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DESCRIPTIQN
The F'S 4.6 i,':;a full func:tion ster"'eo pr"'eamplifier"'. It featur"'es
an essentially' infinite var"'iety of phono c:at"'tr"'idgeloading, a
str"'a:i,ghtwit"'eline amp bypass 5wltC:jh that' allows YOl,.lto play CD's
(ot"'anYSa,ur'c:e) ,without any elec:tr'Qnic:s in its path. moving c:oil
an~moving magnet capabilities for your phone c:artridge, c:omplete
tape dLlbbing and t'ec:cwding c:ontt'ols that allow you to r'ecor'd any
SoLwce whi ~e you' t'e 1istening to any other' Spl,.lt"'ce.a pt'ecision
stepped balance control and a master volume ~on~rol, one of the
most dynamic: and linear phono amplifier's ever designed, a remo~e
po~er supply and the industry's mast accurate RIAA curve.
Nothing has been compr'omised. Pt'ecision laser' tt':i.mmed11. metal
film resistors have b~en used throughout, as have beehour own
hand p ic:keq~ se lec:t ion of bypass capac itOt"'s that at'e used to
improve the thousands of microfarads of capacitance, cain silver
con,tac:tswitches, CNC machined 1/4" solid all,.lminumfaceplate,
oversized power transformer, gold resisto~ loading sockets,
precision multi-wiper Noble volume c:ontroi. 11.RIAA c:urve
components Llsin'gpolypt'opylene capacitot's with coppet' lead'?, and
a dual lase~ ma~c:hed FET input phono stage.
No effor't has been spat'ed to make the PS 4.6 ster'eo pt'eamp Ii fiel"
so~tnd .;\smusical as possible. We feel that this pr'eamplifier' has
no pr'ice cO!}lpetition and fot' the money will delivet' mot"'emusical
pleasure than any othe~ preamplifier in the world.
SPEC IF I-CAT IONS
PHQNO SECTION
In~ut impedance: ~ariable
with 100,000 ohms as standard
Inpu't capacitance: 150pf
Input overload MM:160mv
11C: 10mv
Maximum output:18V rms
Phase: not invet'ted.
THD/IM at lVrms:<o.O1'1.
SYN ratio MM:88dB
MC:80dB
RIAA acc:uracy: O.ldB or better
AUXILIARY INPUTS
Input ~mpedance:1D.OOO ohms
Phase: ndt inverted as standard. switc:hable.
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Input ovet'load:
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Ma.ximum output:1SVrms
SIN ratio:>100dS
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FRONT PANEL CONTROLS
Looking from left to right, as the front panel of the 4.6 faces
you, there are f~ve knobs.
The fir*t knob (from the left) is the output control function.
The choices here ar~ - off - Straightw~re - High level ~ mono.
OFF disconnects the outputs of the 4.6 preamplifier f~om your
power amplifier. This control does not actually turn the power
to the preamp off, as we recommend it be left on at al1 times,
but r'ati!er'it disconnects the 4.6 ft'om YOUt' pOllljer'amplifier'.
You may use this function for a mute control, if you wish. Ot'as
a sa~ety position when your system is not in use.
We highly recommend t~at you keep the 4.6 in the off position
whene~er the $ystem is not in use.
STRA'IGHTWIRE
ThiS is the position we t'ecommend fOt' the ,m
of your list ning. It is a feature exclusive ~o PS Audio pream-
plifiers, an allows you to bypass all the electronics in the
unit for unr'valed sonic ~uality.
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This mean!s tt-latin the stt'aightwir'e position,
the internal line
amplifie~ islswitched out.
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powet' amPllif'et'dir'ectly, the line amplifiet' is needed only once
in a whilie. This position will give you fle:dbility fOLLnd in no
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beca.'
other pt'etampifier'..which is the ability to listen to whatevet'
SOLlt'Ceyoluw'sh without the degt'adation of added electr'onics.
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NOUGH VOLUME?
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IS THATG'oaD
You ~et! Inlmost cases.
electt'on ics. I
That mean
dynamic 1"angeL YOLI can play any sour'ce at any volume without
~ tMat CD's (for instance) will have virtually unlimited
,
"ther'e's no electt'onics like no
feat' of ovel"load or' changes in sonics.
HIGH L.EVEL This position switches in the line amplifier', and its
use is recommended if you do not have enbugh volume in the
Straightwire position. Incidentally, the line amplifier is a low
distortion, h4gh voltage class A design. It was specifically
built to handle huge amounts of dynamic input.
This line amplifier is typically used at all times.
in 0 thel"
preamplifiers not as versatile as the 4.6.
However. for best sonic reproduction. we do recommend the use of
the Straigntwire position whenever possible.
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MONO This position combines the left and t'ight channels togethet~
to form one output on both channels.
Its function is available only irithe high level mode.
This mono feature is useful~when listening to older monophonic
reco~dings when reproduced bn a stereo turntable or tape
t'ecot'det' .
It is also useful when you're setting up your speaker system.
FOI'" instance, when pos i t ion ing YOUt' speaket's fot' best c:-entet'
fill, a mono signal can be 9uite use~ul.
The p,"ocedw'e is simple., Switch to mono, and adjust yow'
speakers for best center image then return to stereo and make
minor adjustments to create a lifelike stereo image with proper
c:entet'f ill.
TAPE FEED This is the 2nd control from the left and it has -
Phono - CD - Tuner - Tape 2 - as its choices.
This control feeds your tape recorder whatever you have selected.
For instance, if you want to tape record your record, switch the
tape f,eed control to phono and beg in t'ecot'd'ing. The tape
recorder will automatically record whatever you have selected.
One of the advantages of this method, is that you can record any
source you want while you're listening to any other source you
WOLtld 1 i ke.
Remember, th~ tape feed control will not change what you hear on
your speakers, only what your tape deck records.
If you want to dub a tape, monitot' ),lOUt","ecot'ding, ot' listen to
~nother source, please refer to the next section..or the section
on tape dLlbb ing.
CAUTION:NEVER TRY AND RECORD YOUR TAPE DECK'S OWN OUTPUTS
This will cause feedback, and a loud noise will go through your,
system, resulting in possible damage to your loudspeakers. There
is no reason that you would want to record your outputs, and this
precautionary warning is only intended tb keep you from making
that mistake.
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SOURCE This control has the following selections Phono
- Tape 1
-CD - Tuner - Tape 2.
This controls what you actually listen to, not what you are
t'ecot'd in8.
Tt'lisi,s yow' listening SOLIt'Ce selector'.
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Whatever function you
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tLlt~n to, (pqono,
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1, CD, etc.) you will hear ,on ypur
speaker's.
Iof you wi sh '1:;01 isten to., (for~ instance), a r~ecOr~d, swi tch the
source sele~to~ to phono and turn up the volume. This will in no
way affect whatever you are rec6rding, dnly ~hat you are listen-
ing to.
HOW TO MONiTOR YOUR RECORDINGS
Switch the SOUrce selector to tape 1 or the tape 2 position and
listen.
It's that simple. By switching the source selector' to .the
recorder that's recording, its output can be monitored without
affecting the recording.
BALANCE This is a 12 position stepped balance control. By
turning the knob clockwise you will turn down the volume on the
left channel...counterclockwise will change the relative volume
of the right channel.
You wi 11 notice ,that thet'e
steps, and progressively more change as you turn it farther.
This is nor'mal.
is Vet~y little change in the fit'st i:ew
The first few steps should be used to adjust the image of your
system.
This ability to minutely adjust the image and stage presence is
the greatest value your balance control can offer.
If there is a major channel imbalance, due to a defective source,
the greater steps can be used to make this kind of adjustment.
VOLUME This control has 32 positions, and is a high CILlality metal
film multi-wiper Noble volume control. It was selected for its
sonic superiority and smooth noise free operation.
REAR PANEL
As you look at the back panel, starting from the left, there are
fiv.einput jacks, a binding post, a silver'4--pin connector~. and 4
pairs of jacks on the right.
TAPE 1 Plug
reel to reel or cassette deck.
If you wish to dub tapes,
in your tape recorder's outputs here.
this is the input you will use
primarily for playback
This can be a
CD This is where you plug the output of your compact disc player
into. You may also plug in any other high level source you wish
(ie. video, etc.)
NOTE
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Remember CD players are ~ore c~itical of the quality of cable
used to connect it to the preamplifier, than any other component
we have ever used.
For best results, we recommend the highsst quality interconnects
on any CD player.
TUNER This is another high level auxiliary input that can be used
for your tuner or any other high level source.
TAPE 2 This is 'where the outputs of your tape recorder (either
t'e.elto t"'eelOt' cassette) at'e plLlgged into. If you au'e evet'
planning on dubbing tapes ft"om one machine to another~, .this input
should be for the one that will record the dubbing.
PHONO INPUT This is where you plug your phono cartridge into.
This input will accept moving magnet, moving coil, moving iron or
any type of phono cartridge made in the world today, with the
exception of a strain gauge cartridge. This type of cartridge
would plug into one of the high level inputs.
BINDING ROST This i. the black 5 way ground post next to the
phono inputs. It is where you connect the turntable ground wire.
NOTE: Some turntables (Or~acle and SOTA for' instance) have a lug
on the bottom of their" tLlr"ntables. This lug is the 81"ound fot'
the table i.tself, and should be connected th~~u8h a wire (that
you provide) to this binding post on the back of the 4.6.
SETTING THE PROPER GAIN FOR MOVING MAGNET OR COIL CARTRIDGES
Inside the. 4.6, there is a 2 position switch that will adjust to
either Moving Coil or Moving Magnet Cartridges.
This is accessed by removing the top cover.
TOP COVER REMOVAL
Removing the top cover is simple. There are three Philips head
screws on the back of the top cover remove these and slide the
top cover off.
CAUTION
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ALWAYS UNPLUG THE 4.6 FROM THE WALL SOCKET BEFORE YOU REMOVE THE
TOP COVER! THERE ARE HAZARDOUS (AND EVEN DANGEROUS) VOLTAGES
INSIDE!
Once the top cover has been removed, the switch can be located on
the left side of the circuit board as you face the rear of the
unit.
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The dif+erent positions are clearly marked on the bo.rd. Moving
coil is with the switch towards the rear panel. and Moving Magnet
is with the switch toward the front panel.
Always make 'SLwe yoUt' volume contl"ol is down ~Jhen changing this
swit,=h.'
The ~artridge loading sockets are in this same vicinity.
CAR~RIDGE LOADING INSTRUCTIONS
INSERTING THE RESISTORS
Your 4.6 preamplifier was supplied to you with a small bag of
resis~ors. These are to be used to load your cartridge.
IF 'lOU HAVE A MOVING MAGNET CARTRIDGE YOU DO NOT NEED TO USE
THESE RESISTORS NaR DO YOU NEED TO FOOL WITH CARTRIDGE LOADING AT
ALL.
Most cartridges come from their manufacturers with a recommended
load impedan~e. Mo~ing magnet cartridges, for instance, are
typically 47,000 ohms (47K). Moving coil cartridges are
typically rated for lower impedance loads, such as 100 ohms.
In many cases, we p~efer higher loading (47K) for some movins
coil cartridges. This is a matter of personal preference.
We encourage you to start with the manufacturer's recommended
load, and then experiment up and down (in the case of moving
coi Is) to see which one compl imehts the way YOLlt'system SOLlnds.
You will nC?t damage your cartridge by using an "incorrect" load.
Feel free to experiment with the way different loads sound.
FIRST STEP
I f you have a Mov ins Coi 1 cat~tt' i dge and you wou Id like to'change
the resistive loading, you must first remove the top cover as
e:.:p lained above.
Select the t'esistot~ you want to insert and locate the gold
sockets.
These are small gold plated sockets located near the MC/MM
switch. If you look at the printing there are two lines pointing
to the loading sockets.
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Place a resistor in the sockets, one for each channel.
Refer to the cartridge load resistor chart for the appropriate
colors/values of the resistor.
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NOTE: Since we't~e on the subject of ':selecting the appt~opt~iate
loading and gain setting for your phono cartridge, we might as
well make one point clear.
That concerns the volume control.
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Many ~eople are afraid to turn
IT IS ALWAYS8ETTER TO RUN YOUR VOLUME CONTROL AT A HIGH LEVEL
Th~s may come as a sDrprise to m~ny people. but it is true with
a lmo;;t any piece of geat~. The t~ea I "sweet spot 11 on the \lol L!me
control is all the way up, or just below all the way up. Not, as
mii:\ny people thin~::. 12 Ot~ 1 o"clock position.
Why? . Bet,ause a volL!me c:ontt~ol is a t~esi':stot~. The lowet' you ha',,'e
the volume tontrol, the larger the resistor you are putting
between the preamp and the power amp (or line amp). Resistors
sound better when they are reduced in size or eliminated. This
is trUe for any vo~ume control.
00 NOT 8E AFRAID TO TURN THE VOLUME CONTROL UP HIGH, WE RECOMMEND
THAT YOU DO SO FOR YOUR NORMAL TO LOUD LISTENING LEVELS
AC INPUT This input is located between the group of jacks on the
r~8ht and the left.
Thi.is where your remote transformer box plugs in to actually
operate the preamp.
The unit ~as shipped to you in two parts. One is the preamp,. and
the otheri. the HCPS (high current power supply). The HCPS
containsa. huge tt~ansformet'that opet~atesthe pt'eamp.
KEEP tHE HCPS AWAY FROM THE PREAMP OR TURNTABLE.
PIlIS the HI:PS,
plug the HCP~ into the wall socket for its 110V.
and I oc kit into P I ace on the p t'eamp Ii f i et~.
It is not possible to plug the connector in wrong. It is a
connec;:tot", and L1I11ess fOt~ceq, will only 80 in one way.
PLUG THE HCPS
INTO THE PREAMP FIRST, THEN INTO THE WALL SOCKET.
MAKE SURE THE POWER AMPLIFIER IS OFF WHEN CONNECTING THE
PREAMPLIFIER UP TO THE POWER AMP OR THE WALL
OUTPUT CONNECTIONS
IT CAUSES HUM.
Then.
keyed
OUTPUTS
Thet~e at'e two set5 of output .jacks, and they 'ar'e mat~ked outputs.
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These are the main outputs. and are to be connect~d tQ the inputs
of your power amplifier.
There are two sets provided so that you can easily by-amp if you
wisM~
Do not plug a shorting plug into the remaining set of outputs. if
they are unused.' If you do not nave a need for the extra output
set. leave them alone.
RECORD OUTPUTS
There are two sets of record outputs. These are the last set of
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ja~ks on the far right hand side bf the preamplifier.
Plt.I!=j the input of YQur tape deck in her'e. These .jackswi11 feed
YOI-\t"taPe t~ecot~det.'s inpL\ts whatevet' signal sOl-wce you have
select,ed on the ft~ont panel tape feed swi tch.
There are two sets of these outputs so that both tape recorder #1
and tape recorder # 2 can be fed at the same time.
TAPING HINTS
The 4.6 is a very versatile performer,
and taping facilities are
better than most.
Here are a feN helpful suggestions that can ma~e taping easier
fOI'~ YOLI~
DUBBING A TAPE
This is easily accomplished.
The procedure is simple. Switch the front panel control labeled
tape feed t9 the tape 2 position. Put tape 1 in the record mode.
and begJn playing tape 2. Whatever is on tape 2, will be
transf~rred over to the inputs of tape 1, and you will dub from
one machine to the other.
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HOW DO I MONITOR WHAT I AM RECORDING?
Easy. Turn the source selector switch (this is a front panel
control) to whatever source you are recording from. Remember,
the source selector switch controls what you hear, not what you
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For instance. Let's say you are recording a bro~dc~st on your
~tuner. This would mean that your tape feed selector (front
~anel) is in tunet~, and ei the~~ tape t~ecot~det~is in the t~ec:ot~d
m~de. For the purpose of this discussion, let's suppose that
ta~e #1 is the recorder.
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By '~itchin8 the source selectot~ switch to tuner, you will hear
what \ comins dil"'ectly out of the tunel'~, and feeding YOLlt~tape
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deck. Then switch the source selector to tape 1~ This will now
allow you to hear what your recording is coming out like. By
switching the source selector ~etween tuner and tape 1, you can
check the quality of your recording compared to what your
orlginal sounds like.
DO NOT PUT THE TAPE FEED SWITCH INTO TAPE 2 POSITION WHEN TAPE 2
IS RECORDING! This will cause a loud oscillation.
TROUBLESHOOTING
Sometimes gettfng a new system to work properly can be a
challenge until you became familiar with it.
Here are some suggestions that may help you in operating your
system.
PROBL~MS:
NOTHING WORKS
1. Check and make sure the HCPS is
the pt~eamplifiet~ and the wall plug.
have plugged it into is operated by
plugged into the back of
If the wall socket yau
a switch, ~ake sure the
wall switch is on.
2. Make sure that ~he power amplifier is connected to the
output jacks on the back of the preamplifier.
3. Make sure 'the output control is in the straightwire
position, not in the off position.
4. Make sure that the source selector switch is turned to a
position that has an input. In othet~ wot~ds. if you'I'~e
sw itch'ed to phono. make SLwe that you have a t~ecQt~d play t ng
and that the turntable is actually connected to its lnputs.
THE FRONT PANEL LIGHT WON'T COME ON
1. Make sure that the HCPS is plugged in to the wall socket
(110V), and the back of the preamplifier. If the plug is
controlled by a switch, make sure the switch is on.
2. Make sure the output selector switch is turned to the
straightwire or high level position.
3. Make sure that if your HCPS is pluBged into a switchable
wall socket. that the switch is turned on.
4. If all else fails, it could be that the pins on the HCPS
c'::Jnnectot~,at'enot making contact. To check, unplug' the HCPS
'from the wall! Then unplug the HCPS from the preamplIfier.
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Look at the four male plns on the back panel of the amplifier,
and inside the silver connector. You'll notice that eacn of the
pins is split in half. If these are not split apart enough, it
may not be making contact.
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Take a small bladed object, like a pocket knife. and insert it
where each pin is split. The idea here is to spread the pins
apart, sligh~ly, so that it,will make better contact with the
female connector.
Now. reconnect the male and female connectors. and then plug the
HCPSback into the wall socket.
NOT ENOUGH VOLUME IN PHONO
1. Make sure that the internal switch is in the right
position. See the section on how to adjust the phone qain.
2. Check ~he cartridge loading values you havechese~. If
you have tbo lew a value, it can cut down the volume of the
cat~tt~idge,1espel:ially magnetic ones. This is c:ontt-'olledby
th~ r~sistor value you have inserted for cartridge loading.
The preamp I:omes from the fal:tory set-up for Moving Magnet
operation, or 47K.
3. If all else fails, switl:h the output selel:tor to high
level to inl:rease the volume.
RECORDS ARE TOO LOUD
Check the position of the phono gain switch inside the unit.
You must have the I:orrel:tresistors for the appropriate cartridge
in order to work.
MY SYSTEM HUMS
No, it hasn't forgotten the words (audiophile humor).
it.s
probably something you've done inl:orrel:tly.
1. Chel:k to make sure the HCPS is far away from any piel:e
of gear...be espel:ially I:areful that it is no where near the
turntable or the preamplifier itself.
2. Make sure the HCPS cord is not near any of your
interconnects (patl:h I:ords).
3. Check to be sure that the ground wire from your
turntable (if you have one) is connel:ted to the black five
way binding post on the rear of the 4.6.
If you have a SOTA turntable, make sure that the bottom I:onnel:tor
on the SOTA is hooked up to the binding post on the 4.6. Many
other turntable manufal:turers have a similar turntable grounding
post. and these should be hooked up for lowest hum.
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4. Be certain tha~ other pieces of gear are not too close
to your turntable or preamplifier.
Tape decks. CD players and especially power amplifier~ will
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