or greater

Headphone/Line Output 0.75 volts into 8 ohm

load or 2.5 volts into 600 ohm line, 0.2 ohm source

impedance, level controls provided
Center Channel Output 1.25 volts with rated in­put to both channels, to operate into 47,000 ohms
or greater, level control provided

VOLTAGE AMPLIFICATION IN DECIBELS

Auxiliary, Tuner, Tape 1 and Tape 2
to Main Output 20 dB
to Tape Output 0 dB
to Headphone/Line Output 30 dB

Phono 1 and Phono 2 at 1 kHz
to Main Output 62 dB
to Tape Output 42 dB

to Headphone/Line Output 72 dB

Microphone

to Main Output 60 dB

to Tape Output 40 dB
to Headphone/Line Output 70 dB
Tape Head at 500 Hz
to Main Output 64 dB
to Tape Output 44 dB
to Headphone/Line Output 74 dB

TRANSISTOR COMPLEMENT

26 silicon-planar transistors, 4 silicon diodes, 2
silicon bridge rectifiers

POWER REQUIREMENT

120 volts, 50/60 Hz, 45 watts

FACILITIES AND FEATURES

BASS CONTROLS

Separate 11 position rotary switches for each chan-

nel,

+20 dB to -20 dB at 20 Hz

TREBLE CONTROLS

Separate 11 position rotary switches for each chan­nel, + 18 dB to -18 dB at 20,000 Hz

COMPENSATION SWITCH

Three position switch for Flat, Loudness, or Pres­ence. Loudness position boosts low frequencies for
low level listening. Presence position boosts mid
frequencies 4 dB to increase "presence" effect.
This control operates as a function of volume con­trol position so full compensation is obtained at

lower volume levels and flat response is obtained

at full volume.

BALANCE CONTROL

Natural balance at center position, attenuation of
left or right channel by rotating control

VOLUME CONTROL

Precision "tracked" at all listening levels. (0 to

-65 dB). Does not change stereo balance as loud­ness is changed. The power ON/OFF switch is
coupled with this control.

INPUT SELECTOR

Six positions: Auxiliary, Tuner, Phono 1, Phono
2, Microphone, and Tape Head

MODE SELECTOR

Seven positions: Left channel only to both
speakers, Right channel only to both speakers.
Stereo Reverse, Stereo, Mono, L + R to left speaker
only, and L - R to right speaker only

TAPE MONITOR SWITCHES

Two push button switches. Either of two tape re­corders can be monitored by selecting the TAPE 1

push button or TAPE 2 push button. They are me-

chanically interlocked to accept only one push-

button at the IN position at one time.

TAPE COPY SWITCH

Two push button switches. Either of two tape re-

corders can be connected to copy from tape ma-

14

chine 1 to tape machine 2 or vice versa. They are
mechanically interlocked to accept only one push-

button at the IN position at one time.

LF FILTER SWITCH (Rumble Filter)

Flat or roll-off 12 dB per octave below 50 Hz, down

to 18 dB at 20 Hz

HF FILTER SWITCH (Scratch Filter)

Flat or roll-off 12 dB per octave above 7000 Hz,

down to 18 dB at 20,000 Hz

SPEAKER SWITCHES (Operates with accessory

speaker control relay)

Main: Switch the MAIN loudspeaker system ON

or OFF without affecting the performance of RE-

MOTE speakers.

Remote: Switch the REMOTE loudspeaker sys-

tem ON or OFF without affecting the performance

of MAIN speakers.

FRONT PANEL TAPE JACKS

Allows connection to input and output of a tape

recorder from the front panel of the C 28. Inserting
plugs into their jacks disconnects the TAPE 2 cir-

cuits from the rear panel of the C 28 and uses the

TAPE 2 facilities for the front panel jacks.

HEADPHONE JACK

For listening with either low or high impedance
dynamic stereo headphones. Power to this jack is
supplied by an amplifier provided in the C 28.
Headphone listening can be accomplished without

the use of an external power amplifier.

SECONDARY CONTROLS

The following controls are located behind the front
panel on top of the C 28 chassis. These controls
are readily accessible by depressing the PANLOC
buttons and sliding the C 28 forward from the
mounting panel.

LOW FREQUENCY TRIM CONTROLS

Permits the increase in output of frequencies be­low 100 Hz of up to 6 dB to compensate for unequal
speaker response or the unequal influence of room
acoustics.

PHONO 1 AND PHONO 2 LEVEL CONTROLS

Permits variations in the phono input sensitivity of
up to 10 dB. Provides for optimum signal to noise
ratio and proper balance of the channels of the
phono cartridge.

OUTPUT LEVEL CONTROLS

Permits the balance of the entire system to be
conveniently preset.

HEADPHONE LEVEL CONTROLS

Adjusts the level and balance of the headphone/

line output.

POWER AMPLIFIER ON-OFF SWITCH

Controls power to the green 120 volt Power Ampli-

fier receptacles. Allows the power amplifiers to be
turned off when not needed for headphone listen-

ing, etc.

MECHANICAL INFORMATION

SIZE: Front panel measures 16 inches wide (40.64

cm) by 5-7/16 inches deep (13.81 cm). Chassis
measures 15 inches wide (38.1 cm) by 5 inches
high (12.7 cm) by 13 inches deep (33.02 cm), in­cluding PANLOC shelf and back panel connectors.
Knob clearance required is 1½ inches (3.81 cm) in

front of the mounting panel.

FINISH: Front panel is anodized gold and black with

special gold/teal nomenclature illumination. Chas­sis is black.

MOUNTING: Exclusive Mclntosh developed profes-

sional PANLOC

WEIGHT: 25 pounds (11.34 kg) net, 37 pounds (16.78

kg) in shipping carton

15

Performance Charts

16

17

Technical Description

Basically, each channel of your C 28 consists of

four main parts: low level amplifier, high level ampli-

fier, active filters and headphone amplifier. Common
regulated power supplies furnish power to both chan-

nels.

LOW LEVEL AMPLIFIER

Each channel of the low level amplifier is a four
transistor differential amplifier input circuit. Pre­cise equalization is maintained by the use of negative
feedback and appropriate components specially de­signed for low noise. Particular attention has been
exercised in the use of transistors having exceptional

low noise characteristics. The differential amplifier

stage is the basis for the high open-loop gain of this

portion of the circuit. With a higher open-loop gain
there is ample negative feedback available under all
equalization conditions to ensure an extremely low

level of harmonic distortion. Because equalization

has been designed for minimum error the response

from both tape and records is accurate.

One of the important features of this section is the
use of set level potentiometers in the phono circuit.
The gam of the phono preamplifier stages can be

adjusted from 32 dB to 42 dB to correspond to the

sensitivity of your phono cartridge.

The phono set level controls in your C 28 are de­signed into the negative feedback loop. They are not
potentiometers at the input or output of the low level
amplifier. This important design consideration allows
the gam to be reduced from 42 dB to 32 dB without
adversely affecting the noise level. Because the con­trol is in the feedback loop the level of noise and

distortion is reduced 10 dB but the maximum input

voltage that this section can handle is increased by

10 dB. With 42 dB of gain in the phono section the

maximum input voltage that the low level amplifier
can accept without overloading is 150 mV at 1000 Hz.
When the gam is reduced to 32 dB this section can
accept over 0.5 volt without overloading at 1000 Hz.

18

HIGH LEVEL AMPLIFIER

The linear high level amplifier has a gain of 20 dB.
The same careful design considerations apply with
respect to noise and the reduction in non-linear dis­tortion. Each channel of the high level amplifier con­sists of 3 transistors selected for low noise character­istics. In the feedback loop, two 11 position switches
allow up to 20 dB of boost or cut at 20 Hz and up to
18 dB of boost or cut at 20,000 Hz. At the input of the
high level amplifier are the bass trim control and the

switch which selects loudness or presence compen­sation.

FILTER AMPLIFIER

The filter amplifier serves three functions: (1) a
high frequency filter, (2) a low freqency filter, and
(3) a 20.000 Hz low pass filter.

Each channel of the filter amplifier has two tran­sistors connected in compound emitter follower con­figuration. The resistive and capacative elements
form a 12 dB per octave active RC filter. The high

frequency filter is a 7000 Hz active, low pass, filter.
The low frequency filter is a 50 Hz active, high pass,
filter. The filter amplifier also forms a 20,000 Hz active

low pass filter to reduce noise outside the useful
sound spectrum while leaving the preamplifier re­sponse flat to 20 000 Hz. A 20,000 Hz active, low pass,

filter is connected at all times to reduce wideband
noise yet maintaining flat frequency response up to
20,000 Hz.

The non-linear distortion of these active filters is

very low even at cut off frequency. This is not the
case in passive filters where a very low impedance

at the cut off frequency is presented to the driving

source. This low impedance will cause high non-

linear distortion at and near the cut off frequency.

The design of the C 28 eliminates this problem.

HEADPHONE AMPLIFIER

The headphone amplifier is capable of producing

0.75 volts of output into 8 ohm headphones with less
than 0.1% harmonic distortion. This is adequate
power to drive any dynamic type headphone.

The maximum output of the headphone amplifier

is 2.5 volts into 50 ohms or greater at the LINE OUT-

PUT terminals on the rear panel. The internal im-

pedance of the headphone amplifier is less than 0.2
ohms. Long shielded cables can be used without ad­versely affecting the frequency response. The head-

phone level controls adjust the output level and

balance of the headphone amplifier.

POWER SUPPLY

The power supply consists of a low impedance 75
volt power supply and a 14 volt power supply for the
headphone amplifier. The 75 volt supply is stabilized

by a series regulator transistor and a zener diode.
An accessory filter chain and voltage dividing net­work provides 18 volts to the low level circuits.

The headphone amplifier is powered by a separate
14 volt supply which uses a transistor as an effective
ripple filter.

A principle design consideration was exceptionally
low hum level. First the power transformer of the C 28

uses a magnetic core with very low flux density.
Double shielding has been accomplished by sur­rounding the transformer first with strips of copper,
and then with strips of treated soft iron. The shielded

transformer is potted in a heavy gauge soft steel can.
To prevent unbalance of the magnetic flux of the

transformer, the secondary voltage is rectified by

silicon diodes in a bridge configuration.

19

Block
Diagram

20

MCINTOSH LABORATORY INC.

2 CHAMBERS ST., BINGHAMTON, N. Y. 13903

607-723-3512

Design subject to change without notice.

Printed in U.S.A.

038-343