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• OWNER'S MANUAL
• MANUEL D'INSTALLATION
• BEDIENUNGSANLEITUNG
• MANUAL DEL USUARIO
• MANUALE DELLE ISTRUZIONI
• BRUKSANVISNINGARNA
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REAR PANEL CONNECTIONS
WARNING:TO PREVENT FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS APPLIANCE
TO RAIN OR MOISTURE
CAUTION: TO PREVENT ELECTRIC SHOCK,
MATCH WIDE BLADE OF PLUG TO WIDE
SLOT, FULLY INSERT.
ATTENTION: POUR EVITER LES CHOCS
ELECTRIQUES, INTRODUIRE LA LAME LA
PLUS LARGE DE LA FICHE DANS LA BORNE
CORRESPONDANTE DE LA PRISE ET
POUSSER JUSQU’AU FOND.
The lightning flash with arrowhead, within an equilateral tri-
angle is intended to alert the user of the presence of unin-
sulated "dangerous voltage" within the product's enclo-
sure; that may be of sufficient magnitude to constitute a
risk of electric shock to persons.
The exclamation point within an equilateral triangle is intend-
ed to alert the user of the presence of important operating
and maintenance (servicing) instructions in the literature
accompanying the appliance
Note to CATV system installer: This reminder is provided
to call the CATV installer's attention to Article 820-40 of the
NEC , which provides guidelines for proper grounding and,
in particular, specifies that the cable should be connected
to the grounding system of the building, as close to the
point of cable entry as practical.
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NAD 310 STEREO INTEGRATED AMPLIFIER
CAUTION
RISK OF ELECTRIC
SHOCK DO NOT OPEN
A TTENTION:
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC
SHOCK, DO NOT REMOVE COVER (OR BACK).
NO USER SEVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED
SERVICE PERSONNEL.
AFIN DEVITER UN CHOC
ELECTRIQUE, ET LES
CONSEQUENCES GRAVES
QUI POURRAIENT EN
RESULTER, TENTEZ PAS
D'OUVRIR L'APPAREIL ET
DE TOUCHER AUX
COMPOSANTS INTERNES
SANS LA PRESENCE D'UNE
SERVICE PERSONNEL.
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FRONT PANEL CONTROLS
FIGURE 1.
FIGURE 2.
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INSTRUCTIONS FOR INSTALLATION
AND OPERATION
A NOTE ON INSTALLATION
This unit may be installed on any stable surface.
Since its power transformer (near the left-rear corner)
generates a magnetic hum field of moderate strength,
an LP turntable should not be located directly to its
left.
The amplifier also generates a modest amount of
heat and thus requires some ventilation. Do not
place it on a rug or other soft surface that it could sink
into, obstructing the air inlets on its bottom. And do
not allow papers or cloth to obstruct the ventilation
grille in the top cover.
CAUTION: To prevent a fire or shock hazard, do
not permit this product to become wet. If liquid is
accidentally spilled on it, immediately shut off its
power and unplug the AC power cord. Allow sufficient time for complete evaporation to occur before
operating the amplifier again. If the liquid is anything
but water and/or alcohol, the amplifier should be
examined by a service technician before power is
applied to it.
Do not remove the cover, or attempt to modify or
repair the amplifier yourself. Refer all servicing to a
qualified technician.
REAR PANEL CONNECTIONS
1. AC LINE CORD
After you have completed all connections to the
amplifier, plug the AC line cord into a “live” wall socket or into a heavy-duty extension cord.
WARNING TO UK USERS. If this appartus is not
fitted with a UK three-pin plug, do not attempt to
insert the attached plug into a UK mains socket.
Instead, cut the plug from the mains lead and attach
a fused UK three-pin plug using the following safety
advice on wiring.
IMPORTANT. The wires in this mains lead are
coloured BLUE and BROWN;
BLUE: NEUTRAL
BROWN: LIVE
The colours of these mains lead wires may not correspond with the coloured markings identifying the terminals in your plug. In this case the BROWN wire
must be connected to the terminal which is marked
L(ive) or coloured RED. The BLUE wire must be connected to the terminal marked N(eutral) or coloured
BLACK. No connection should be made to the terminal marked E or coloured green or green and yellow
2. SPEAKER TERMINALS.
Use these high-current binding-post terminals to
connect your main stereo speakers. Each binding
post consists of a threaded metal shaft and a red or
black plastic screw-on bushing.
Connect the wires from your left-channel speaker
to the (L+) and (L-) terminals, and connect the wires
from the right-channel speaker to the (R+) and (R-)
terminals. In each channel the red terminal is the
positive (+) output, and the black terminal is the negative (-) or “ground” terminal. For best stereo imaging,
the left and right speakers should be located at equal
distances from your chair.
Use heavy-duty (1.5mm2, 16-gauge, or thicker)
stranded wire, especially with 4-ohm loudspeakers.
Bare wires can be connected directly to the bindingpost terminals. For a longer-lasting and more corrosion-resistant connection you may purchase speaker
cables with nickel or gold-plated connectors (spade
lugs, banana plugs, or pin connectors), or install such
connectors on the wires yourself. Connections to
each binding post may be made in several ways, as
follows. [Figure 1.]
(1) Pin connectors. A pin connector is a slim metal
shaft that is crimped or soldered onto the end of a
wire. The binding posts accept pin connectors up to
3mm in diameter. Unscrew the plastic bushing on
each terminal to expose the hole in the metal shaft.
Insert the pin connector through the hole, and turn
the bushing clockwise until it is tight.
(2) Spade lugs. Unscrew the colored bushing,
insert the U-shaped spade lug behind the bushing,
and tighten the bushing down on it.
(3) Banana plugs. Insert a banana plug directly
into the hollow end of each binding post. The terminals are separated by 3/4 inch (19mm), so they will
accept dual-banana plugs. Before using banana
plugs, the red and black inserts have to be removed
with the aid of a small screwdriver.
(4) Bare wires. Separate the two conductors of the
cord, and strip off a half-inch (1 cm) of insulation from
each. In each conductor, twist together the exposed
wire strands. Unscrew the red or black bushing,
insert the bare wire through the hole in the metal
shaft, and tighten the plastic bushing until it grasps
the wire securely. Check to be sure that no loose
strand of wire is touching the chassis or an adjacent
terminal.
Phasing. Stereo speakers must operate “in phase”
with each other in order to produce a focused stereo
image and to reinforce rather than cancel each
other’s output at low frequencies. An in-phase connection is assured if the red (positive) terminal on the
amplifier is connected to the red (positive) terminal on
the loudspeaker, in each channel. Methods of checking for correct phasing are described in the Appendix.
3. CD INPUT.
Connect the audio signal cables from a Compact
Disc player to these jacks. (NOTE: this input is for an
audio signal, not for the digital-code output of a CD
player.) If you don’t have a CD player, any other linelevel signal source (such as a MiniDisc player or a
spare tape deck) may be connected to the CD input.
4. TUNER INPUT.
Connect the audio signal cable from a radio tuner
(AM, FM, or digital radio) to this pair of jacks.
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5. AUX INPUT.
Any “line-level” audio signal can be connected
here, such as the playback signal from a second CD
player, or with an external step-up amplifier, a
turntable.
6. VIDEO SOUND INPUT.
Connect a video-related audio signal here, such
as the audio output from a video cassette recorder,
laserdisc player, TV monitor/receiver, or stereo television decoder. Alternatively, any “line-level” audio signal may be connected here, such as the playback
from a spare tape deck.
7. TAPEPLAY/REC.
These jacks allow you to connect tape recorder of
any type, especially a high-performance cassette or
open-reel recorder whose independent recording and
playback heads allow you to monitor the signal on the
tape immediately after it is recorded. Connect a
stereo cable from the TAPE REC jacks of this amplifier to the recorder’s LINE IN jacks, and a second
cable from the recorder’s LINE OUT jacks to these
TAPE PLAY jacks.
The TAPE jacks may be used for a signal-processing accessory instead of a tape recorder. Examples
of such accessories include a dynamic range processor, a noise filter, or a graphic equalizer. Connect a
patch cord from the TAPE REC jacks to the processor’s inputs, and another patch cord from processor’s
outputs to the TAPE PLAY jacks.
FRONT PANEL CONTROLS
1. POWER.
Press this button to switch on the amplifier. To
switch the power off, press the button again and
release it.
NOTE: When the amplifier is switched off with a
source (such as a CD) still playing there will still be
sound for as much as several seconds, depending on
the volume level, before it eventually dies out.
Although completely harmless, it can be avoided
switching off the source first or by turning down the
volume first.
CAUTION: In the off position the unit is still connected to the mains. Disconnect the power cable
when the unit is not to be used for a long time.
2. BASS.
The Bass control adjusts the relative level of the
low frequencies in the sound. The response of the
amplifier is flattest when the control is set in the
detent at the 12 o’clock position. Rotation of the knob
to the right (clockwise) increases the level of low-frequency sounds, and rotation counter-clockwise
decreases their level.
The Bass control has no effect if the TONE
DEFEAT button is engaged.
At moderate rotations away from center the effect
of the Bass control is subtle, because its action is
confined to the lowest audible frequencies, which are
not present in some recordings. Only at large rotations away from center is there a substantial boost or
cut at the mid-bass frequencies that are common in
music.
3. TONE DEFEAT.
When this button is pressed the Bass and Treble
circuits are completely bypassed, restoring precisely
flat frequency response. When this button is OUT the
tone controls operate normally. By adjusting the tone
controls and then switching them in and out of the
signal path, you can evaluate their effect on the
sound.
4. TREBLE.
The Treble control adjusts the relative level of the
high frequencies in the sound. The response of the
amplifier is flattest when the control is set in the
detent at the 12 o’clock position. Rotation of the
Treble control to the right (clockwise) increases the
level of high-frequency sounds, and rotation counterclockwise decreases their level. Adjust the Treble
control to achieve the tonal balance that sounds most
natural to you.
Boosting the Treble increases the brilliance and
clarity of details in the sound, but also makes any
noise more prominent. Turning down the Treble
makes the sound mellower while suppressing hiss
and record surface noise; but too much Treble roll-off
will make the sound dull.
The Treble control has no effect if the TONE
DEFEAT button is engaged.
NOTE: At high volume settings (with the volume
control over the 12 o’clock position) both the Bass
and Treble controls do not have any effect anymore.
5. POWER INDICATOR.
The POWER indicator glows green when the amplifier is switched on and ready for use.
6. PROTECTION INDICATOR.
The amplifier incorporates protection circuitry
against conditions such as overheating, short circuits,
and DC off-set. Under normal conditions, this indicator will not light up and the unit will operate normally.
If however one of the decribed conditions occur, the
indicator will light up red and the unit will stop working.
TURN DOWN the volume all the way and SWITCH
OFF the amplifier IMMEDIATLY.
Investigate the cause for the protection circuitry to
trip, such as a short circuit in any of the speaker
leads or any wire touching an adjecant terminal at
either the amplifier’s or loudspeaker’s end.
If overheating was the cause (the amplifier’s casing
will be very warm) ensure the ventilation slots at the
bottom and top are not blocked. Overheating can also
occur by playing very loud for a prolonged time. Wait
for a couple of minutes for the amplifier to cool down
before switching it on again.
If the protection circuitry remains engaged, even
after the amplifier has cooled down sufficiently and all
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connections have been checked you will have to consult your NAD dealer.
7. PORTABLE RECORD / PLAY JACKS
These jacks accept 3.5mm stereo Mini-Jacks, as
used by most portable equipment such as Walkmans,
Mini Disc and DCC recorders, portable CD players
etc. Besides portables, regular “full sized” Hi Fi components such as a CD player, cassette deck or VCR
can be connected to these jacks as well.
For playback, connect a patch cord from the
portable’s headphone output to the PORTABLE
PLAY jack on the amplifier’s front panel.
To record, connect a patch cord from the amplifier’s
PORTABLE RECORD jack to the portable’s LINE IN
jack(s) - not its microphone inputs.
If your tape recorder has separate record and playback heads and is designed to allow the recorded
signal on the tape to be monitored, use the TAPE
connections on the amplifier’s rear panel for that
recorder.
PORTABLE / TAPE MONITOR
PORTABLE: Press the PORTABLE button IN to
listen to the source connected to PORTABLE PLAY
jack.
Note: When PORTABLE is selected, the signal
from the portable source will mix with whichever rear
panel input is selected. This will not normally cause
a problem if the selected source is in stop mode.
However it may be preferable to either select an
unused input or, if all inputs are used, switch off all
the inputs by lightly pressing any of the input selector
buttons so that they are all positioned OUT. Ensure
that the TAPE MONITOR button out also.
When the PORTABLE button is OUT, the selected
rear panel source signal will be fed to the PORTABLE
RECORD jack. To record from a line input, the TAPE
MONITOR button must be OUT. To record from
TAPE, the TAPE MONITOR button must be IN.
TAPE MONITOR: The TAPE MONITOR button lets
you listen to the output signal from a tape deck or signal processor connected to the TAPE jacks on the
rear panel. Press IN to engage, press again (OUT) to
disengage.
When TAPE MONITOR is engaged, the source
chosen by the INPUT SELECTOR continues to be
fed to the TAPE REC jacks for recording or processing, but the signal returning from the tape recorder or
signal processor is selected for listening.
TAPE MONITOR has no effect on signals that are
being recorded from the rear panel inputs to TAPE
REC. However it does switch signals going to
PORTABLE RECORD (see above).
If you have a three head tape recorder that permits
“off the tape” monitoring, then by engaging the TAPE
MONITOR buttons on both the amplifier and the
recorder, you can hear the playback signal from the
tape recorder immediately after it is recorded,
enabling you to check its quality.
With two head recorders, Hi Fi VCRs and
most digital recorders, the monitored signal heard
whilst recording is not from the tape but is merely the
signal passing through the recorder’s electronics
(including its recording level controls). In this case
the TAPE MONITOR allows you to check the left/right
balance of the signal as it is recorded.
Note: If TAPE MONITOR is engaged with no
recorder connected to TAPE PLAY, or with a recorder
connected but not running, you will only hear the
source connected to PORTABLE PLAY. If nothing is
connected to this input you will only hear silence
regardless of the settings of any other controls.
Tape dubbing: Two way dubbing is possible. To
record from a PORTABLE source, the PORTABLE
button should be IN and the TAPE MONITOR button
OUT. To record from TAPE to a PORTABLE, the
PORTABLE button should be OUT and the TAPE
MONITOR button IN. Monitoring of the recorded signal is only possible when dubbing to the PORTABLE
by using its headphones.
Note: Tape copying is a convenience intended for
personal use. If you copy commercially produced
recordings and sell or give away the copies, you may
be violating the copyright or the property rights of the
producer of the recording.
8. INPUT SELECTORS (VIDEO, AUX,
TUNER, CD).
These buttons select the rear panel input signal for
the amplifier. The selected signal is also fed to TAPE
REC for recording purposes.
9. VOLUME LEFT/RIGHT.
The volume control adjusts the overall loudness
level of the sound for both the left and right channel.
It has no effect on the level of the signals fed to the
TAPE REC or PORTABLE RECORD jacks.
The volume control consists of two independent
controls for the left and right channels which are friction coupled. To alter the left/right balance, hold one
section and set the other to the desired level. The
rear section controls the left channel, the front section
the right channel.
By turning the volume of both channels down all
the way, equal setting for both left and right channels
can be restored. The indicator groove will line up
again.
APPENDIX:
ELICITING THE BEST PERFORMANCE
FROM YOUR NAD 310 AMPLIFIER
Making sure that your speakers are in phase.
Stereo speakers should operate in phase with each
other in order to provide a good stereo image and to
reinforce rather than cancel each other’s output at
low frequencies. If your speakers are easily moved,
their phasing can easily be checked. Make the connections to both speakers, place the speakers faceto-face only a few inches apart, play some music, and
listen. Then swap the connection of the two wires at
the back of ONE speaker, and listen again. The connection which produces the fullest, boomiest bass
output is the correct one. Connect the wires securely
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to the speaker terminals, being careful not to leave
any loose strands of wire that might touch the wrong
terminal and create a partial short-circuit. Then move
the speakers to their intended locations.
If the speakers cannot easily be set face-to-face,
phasing must rely on the “polarity” of the connecting
wires. Note that the SPEAKERS terminals on the
amplifier are color coded: in each channel the red
terminal has positive “+” polarity and the black terminal is negative “-”. The terminals at the rear of the
speakers are also marked for polarity, either via red
and black connectors or by labels: “+”, 1, or 8 ohms
for positive, “-”, 0, or G for negative. As a general
rule the positive (red) terminal on the amplifier should
be connected to the positive terminal of the speaker,
in each channel.
To facilitate this, the two conductors comprising the
speaker wire in each channel are different, either in
the color of the wire itself (copper vs. silver) or in the
presence of a small ridge or rib pattern on the insulation of one conductor. Use this pattern to establish
consistent wiring to both speakers of a stereo pair.
Thus if you connect the copper colored wire (or
ribbed insulation) to the red amplifier terminal in the
Left channel, do the same in the Right channel. At
the other end of the wire, if you connect the copper
colored wire (or the ribbed insulation) to the red or
positive terminal on the left-channel speaker, do the
same at the right-channel speaker.
A note on overload protection.
Because NAD amplifiers sound so clean and musical when driven beyond their nominal power ratings
and when used to drive low-impedance loudspeakers, you may be tempted to stress your amplifier
beyond its design capacity. It can safely and cleanly
drive complex speaker impedances with wide-range
musical signals whose peak level is 40 watts or more,
but it may overheat if called upon to deliver high
power CONTINUOUSLY into a low impedance.
Thus you may play music at volume levels that
cause the brief transient peaks and climaxes in music
to exceed the amplifier’s rated power by a considerable margin. But if you overdrive the amplifier continuously rather than only on peaks, the output transistors may overheat.
This is particularly likely if you try to drive two pairs
of speakers, or speakers having a very low impedance, at high volume levels. If the amplifier stops
playing and the “Protection” indicator glows red,
switch off the power for a few minutes and allow the
output stage to cool. If overheating was the fault, the
amplifier will operate normally when it is turned back
on. But severe abuse of this type may cause internal
fuses to blow to protect the amplifier. If the amplifier
stops playing and the green Power LED ceases to
glow, return the amplifier to a NAD dealer for service.
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IN CASE OF DIFFICULTY: A TROUBLE-SHOOTING GUIDE
SYMPTOM POSSIBLE CAUSE
No sound. Power not turned on.
AC line cord unplugged, or plugged into dead outlet. (To check the
AC outlet, plug in an electric lamp.)
Tuner selected but turned off or tuned to a blank frequency between
stations.
Inoperative input selected (e.g. CD input selected with no CD
playing).
Tape Monitor engaged with no tape playing.
Internal fuses blown; return amplifier to dealer for service.
No sound in one channel Volume control for one of the channels is turned down. Check the
concentric volume control and ensure that both left and right are at
an equal level.
Loudspeaker connecting wire pulled loose. (Check all connections,
both at the speakers and at the amplifier.)
Connecting cable pulled loose or making poor contact in socket.
Rotate plugs in jacks to restore contact.
Short-circuit in a defective connecting cable. Wiggle all cables,
especially where they enter plugs.
Loud buzz and hum. Dirty contact in a switch. Exercise all front-panel switches to
restore clean wiping contact.
Connnecting cable pulled partially out of its jack.
Defective connecting cable.
Hum in tape playback Tape deck located too close to amplifier (directly above or below).
Tape deck located too close to television set.
Plugs making poor contact in jacks.
Weak bass, diffuse stereo imaging Speakers wired out of phase. Swap connections at the back of
ONE speaker.
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NAD ELECTRONICS LTD
LONDON
© 1994 310 I.M.
SPECIFICATION - NAD 310 INTEGRATED AMPLIFIER
Power Amplifier Section
Stereo Mode
CONTINUOUS AVERAGE POWER OUTPUT INTO 8 20 W
(Min. power per channel, 20Hz-20kHz, both
channels driven, with no more than rated
distortion)
Rated distortion (THD 20Hz-20kHz) 0.05%
Clipping power 25 W
(maximum continuous power per channel)
IHF dynamic headroom at 8 +3 dB
IHF dynamic power 8 : 40 W (17 dBW)
4 : 60 W (17.8 dBW)
2 : 80 W (18.7 dBW)
Slew rate >20 V/usec
Damping factor (ref. 8 50Hz) >100
Input impedance N/A
Input sensitivity (for rated power into 8 ) 1 V
Voltage gain X 60(35.6dB)
Frequency response 20Hz - 20kHz + 0.3 dB
-3dB at 10Hz/70 kHz
Signal/Noise ratio, A weighted Min. vol.. 100dB ref. 1W
THD (Total Harmonic Distortion, 20Hz-20kHz, <0.05%
from 250mW to rated output)
SMPTE I.M. (IM distortion, 60Hz+7kHz, 4:1, <0.05%
from 250mW to rated output)
IHF I.M. <0.05%
(CCIF IM distortion, 19+20kHz at rated output)
Preamplifier Section
Phono Input
Input impedance (R and C) n/a
Input sensitivity (ref. rated power, 1kHz) n/a
Input overload at 20Hz/1kHz/20kHz n/a
THD (20Hz-20kHz) and IM dist. n/a
RIAA accuracy n/a
Signal/Noise ratio n/a
(A-weighted with cartridge connected)
Line Level Inputs (CD, Video, Tuner, Tape, Aux)
Input impedance (R and C) 80 k + 220 pF
Input sensitivity (ref. rated power) 210 mV
Maximum input signal >10 V
Signal/Noise ratio, A-weighted 93 dB ref. 1W
106 dB ref. rated power
Frequency response 20Hz-20kHz +0.5 dB
Infrasonic filter -3dB at 10 Hz
12 dB/octave
Line Level Outputs
Preamp output impedance n/a
Tape output impedance n/a
Headphones output impedance n/a
Maximum output level preamp-out n/a
tape out >5 V
headphones out n/a
Controls
Treble +7dB at 100Hz
Bass +6dB at 10kHz
Physical Specification
Dimensions in mm (Width x Height x Depth) 435 x 65 x 250
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