NAD 6215 Instructions For Installation And Operation Manual

NAD •

1. Line IN

2. Line OUT

3. AC Power Cord

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8. Record

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REAR PANEL CONNECTIONS

1.

LINE

Ihe Tape REC and PLAY (output and input) jacks

to
of any conventional stereo amplifier.
one end of a stereo connecting
sockets on the
plugs into the TAPE OUT

Use the color coding of the plugs to identify the channels;
for instance, if one of the
connect the red
amplifier and the NAD 6125.

2.
connecting
plug the other end into the TAPE
jacks of the

fully into its socket, and observe the color coding of the plugs

to ensure that the stereo channels are connected consistently.

3.
convenient
outlet at the rear of your

A
the NAD
precisely machined parts, fine bearings,
surfaces, sensitive detection of the weak magnetic fields
tape recordings, and amplification
ages. Consequently the recorder's performance can be
adversely aHected by

terference,

Thus if
6125 may pick up a low-frequency hum from the amplifier's
power transformer.
on the same shelf, place the 6125 on the left so that its cas­sette compartment will be located away from the amplifier.

The
television set (a source of strong magnetic
vibration), nor in direct sunlight, nor very
radiator, nor in a workshop where
are found . The
comfortable for

the remaining components in your stereo system.

If you are located near a powerful television or radio
transmitter (including a citizen's band or short-wave unit) you
may pick up interference,
recorded tapes.
interference, you may succeed in reducing it by experimenting
with the
perSists,
approved circuit modifications or extra

Connecting

two sets of tape inpuVoutput jacks, with

IN. The NAD

6t25

plug to the R (right channel) socket of both the

LINE

OUT.

cable into the NAD 6125's LINE OUT jacks, and

amplifier. Make sure that each plug is inserted

AC POWER CORD . Connect the AC power cord

wall outlet or to an "unswitched" AC convenience

note

on

fnstallatlon. The excellent performance of

6125

stereo tape recorder depends on

vibration,

it

is

placed directly on top of a power amplifier, the

6125

should not be placed on a loudspeaker or on a

6125

people, and it can be stacked or shelved with

If you encounter this type of radio-frequency

location and orientation of the recorder. If the problem

your dealer or a service shop may be able to add

two

6125

is

intended to be connected

Insert the phono plugs at

cable fully into the LINE

. At the other end of the cable , insert the

or

RECord jacks of the amplifier.

plugs

at

each end of the cable

To

play tapes, plug one end of a stereo

IN,

PLAY,

or MONitor input

amplifier.

smooth ly polished

of

very small signal volt-

external magnetic fields, electrical in-

heat

,

mOisture,

If

you wish to install it next

will function best at temperatures that are

especially when playing previously

recorders.

or

chemical

fields as well as

close to a steam

metal filings and chemicals

internal shielding.

Some stereo amplifiers have

front-panel switching

at

the rear

an

array of

fumes

to

an amplifier

IN

is

to

in

.

red,

a

to permit using either of two tape decks for recording or
playback and to permit copying tapes from one to the other.
If your amplifier has only one set of connections for a tape
recorder, it
most convenient and

sWitch-box (Tandy Radio Shack #42-2105 or equivalent),

nal
which
recorders and
methods described below are less flexible, but they cost
less and yield equally good recordings.

on which the new copy
TAPE recording /playback jacks as described above. Then
connect to the
Output jacks of the
the tape that you want to copy), and switch the amplifier's
Input Selector to AUX.

is

to disconnect the cable from the amplifier's tape RECord­ing output, and connect the "source" recorder's Line Output
directly to the copying recorder's Line
nection you must activate the copying recorder's RECORD
function in order to monitor the playback output of the
source machine.

allel
connector" adapters, each having two female phono sockets
and one
or

equivalent). Plug one V-connector inlo
Tape RECording jack of the amplifier, and connect the Right
channel (red) plugs of two stereo cables
two sockets.
Tape REC jack, and connect the left-channel plugs (usually
black)

Finally, at the opposite end of the two stereo cables, connect

to the Line

chine, or simultaneously on both, but not to copy tapes from
one to the other.

recording, but
combine the Line Output signals from two tape decks, each
machine's output will tend to short-circuit the other's,
a low playback level and possibly higher distortion. Only one
tape deck's Line
Tape PLAY input jacks .

its Line Output to the amplifier's
precaution: never switch the amplifier's
while recording on the machine whose output is connected
AUX; doing so would create a feedback oscillation that could
damage your loudspeakers.

is

still possible to use two recorders with it. The

flexible method is to purchase an exter-

will provide inpuVoutput connections for up to three

allow copying among them. The alternative

Copying.

If an AUX input is not available, an alternative procedure

Parallel
to permit simultaneous recording on both. Obtain two "

of the two stereo cables

This hookup

NOTE: This method of parallel connection works well for

To

Connect the "copying" recorder (the machine

will be recorded) to the amplifier's

amplifier's AUXiliary input a cable from the Line

"source" recorder (the machine containing

Input. With this con-

recording. Two

male phono plug (e.g., Tandy Radio Shack #42-2436

Plug the other V-connector into the Left channel

Input jacks of the two recorders.

allows you to record freely on either ma-

not

for playback. If you use V-connectors

Output signals can be fed

hear the playback from the second recorder, connect

recorde

rs

can be wired in par-

the Right channel

to

the V-connector's

to

the V-connector's sockets.

to

the amplifier's

AUX input. But observe this

Input Selector to AUX

to

yielding

V-

to

e

lightning

flash

with

may

arrowhead

to

be

at

shock

alerl

the

voltage"

sufficient

to

persons

lriangle,

is

sure; that

risk

of

intended

electric

uninsulated "dangerous

~

, wi

thin

user

of

within

magnitude

.

an

eqUilateral

the

presence

the

to

of

product's

constitute

enclo·

a

~

3

e

exdamation

to

alert

the

maintenance

accompanying

point within

user

of

(servicing)

the

the

appliance

an

equilateral

presence

instructions

of

important

.

in

the

triangle

operating

literature

is intended

and

FRONT PANEL CONTROLS

1.

POWER. Press this switch to turn on the power

cassette deck. Press again and

A green LED at the

is

illuminated when the power

The

capstan

power is on.

only when the recorder

on

when

you

2.

EJECT. When this button

cassette compartment swings open to

inserted

within the door

box. Hold it so that its thick edge faces down, and so that the
full tape spool is at the left side of the cassette. Press the
EJECT button to open the door,
door's carrier

port mechanism before pressing EJECT to open the door. (If
the machine is in the PLAY or RECORD mode the EJECT
button

the

re-set the counter to 000
counter readings
ing the locations of selections on the tape. It will accumulate
a maximum count of approximately 450 over the length of a

C·60 tape, about 700 for a C·90, and about

rapidly forward from the left to the right,

beginning toward the end of a recording,

from the tape, then the button

the tape will continue to

STOP or until the end of the tape is reached, At the end of the
tape the transport

STOP mode after a brief delay, Since the record/playback

head

pressing the

function , The tape winds forward only as long as you continue

to press fhe

mains engaged . automatically resuming PLAY (or PAUSE)

when you release the button. The heads remain in contact

with the tape ,

heard as a

find where recorded

YOUR AMPLIFIER VOLUME CONTROL

to your speakers when using this cue mode,

from the right (the take·up spool) toward the left (onto the

supply spool),

from the tape, then the

pressed; the tape

press

Since the head is not in contact with the tape, no sound will

be heard,

pressing the

The

press

automatically resuming PLAY (or PAUSE) when you release

the button, The heads remain in contact with the tape while

winds, so any recorded material on the tape will be heard as a

loud, high-pitched squeal; this allows you easily to find where

or

To

insert a tape

NOTE: Always press STOP to disengage the tape trans·

is

automatically disabled for safety,)

3,

TURNS COUNTER. This

take·up spool in the cassette. Press the adjacent button

4.

FAST FORWARD/CUE. This button winds the tape

If

the tape transport is

is

not

If

the tape transport is

5.

REWIND/REVIEW. This button winds the tape rapidly

the tape transport is

If

STOP

If

the tape transport is

tape winds rapidly back only as long as you continue to

the REWIND button

drive

motor

To

prolong the life of the motor, switch the power

are

listening

removed , The tape cassette is held in a carrier

assembly.

to

cassette,

slot, and push the door to close it.

will provide a convenient method of identify·

automatically disengages. returning to the

in

contact with the tape, no sound,

FAST FORWARD button activates the CUE

FAST FORWARD button in. The transporl

so

any recorded material on the tape will be

loud, high'pitched squeal; this allows you easily to

or

selections beg

REWIND button will latch down when

will continue to rewind rapidly until you

until the beginning of the tape is reached,

REWIND button activates the REVIEW function.

release to turn the power off,

left end of the recording level display

is

on.

runs

continuously

is

being used, and switch it off

broadcasts

at

the beginning of a tape; then the

or

disc

is

pressed, the door of the

allow a tape to be

remove

it

slide the cassette into the

counter registers the turns of

from

when

records.

its

gOO

I.e"

from the

in

the STOP mode. disengaged

will latch down when pressed;

fast·wi

nd

forward until you press

is

in

the

PLAY

(or PAUSE) mode,

in

and end, TURN DOWN

to prevent damage

in

the STOP mode, disengaged

in

the PLAY (or PAUSE) mode,

in.

The transport remains engaged,

to

the

the

protective

for a C·120.

heard.

reo

recorded selections begin and end, TURN DOWN YOUR
AMPLIFIER VOLUME CONTROL

speakers

from
are brought into contact with the tape, and the
circuits are activated, At the end
automatically stops and disengages itself from the tape,

gages all of the taoe transport functions (except PAUSE).
the machine was in PLAY or RECORD, pressing STOP causes
the heads to retract from the tape,
opened by the EJECT button,

circuits and
the heads so that a recording can be made. The red REC
in the recording level display illuminates to indicate that the
NAD 6125 is in the recording mode. When recording, the
machine
be on the tape.

switches

both REC and PLAY to engage the tape and make a record­ing, But in the 6125 the single REC button commands the

entire

to

but
when you want
diately

recording that you wanted to hear,
dents, remove the erasure·prevention tabs (as described

later) from any recorded cassettes that you don't intend
to

cannot be depressed.

press

circuits activated, press

PAUSE

pinch

tape

playback

provides

recording .

motion temporarily,

minutes, use the

and

the tape transport,

when

PAUSE mode engaged, the Model
malfunctioning when you try to record or
you press
illuminate and the incoming signal will register on the record­ing level display, but no signal will
until the PAUSE is released. (Then the changing number

the TURNS COUNTER will provide confirmation that the

tape

you are making recordings with
Any
ing, such as a multiplex pilot signal

mistracking of the

it

recording

preserve a

filter should be switched ON (by pressing the button in) when-

when

using

this

cue

6. PLAY. When this button
left to right at normal playing speed, the recorder's heads

STOP.

7,

8.

NOTE: In many tape recorders the REC button only

recording

it

means that if you accidently press REC instead of

re·record on. With these tabs removed, the REC button

To

STOP.

To

g,

roller from the capstan, thus halting the motion of the

in

Pressing and

NOTE: The PAUSE control

The
releasing the PAUSE button; unlike the other functions of

STOP is pressed, If you forget that you have left the

is

10

ultrasonic interference

This button stops the tape motion and disen-

RECORD. Pressing this button activates the recording

also engages the transport to move the tape over

automatically erases any previous recording that may

on

the

recording

process.

to

play back a tape, the machine will imme-

go into the recording mode and begin to erase the

stop recording and de·activate the recording circuits,

stop recording briefly while leaving the recording

again when you are ready

PAUSE. Pressing this button once retracts the rubber

the PLAY and RECORD modes , while leaving the

or

recording circuits active,

an

instant resumption of tape motion for playback or

STOP button,

PAUSE function can only be disengaged by pressing

RECORD, for example, the red RECORD light w

moving

.)

.

MPX

FILTER. This filter

is

played back,

flat frequency response with Dolby NR, the MPX

circuits, and

One-button

PAUSE; then press and release

releasing the PAUSE button a second time

To

stop the tape for more than a few

PAUSE does not automatically disengage

Dolby circuit and yield dull sound when t

To

to

prevent damage to your

mode

.

is

pressed, the tape

playback

of

the tape, the transport

allowing the door to be

it

is

necessary

recording

To

prevent such acci·

to

resume recording,

is

intended

6125

be

recorded on the tape

is

intended for use when

Dolby B noise reduction,

in

the input signal during record·

in

an

prevent this mistracking and

is

convenient

to

stop the tape

may appear to be

play tapes, When

FM

tuner, may cause

is

moved

to

If

light

press

,

PLAY

ill

in

he

4

ever a recording is made using Dolby B. The filler blocks fre·
quencies higher Ihan abcut

When playing previously recorded tapes, a very slight
extension of
switching the
switch back in when making recordings with Dolby B.

If

OFF,

using Dolby

ultrasonic

11.
of Dolby noise reduction. Dolby
quieting of tape hiss, important when taping

performances

example). Dolby B provides optimum compatibility with older

tape recorders, portable and automobile stereo lape players,
and

should also be used when playing most pre· recorded

music

Each type of NR involves complementary processes

that are intended to match each other

playback. Thus if a tape is recorded with Dolby

reduction, it must also be played back with the Dolby
operating
obtained.

be used in playback

mended that you label each cassette "B" or "

recorded, to indicate the type of noise reduction used.

Both types of Dolby NR operate by selectively

ing the dynamic range of the middle and high frequencies in
the signal during recording.
the level of those
at a naturally low level, so that these sounds are recorded on
the tape at a level substantially higher than the tape's own

hiss. Then,

their original dynamic range; the quiet middle and high
quency sounds that were boosted are finalty cut back down
to their original levels, and the tape's hiss is reduced

same

Dolby
boostlcut that they provide, and in its frequency distribution .
Dolby B operates mainly at high frequencies and suppresses
tape hiss by a maximum of
middle and high frequencies and reduces hiss by as much as
20 dB. The two Dolby systems are
record with Dolby B and play back with Dolby
the tonal balance of
altered.

Also, any brightening or dulling of the sound that
caused by a mismatch between the recorder and the tape will
produce mistracking in
gerated brightening or dulling of Ihe playback sound. So when
Ihe Dolby circuits are to be used,
the TAPE SELECTOR be correctly set

:in recording and in playback).

12.
bias (for recording) and equalization (for playback), for each of
three standard types of cassette lape. Whenever you record
or

playa
are not careful aboul this, the clarity and lanai balance of your
recordings will vary a great deal, especially when Dolby noise
reduction is used.

f.
intended for use wilh
SELECTOR.
"normal bias"
described as "ferric
numeral f in their
selting.

high·frequency bandwidlh may

MPX filter OFF (button out). But remember to

you make any recordings with the Dolby NR switched

the MPX filter is optional.

C NR, since the Dolby C circuit contains some

filtering

DOLBY

cassettes

in
Similarly, if Dolby B

time

.

TAPE SELECTOR. This switch selects the correcl

tape, this switch musl be set to match the tape . If you

Normal. The largest variety of cassel Ie lapes are

of

NR.

or

wide· range recordings (digilal records, for

.

order for the benefits of the Dolby system to be

middle·to·high frequency sounds that occur

in

playback, these signals are expanded back to

Band

C differ in the amount of complementary

Look

al

or

"120

deSignation, are intended for the NORMAL

t5

kHz in the signal.

be

obtained by

It

is also optional when you are

its

own

.

The recorder

as

well.

Ihe musical sound will be substantially

Ihe Dolby circuit and yield an exag·

Ihe NORMAL setting
the cassette package for a statement of

fLsec

" equalization.

oxide," "low noise," or having the Roman

is

equipped with two types

C provides the greatest

"live" musical

in

both recording and

C noise

C circuit

is

used

in

To

avoid confusion, it is recom·

I.e. the circuit selectively boosts

10

dB. Dolby C operates at both

recording it should

c"

when it is

compress·

fre-

at

the

not

interchangeabl~.

C (or vice versa)

is

it

is

especially

to

importanllhat

match Ihe tape (both

of

the TAPE

In

general, tapes

If you

It.

Cr02'
chromium dioxide or the
high·bias
"high bias," "70
numeral

fV.
particle tapes, which may be labeled with Ihe Roman nu·
merallV.

While the TAPE SELECTOR switch provides Ihe large
changes
needed to accommodate the

there

and frequency response among tapes

If

you wish, you can use the
any brand and type of tape, using any setting of
SELECTOR,
And by experimenting with vanous tapes you may exploit their
different tonal qualities to produce pleasing

recorder, in

But the basic purpose of a high· fidelity tape recorder
provide
preserving it for later playback. This is what the NAD
is

designed to do.
recordings, you must use tapes similar to those used
factory for calibrating the recorder's circuits. This
important when Dolby noise reduction
departure from accurate
ing (due to a mismatch between recorder and tape) will cause
decoding errors in the Dolby circuit during

in

turn,

the sound excessively bright

For information on tapes that are compatible with the NAD

6125,

13.
of the audio signal fed to the tape when a recording
made. The signal strength is shown on the recording level
display, above.

The
controls (one for each stereo channel), friction·coupled so that
they normally rotate together.
balance by adjusting the two controls differently. The left
nel is controlled by the central part of the knob, while the right
channel
circumference of the knob).

14.
LEOs displays the peak level of the signal in each channel
during recording

0 dB are green and indicate normal recording levels. The

to

The cr0

ferric oxide. Usually these are identified as requiri

II

in their designation.

Metal. The Metal selling should be used with metal·

in

recording bias and playback equalization that are

are

significant

withoul harming either the recorder

effect,

an

exact replica of the original sound, capturing and

will

cause

see your NAD dealer.

RECORDfNG LEVEL. This knob controls the strength

RECORD LEVEL control

is

controlled by the outer part (the sleeve around the

RECORDING LEVEL

+ 2, + 4, and + 6 dB LEOs are

permissible levels.

In

general, you should adjust the recording level so that

the loudest portions of the music are recorded at levels

tween - 4 and + 2 on the display. With music that spans a

large range of volume levels, such
mean that the quiet portions of the music will be recorded at
indicated levels of - 20 dB or even lower (with no
illuminated); this

To

learn how to sel optimum recording levels, the follow·

ing experiment is recommended. Select a typical recording of

music

and

record

Sion

, setting the recording level progressively higher each

time. For example set the maximum peak level

-

10

dB the first time , and repeat

and finally at over + 6 dB. Then play back the recordings and
lislen for symptoms of tape saturation

your amplifier 's volume control

loudness levels of the sample recordings, so that you can

focus your attention on the quality of the sound without being

setting is intended for tapes employing

2

"chrome·equivalenl" cobalt·doped

fLsec

" equalization, or have Ihe Roman

brand-la-brand

as a tone

If

you want to make the most accurate

larger

or

playback. The LEOs ranging from - 20 dB

is

normal.

an

excerpt

Ihree standard classes of tape,

6125

differences

within

10

make recordings on

in

sensitivity

each group.

Ihe TAPE

or

the tapes.

results-using

control.

6125

in

is

especially

is

used, because any

high·frequency response in a record·

playback-and

errors

in

frequency

or

dull.

is

It

is possible

Of

SPLAY. This dual row of

red

and indicate the maximum

as

from

it

it

at about -

to

compensate for the different

response, making

is

actualty two co·axial

to

alter the stereo

a symphony, this may

LEOs

several

times

in

succes-

at

about

4,

at

0, at +

in

the sound. (Adjust

is

the

this,

being

chan·

be·

ng

the

to

4,

5

distracted by volume differences.)

At a peak
open, and detailed, but the background of tape hiss may be
bothersome. At peak
begin to hear the effects of tape saturation: boomier bass,
mushy midrange, or
reduce the peak

+ 4 dB may pl

The optimum recording
can use
wIthout encountering audible symptoms of tape saturation. As
a general

transient sounds (such as drumbeats) than for continuous,
sustained tones (e.g
higher recording
trated at midrange frequencies (e.g., spoken voice) than for
sounds having a great
(cymbals, bells, harpsichord) or at very low frequencies (pipe
organ, bass drum) . With the
should be set no higher than about - 2 dB.

When in doubt it

side, sacrificing a bit of

little extra undistorted headroom for musical peaks. With

of a
Dolby C noise reduction to minimize any audible tape hiss,
you can afford to under-record
help

to

detail in the original sound.

You

levels near 0 dB, you have to set the RECORD LEVEL control
to

a different position for recording

recording from phonograph records. This

15

, MIC. The microphone socket will accept a signal from

any

conventional

(6mm) phone plug. If your microphone terminates in another

of

type
the standard phone plug. Any type of microphone, with any

Impedance, may
mike

is

The microphone signal is recorded equally in both chan-

nels,

as a monophonic signal
If you wish
microphones , connect the mikes to a microphone preamp!
mixer and then connect the output of the mixer to the

IN

LINE

When a microphone
the input
connected. (If a loud signal
faint trace
you are making a
Signal cables should be disconnected from the LINE
when the mike

In

order

the LINE inputs, the microphone plug must be removed from
the

MIC socket.

When recording a spoken voice, the most natural voice
quality will usually be obtained by placing the microphone at
a distance of
Holding the mike
rock singers, will produce poor sound with many microphones.

CAUTION: When the Model 6125 is in the RECORD

mode, the signal being recorded also appears at the LINE
OUT jacks and so is fed to your amplifier for monitoring. If
you record with a microphone in the same room, its signal will
then be amplified and reproduced
resulting
prevent this possibility, whenever you record with a micro­phone you should turn off your amplifier or switch it so that

the tape

level of -

levels: a signal that was recorded at

ay

(In

order to minimize audible hiss

rule, you can use higher recording levels for brief

levels for sounds whose energy

ensure that you preserve all of the air, brilliance, and

may find that, in order to achieve peak recording

connector, plug adapters can be used to convert to

be

recommended

to

make stereo recordings with two (or more)

jacks.

signal from the LINE

of

it may still leak into the microphone input.

is

to

resume

15

to

very

"feedback" howl could damage the speakers.

recorder'S output cannot be amplified.

10

dB the sound should be clear,

levels of + 4 or + 6 dB you probably will

dull treble. Also, tape saturation will

back at only 0 or + 2 dB.

level

is

the highest level that you

in

playback), but

.,

the singing voice). And you can use

is

concen-

deal of energy at

latter, the peak level usually

usually is best to err on the conservative

potential signal-to-noise ratio in favor

slightly ; and this practice will

microphone

used;

whose

but a low

very

high frequencies

FM

broadcasts than when

is

normal.

cable

terminates

or

medium

impedance

in

.

in

the center

plug is inserted into the MIC socket,

IN

jacks is automatically dis-

is

present

critical recording with a microphone, the

used.

30

cm

recording

(6

close

from a tuner

to

12

inches) from the mouth.

to

the mouth,

by

of

the stereo slage.

at

the LINE

in

your loudspeakers. The

IN

jacks, a

So

IN

or

amplifier

the manner of

To

a

%"

if

jacks

via

OPERATING PROCEDURES AND HINT

To

Play

Recorded

1.

Before inserting a cassette, check it to be sure that the
tape is straight and taut where it is exposed at the thick edge
of the cassette.
spool and

manually wind the tape until any slack

2. Press the EJECT button

cassette with the thick edge down and with the
tape at the

may be necessary
tape.
entire length, then REWIND to return to the beginning.) If the
tape sticks and
of your hand and slap it face-down on a tabletop.

the

table . If you strike the edge of the cassette against a hard

surface, you could break it.

being played. For pre-recorded music cassettes this
NORMAL.
package:
NORMAL; if not, set the switch to

system that was used to record the tape .
recorded on the NAD

deck equipped with Dolby
playback.
only with Dolby B, or is a commercially pre-recorded music
cassette made with Dolby B encoding, set the Dolby
switch to B.

the Dolby
settes made with Dolby B may have been so poorly processed
that they sound
In

such cases you may obtain better sound by switching the
Dolby
tone

Dolby OFF and connect the tape deck to an external

the
DBX

recording your own tapes.

most extended high-frequency response during playback . (But
remember to switch the filter back
with Dolby B.)

tape
of the cassette.
the slack.

left side. Push the door closed.

If the tape has been in storage for several months, it

3.
(Press FAST FORWARD

will not fast-wind, hold the cassette in the palm

CAUTION:

4.

Set the TAPE SELECTOR to match the type

5. Set the Dolby NR switch to match the noise-reduction

If the tape was recorded with

OFF during playback and then using your amplifier's

controls to obtain the most realistic tonal balance.

If the tape was recorded with DBX noise reduction, switch

If

noise-reduction decoder for playback.

Remember to switch the Dolby NR back to B or C when

6.

Switch OFF the MPX filter (button out) to obtain the

7.

Press

To

Make a

1.

Before inserting a cassette, check it to

is

straight and taut where

Str

In

the case of chromium dioxide tapes, examine the

if

"

120

If the tape was recorded on a machine equipped

OFF.

Also, some older pre-recorded music cas-

dull with normal Dolby B playback decoding .

PLAY.

Recording

If it is not, manually wind the tape to take up

Tapes

If necessary, insert a pencil into either tape

to

open the door. Insert the

to

loosen the tape pack

to

wind the tape through its

ike only the flal face of the cassette against

microsecond" equalization

Cr02'

If

6125 using Dolby C (or on another tape

C)

, set the Dolby NR switch

no

nOise-reduction, switch

on

when making recordings

it

is exposed at the thick edge

S

is

taken up.

fu

ll

spool of

by

fast-winding the

of

tape

is

is

specified, use

the tape was

NR

be

sure that the

usually

to

C for

2. Press the EJECT button to open the door. Insert a

blank cassette with the thick edge down and with side 1 (or
faCing

you. Through the window

see a full spool of tape on the left side.

If the tape is new and has just been unwrapped for the

3.

fi

rst time, the tape pack may have developed some friction

during the period of storage since
the tape pack , press
through its entire length, then press
the beginning.

4.

Set the turns counter to 000. Then, as you make the
recording, you can take note of the counter reading
sponding

to

each recorded selection.

FAST FORWARD to wind the tape

in

the cassette you should

it

left the factory.

REWIND to return to

To

A)

loosen

corre-

6

i I

5. Set the TAPE SELECTOR switch

you are using.

Sel the Dolby

6.
background tape hiss) , unless you are recording a tape for
playback on a portab
B or no noise reduction at

Ihe MPX filter ON (button in).

switch

Z

In

order

the

RECORD LEVEL control, it is desirable to activate the
recording circuils without
the tape.
recording
control so Ihat the highest levels
approximately

and release the
motion will
Ihe turns counter.) Since Ihe recordi
been aclivated,

end is a
the tape advance by several counts (on the turns counter)
before beginning the recording.

this will stop the lape while leaving the recording circuits and
recording
release

If you want
cassette, press

end

with side B facing you . Press REC to resume recording.

vious

entire tape, simply turn down the RECORD LEVEL control
to minimum, press REC, and record
of the tape.

To

do this, press PAUSE and then REC. Observe the

level display while setting the RECORD LEVEL

When you are ready to proceed with the recording, press

be

8.

In

most cassettes the first few inches of tape

"leader" with no magnetic coating. Remember

To

interrupt the recording al any point, press PAUSE;

9.
level display active.

PAUSE again.

10

. At the end of the recordi

10

of

side

A;

To

Erase

recordings

Prevention

equipped with two plastic tabs in cutaway holes in the top
(thin) edge of the cassette.
other for side B; when you hold the casselle so that side
A faces you, its tab
left end.

These tabs engage a safety interlock in the recorder that
permits Ihe recording and erasing circuits to be activated.
you think that you may wish to erase and re-use a cassette in
the future, do not disturb the tabs. But if you
valuable recording that you want
it against any possibility of accidental over-recording and
erasure by breaking off the corresponding tab.
recording occupies both sides of the cassette, break off
both tabs .)

If you change your mind and decide to re-record over
the tape after having removed Ihe erasure-prevenlion tabs ,
simply cover the cutout wilh a piece of
adhesive tape .

Maintenance. The bear ings and olher moving parts

this recorder are assembled with long-life lubricants and

require

no

periodic

NAD

6125

's high level of performance, all surfaces thai the

tape comes in contacl with must be maintained free of dirt

and free of magnetism.

NR

switch

10

le

or other machine that has only Dolby

all. When recording with Dolby B,

10

determine the optimum recording setting of

actually depositing a recording on

in

0 dB.

PAUSE button to start the tape moving. (Its

confirmed by the gradual

Ihere

is

no need to press REC again.

To

resume recording, press and

continue recording on the other side of the

FAST FORWARD to advance the tape

remove

Tapes. The recorder automatically erases pre-

the

as a fresh

of

Accldentaf Erasure. Every cassette

is

on the top of the cassette near the

ng

cassette, turn

recording

One tape is for side A and the

maintenance.

to

match Ihe lape thai

C (for maximum quieting of

Ihe music regisler are at

ly

changing reading of

ng

circuits have already

al

either

to

session , press

it

over,

is

made. To

over the full length

to

keep, you can safeguard

cellophane or olher

But

in

order

STOP.

to

and

insert

erase

have made a

(If the valued

to

preserve

the

an

is

in

let

it

If

the

Regular

smaller than a Iwo-Ihousandlh of an inch (0.

on the
large
clean the heads on a daily basis is to use a head-cleaning
cassette (a cassette that contains a lextured paper tape
inslead of magnelic lape

several

and as Ihe cleaning tape rubs over the heads it will remove
accumulated parlicles of dust and tape oxide.

At longer
heavily you use the
be used to remove lape oxides
Ihe heads, capstan, and pinch
sprays and fluids are available from your hi-fi dealer and from

other

dient is either alcohol (denatured or "isopropyl") or Freon
fluorinated hydrocarbon compound); some head cleaners con­tain both. If you use isopropyl alcohol, check to be sure that
the solution does not contain any unwanted oily substances
such as

To
the machine. Use the fluid or spray
then use the moist swab to scrub the black erase head, the
silver-colored record/play head, the
black rubber pinch

The door of the cassette compartment can be removed to
provide easier access to the heads for cleaning and
netizing. The door
holds the cassette, and an extenor
ing the NAD logo and the transparent window. Press EJECT to
swing the door open; remove any casselle, and press firmly
upward
cassette holder. (Your NAD dealer can show you how to do

.)

To

this
the retainers on the
into place.

During months of regular use the heads and
may acquire a magnelic charge that
played or recorded

year Ih

de

-magnetizer.

Before using the de-magnetizer, switch off the power to

the recorder.

panel. Take away any cassettes from the vicinity. Hold

door
the de-magnetizer away from the machine (to protect the

recorder from the de-magnetizer's turn-on surge); plug in the

de-magnetizer, turn

over the heads and capstan. (The probe tip may

touch the heads and

covered with a plastiC sleeve or wrapped with plastic tape to
prevent

slowly out of the casselle compartment, and move the de-

magnetizer at least a meter (3 feet) away from the recorder
before switching it off.
de-magnetizer while its probe tip
compartment, the entire de-magnetizing procedure must
be repeated.

If you prefer not
complete annual cleaning and de-magnetizing service done
for your recorder by your NAD dealer or by
service shop. At the same time, you may have the recorder's
internal bias and Dolby circuit adjustments calibrated to match
the particular brand and type of tape that you prefer to use.

cleaning

polished surface of Ihe record/play head, can cause a

falloff

in

high-frequency response. One easy way

seconds

intervals-weekly

sources

. We

Lanolin.

clean the tape transport, remove any casselle from

on

the exterior surface of the door

re-install the door panel, align its fastening clips with

is

charge should be removed by usi

Open the cassette compartment,

it

from scratching the heads.) Move the probe tip

is

the

primary

).

Play the cleaning casselle for

before

each

machine-a

recommend a solution

roller.

is

actually

casselle holder, and slide the panel down

in

the machine. Approximately once a

it

on, and then slowly pass its probe tip

capstan-but

If you aCCidentally switch off the

to

do it yourself, you may have a

requirement.

recording

or

roller. Tape head cleaning

or

or month

liquid solvent or spray should

ly

sticky residue deposited on

whose

to

moisten a cotton swab,

steel capstan, and the

in

two parts: the framework that

plastiC trim panel contain-

will add hiss to all lapes

only if its metal surface

is

within the cassette

Dirt

01

mm),

if

playback

depending on how

session,

active

demag-

to

detach

it

sleel capslan

ng

a head

and

remove its

be

allowed

an

independent

particles

lodged

10

ingre-

from the

(a

to

is

7

ELECTRONICS

LONDON/BOSTON