Hafler IRIS Manual de usuario

It is a good habit to turn down BOTH remote and main

panel volume controls upon system shut-down. This

will avoid possible sudden and unexpected changes in

volume when system is re-activated.

TABLE OF CONTENTS

Introduction

................................................................. Page 1

installation

.................................................................. Page 2

Operation

....................................................................

Page

IRIS Block Diagram

....................................................

Page 7

Using the IRIS Remote System

Introduction

...............................................................

Page 10

Operation

.................................................................

Page 14

Specifications

...........................................................

Page 16

Warranty

...................................................................

Page 18

INTRODUCTION

Your IRIS preamplifier combines superb, all-discrete, J-FET

amplification stages with unique control methods allowing

unprecedented flexibility and convenience. In this manual,

beyond telling you how to use IRIS, we will try to convey the

spirit and methodof how this unusual combination was achieved.

The J-FET devices share many technical and sonic charac-

teristics with the best of vacuum triodes. They also allow things

vacuum tubes

don't

easily allow, such as high speed and very

low noise.

INSTALLATION

The gloss black insert on the face-plate of your new Hafler

Equipment has been packaged with a removable protective

coating. Please peel off this protective coating following in-

stallation.

When cleaning the face-plate, we advise a soft cotton cloth with

a non-abrasive cleaner that is safe for lexan and painted

surfaces. DO NOT use paper towels or any coarse material to

clean the face-plate as these materials may scratch the insert.

IRIS is shipped with styled end caps on its front panel.

Rack-

mounting ears are available from the factory for standard

19”-

wide racks.

In locating IRIS, keep these factors in mind:

1) All preamplifiers with high-gain moving-coil phono circuitry

can be susceptible to pickup of hum from strong external

magnetic fields. Such fields are usually strongest from power

amplifiers, but can also come from other equipment. When

stacking or racking your equipment, you may have to do so as

to minimize this potential problem.

2) The

(infrared) “eye” for the IRIS remote system is behind

the dark red screen above the Record 1 switch. The IRIS

remote system combines a powerful transmitter and very

sensitive receiver, resulting in highly reliable communication

under conditions where many remotes will not work. However,

best operation usually results if the preamplifier is located AT or

ABOVE the height at which you will typically use the transmitter.

3) It is also desirable that the

“eye” not have to look directly

at extremely bright light sources, particularly those of fluores-

cent nature. Such conditions can impede communication reli-

ability.

Power IRIS is internally connectable for virtually all AC line-power

Connections systems. Units not marked otherwise, on the rear panel, are

connected for 120 Vofts, 50-60 Hz.

Two SWITCHED outlets and one UNSWITCHED outlet (U.S.

120 Volt standards) are provided on the rear panel. The

UNSWITCHED outlet is provided for powering certain me-

chanical equipment, if so recommended by its manufacturer.

The SWITCHED

outlets

can be used for all other devices up to

a total (for

all

outlets) of 580 Watts (continuous-rating).

The IRIS power switch is very rugged and can sustain the

turn-

on surge of large amplifiers. However, some audio purists

prefer to connect large power amplifiers through alternate

line-

supply arrangements to minimize any added magnetic fields in

the low-signal environment of their preamplifier.

Input IRIS employs a very low-noise, high-gain,

complementary-

Connections

symmetry phono circuit of selectable gain, derived from our

and Selection U.S. patent

4,496,910.

The phono stage output is selected by

(Phono)

the PHONOKEY and then, processed the same as other HIGH

LEVEL inputs.

The phono inputs (gold jacks) are compatible with normal

MOVING-MAGNET and HIGH-OUTPUT MOVING-COIL

cartridges (typically 2-5

mV),

and LOW-OUTPUT

MOVING-

COIL cartridges (typically

0.2-0.5

mV).

Input impedance is 47k

ohms, except when optional cartridge loading is employed.

This is discussed at the end of this manual.

The rear-panel (MM/MC) switch (next to the phono jacks), when

depressed, increases phono-stage gain by 20dB for

LOW-

OUTPUT MOVING-COIL cartridges.

CAUTION:

Never operate this switch, either way, unless the VOLUME

control is turned full down, as the very high gain present can

result in switching transients able to blow fuses in amplifiers or

loudspeakers, or damage some types of loudspeakers.

High Level

IRIS has seven pairs of main HIGH LEVEL inputs, selected by

Inputs

the seven (oval) KEYS to the right of the phono KEY. All of these

(Oval Key inputs proceed at unity gain to the attenuator/line-amplifier

selected) system, which has a maximum gain of 20dB.

Main Outputs The MAIN output jacks are used to feed the power amplifier.

and

Their low output impedance of 316 ohms allows driving long

Mono switch

cables if necessary.

The usual ground thumbscrew is provided for turntable-frame

grounding via the extra ground wire provided on most turn-

tables.

All of these basically identical inputs are selectable by the input

KEY switches. The KEY switches activate a digital system

which effects audio-signal selection by FET switches, followed

by matched J-FET buffers.

Excepting phono, all input impedances, for the entire preampli-

fier, are in the 15-28k ohms range.

To get you to the basic operation of IRIS as quickly as possible,

we have deferred the discussion of EPL and TAPE loops to a

later section.

The MONO switch effects a passive combining of the stereo

channels into monaural, fed through the attenuator system to

both line amplifiers. Although rarely used today, this switch is

provided for the optimum reproduction of treasured mono

recordings, and can be employed to check for exact system

balance.

It is highly recommended that where you may have a constant

monaural source, such as a mono TV, that you secure a

“Y”

splitter from an electronics store and feed both preamp chan-

nels in parallel. This makes remote operation easier, and

avoids accidentally leaving MONO engaged when you switch

back to a stereo source.

OPERATION

Turn-On/Off

logic

Muting System

Volume/

Balance System

CAUTION:

The EPL switch and the tape MONITOR switches, explained

later, are often the cause of an apparently “dead” system, when

they have accidentally been left engaged. Always check them

first if a system is found “dead” on turn-on. For now, make sure

that all six of the group of round-button switches are intheirOUT

position.

When IRIS is powered-up, the MUTE legend will light alone,

along with a small GREEN indicator, between the knobs, called

the VOLUME/BALANCE (V/B) indicator. The V/B indicator

shows that the IRIS panel knobs are determining VOLUME and

BALANCE. Its operation is explained in the remote section.

During this period, none of your KEY inputs will be accepted into

memory. This period is about five seconds, during which the

MAIN outputs of the preamplifier are muted.

At the end of this turn-on safety period, the MUTE indicator will

go out and the TUNER legend will light. TUNER mode is

designed as a reset state to facilitate easiest turn-on for

background music etc. Any of the other seven inputs may now

be selected by their appropriate KEY.

The MUTE KEY causes the MUTE light to illuminate, and the

preamp to fade down approximately 20dB. This mode is used

for phono cueing and at any other convenient time, such as

answering a phone etc. Depressing the

NORMal

KEY restores

normal level. The two-key format is used so that you always

know whether you are muting or de-muting.

The level-control system in IRIS is unusual and uniquely suited

to our goal of combining superb sound with high convenience.

It is an indirect type in which no audio signals are passed

through the panel controls.

The EPL and

Tape Loop

Systems

The actual audio attenuation elements are passive

optically-

controlled resistors, arranged in a special CYBER-OPTIC

control circuit (patent applications in progress) which allows a

combination of very low distortion and stereo tracking accuracy

(typically

0.1dB)

not previously possible in a passive, continu-

ous control system.

The BALANCE control produces approximately 13dB maxi-

mum cut in one channel, while boosting the other channel by

3dB-to

maintain constant music power during control panning.

This simplified signal flow diagram can be very helpful in

understanding the discussion of the EPL and TAPE loops.

In IRIS, the EPL output jacks and RECORD output jacks are

activated only when the related panel switch is engaged. This

completely disconnects the inputs of unpowered

accessories-

often a cause of distortion. These buffer-fed jacks have

2.15k

ohms output impedance.

The EPL (External-Processing-Loop) system consists of the

EPL switch and the EPL output and EPL input jacks. When the

EPL switch is engaged, you may use the EPL outputs to feed

into an external accessory, and receive its returning output on

the EPL input jacks. You can alternatively employ the EPL input

jacks as an 8th HIGH Level input.

The tape system on IRIS comprises two pairs of TAPE input

jacks, two pairs of RECORD output jacks and six related control

switches.

Note that the TAPE input jacks are selectable either by the input

selector KEYS, or by the tape MONITOR switches. These jacks

receive the OUTPUTS of tape decks.

For PLAYING tapes you will likely prefer to use the tape KEYS

for selection-particularly as these functions are accessible

from the IRIS remote.

The four round buttons associated with tape functions are not

needed for normal tape playback.

IRIS FUNCTIONAL BLOCK DIAGRAM

(ONE CHANNEL SHOWN)

MON

TOR

SWITCH

MON

I TOR

SWITCH

bREC

CUT EPL

MAIN

OUT

Recording Any recording requires that you activate either the RECORD 1

System jacks, the RECORD 2 jacks (or both) using the RECORD 1 or

RECORD 2 switches on the panel.

As seen in the signal flow diagram, this makes any input

selectable by the KEYS available to these outputs.

EXAMPLE: KEY-selecting

TUNERwith

RECORD 1 depressed

will send both TUNER channels out the RECORD 1 jacks to the

INPUTS of the tape deck.

The diagram also shows that if you have two decks you can

select either as a PLAYER using the TAPE KEYS and send it

to the other deck for recording.

EXAMPLE: Select deck 1 as PLAYER with TAPE KEY 1 and

send to deck 2 through the RECORD 2 switch and jacks.

1OR: Select deck 2 as PLAYER with TAPE KEY 2 and send to

deck 1 through the RECORD 1 switch and jacks.

CAUTION:

Engaging either RECORD switch on IRlS brings into action

special safety logic which you may easily interpret as faulty

operation, until you understand its put-pose:

1) IRIS refuses TAPE KEY 1 if RECORD 1 is engaged. Likewise

for TAPE KEY 2 and RECORD 2. These are potentially danger-

ous sources of unexpected high-energy positive feedback

loops, having been known to destroy more than a few loud-

speakers.

2) These switches automatically restrict certain remote control

actions, as explained later.

~Thus always leave these switches OUT, unless actually

re-

cording.

Tape The tape MONITOR switches at first appear to allow only a

Monitoring redundant selection of what you hear from your deck(s) when

Switches you use the TAPE KEY(s). The important difference is that

MONITOR switches actually BREAK the audio path inside the

preamplifier, allowing you to listen to the deck’s OUTPUT while

its INPUT is being fed from any source selectable by the KEYS.

This feature is necessary for selectable by the KEYS. This

feature is necessary for real-time monitoring in three-head

decks, but can be of some value for signal-path verification in

two- head decks.

Engaging both tape MONITOR 1 and tape MONITOR 2 switches

results in the selection of tape MONITOR 2.

Make it a habit after recording to check that all six of the round

buttons are back OUT-unless you are using EPL or MONO.

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