LOOK HOW EASY IT IS TO OPERATE YOUR 380, STEREO TUNER-AMPLIFIER
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This simplified photo-guide shows how to use your new tuner-amplifier. A similar guide on the inside back cover shows how to connect the tuner-amplifier to the rest of your music system.

However, we strongly suggest that you read the complete instruction book thoroughly. Only then will you get the utmost enjoyment and maximum performance from this superb instrument.
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For best listening adjust the tuning dial so that you get the highest possible reading on the meter, (see pages 18 and 5)
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> Phono - for phonograph records.
> FM Mono - To receive FM monophonic broadcasts. Automatic Stereo - Use this position most of the time. The tuner will automatically switch to stereo if you are tuned to a stereo broadcast (a light will indicate this). If the program is monophonic, the tuner will instantly switch to that mode of operation. The tuner does all the thinking for you.
> Stereo - Sub. Ch. Filter - To receive FM stereo broadcasts when some background noise is present.
> AM - To receive AM broadcasts.
> Extra - For any device connected to the extra inputs on back, (see page 12)
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For all stereophonic program material, set to Stereo position. Other positions are for monophonic material, or for balancing the system, (see page 14 and 13)
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FM stereo multiplex reception makes more severe demands on a tuner than regular monophonic reception. You will undoubtedly enjoy your new Scott tuner much more if you have some understanding of the unique engineering that makes these tuners so outstanding. Below are some of the various factors that go into the design of a Scott tuner.

Usable sensitivity - indicates a tuner's ability to receive weak signals with very low hum, noise and distortion. Scott's high usable sensitivity is in part due to the silver- or copper-plated front end on Scott tuners. The high conductivity of these metals preserves the full quality of even the weakest signals without introducing the noise, hum or distortion of conventional tuners.
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• Anmerkung : Das mit dem "outstanding" (besonders herausragend) war solch ein typisch amerikanischer Werbespruch, der bei fast allen Geräten irgendwo zu lesen stand, sogar bei billigsten 100 Dollar Komplettanlagen mit Plattenspieler, Kassettengerät und 2 Boxen. Alles in den USA war "outstanding". Manchmal stimmte es sogar - wie hier beim 380.

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Instead of inexpensive steel chassis, Scott uses electrolytic aluminum with copper cladding in the critical IF and multiplex sections. Copper is a far better conductor than steel and eliminates the losses ordinarily associated with that metal. Aluminum, being non-magnetic, tends to reduce hum and noise, giving Scott tuners an exceptionally high signal-to-noise ratio.

Selectivity - is the ability to completely separate stations on nearby channels. Scott's Wide-Band IF's most closely approach the ideal by amplifying the desired signal and completely rejecting all nearby stations. Scott tuners separate stations that conventional narrow-band tuners would pass by.
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Freedom from drift - a tuner must stay on station without wandering (or drifting). Narrow-band tuners use undesirable automatic frequency control (AFC) to prevent drifting. AFC introduces considerable distortion and reduces bass response. AFC also reduces selectivity because its magneticlike attraction towards stronger stations pulls away from nearby weak ones. Scott tuners utilize Wide-Band design rather than AFC to eliminate drift, bringing you the full range broadcast without introducing distortion.

Stereo separation with low distortion - a must for good FM stereo reception. Conventional narrow-band tuners inherently cannot give as fine stereo quality as Wide-Band tuners. Scott-developed, Time Switching Multiplex circuitry provides full frequency response with extremely low distortion. Stereo separation far exceeds specifications established by the Federal Communications Commission.
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Your Scott tuner-amplifier can be placed on a table or bookshelf, in existing furniture like an end-table, buffet, or room divider, or in a specially designed equipment cabinet. A handsome hand rubbed wood accessory case is available from your dealer in finishes to blend with vour decor.

Wherever it is placed, adequate provision should be made for ventilation. If this is not done, the life of the internal components will be appreciably shortened. By adequate ventilation we mean about 4" of space above and behind the unit where air may circulate freely, or, if it is installed in a cabinet, the cabinet should have an open back.

To help disperse heat rapidly, Scott employs aluminum in the construction of the chassis and panel. Aluminum is an excellent conductor of heat. Therefore, the panel may seem warm to the touch. As long as the unit is adequately ventilated, this is of no consequence.

The tuner-amplifier should always be mounted horizontally because of the necessity for proper heat dissipation. If vertical mounting is desired, forced air ventilation with a fan is a must. Fans specially designed for this purpose can be obtained from your dealer.
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Terminal strips for speaker connections are located on the rear of your tuner-amplifier. The screws marked Right are for connecting the right-hand speaker (as you face them from your listening area), the ones marked Left are for the left hand speaker.

Every speaker is rated by its manufacturer at a certain impedance. This information is either marked on the speaker or can be supplied by your dealer. You will note that there are screws marked 4, 8, and 16 (Ohms) on the terminal strips. These numbers indicate the correct connection to the loudspeaker, and permit you to match the output of your amplifier to the impedance of the speaker.

When making connections, you can use almost any type of wire if the lengths are under 50 feet. We highly recommend ordinary lamp wire (#22 wire according to the electrical code). If you want to run the wire under a rug you can also use flat TV antenna wire. If you plan to use wire lengths considerably in excess of 50 feet, it is advisable to use #18 wire to prevent excessive losses of power.

When attaching the wire to the tuner-amplifier or the speaker be certain that strands of wire from one screw do not accidentally touch strands on any other screw or the speaker will not perform properly. After the speakers are connected they should be properly phased to give a well-spread stereo effect with full bass. Phasing instructions are to be found at the back of this manual.
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Your tuner-amplifier includes two terminal strips on the rear. The upper strip is designed solely for setting the unit to match the impedance of your speaker. Connect the cables with the spade lugs on the end to the terminal screw (either 4, 8, or 16) that most closely coincides with the rated impedance of your speaker. One cable and set of screws are for the right speaker and one for the left speaker. By having two sets, you can match impedances properly even if you are using speakers with different impedances.

The bottom terminal strip is for connecting the speaker wire. Connect one end of the speaker wire to the two terminals on your left hand speaker or speaker enclosure. Connect the other end to the "0" and "H" terminals for the left channel. Repeat for the right hand speaker.

If you only own one speaker system and plan to add a second speaker for stereo at a later date treat the single speaker as a left channel speaker and operate the amplifier with the Selector in the Bal L. position at all times. It is not safe to operate conventional amplifiers without a speaker load.

However, all Scott amplifier sections are completely stable with resistive, capacitative, inductive, or no load. You need never fear injury to your tuner-amplifier by using it with no load on the right channel. Do not attempt to parallel the outputs. Such a procedure may reduce the power output and increase the distortion.
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An FM dipole antenna is supplied with the unit. In strong signal areas this should be more than adequate to pull in most of the FM stations available. Antenna connections are made to the terminal strip marked "Antenna" located on the back panel.

The dipole leads are connected to the screws marked "G" and "FM-300 ohms" respectively as shown. The dipole should then be opened to full "T" and positioned to give the strongest signal possible on the meter on the front. The meter shows a strong signal when the pointer is at its highest reading.

The dipole may have to be shifted slightly when trying to receive stations at different directions from the listener. A compromise position can usually be found that will work best for most of the stations desired.

Generally, the higher the dipole can be placed, the stronger the signal. If you wish to place the dipole further away than its present lead length permits, you can purchase from your dealer additional lengths of 300 ohm antenna wire to connect between the dipole and the antenna terminals.
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In fringe areas, or areas of high interference, an external directional antenna may be necessary. This is particularly true with multiplex stereo reception. Reflections from hills or nearby tall buildings can cause annoying distortion.

There are many fine yagi FM antennas available which will provide strong signal and reduce provide strong signal and reduce interference, thus enhancing the range of the tuner. The remarkable sensitivity of your Scott tuner-amplifier, when combined with a good anttnna, will permit you to receive an astonishing number of distant FM stations, either monophonically or in stereo.

In areas of extremely high noise, such as a busy highway, the following system is suggested:

Mount a yagi antenna (either single or stacked) at some point as far removed from the source of the disturbance as possible. Connect a 300 ohm to 72 ohm transformer on the mast, and run 72 ohm shielded antenna lead-in wire to the tuner-amplifier. The lead-in should not be more than 50 feet in length, if possible. Since the yagi antenna is extremely directional, it is important that it be positioned for the best reception of desired stations. In areas where stations are available in diverse directions, an antenna rotator is suggested.
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Connect a shielded audio cable from the Derived Center Channel Output jack (labeled "Der. Ctr. Ch.") on the back of your Scott tuner-amplifier to the input of a separate power amplifier. Use the 1.5 volt input if it is an H. H. Scott power amplifier and a high level input (such as tuner, extra, etc.) on any complete amplifiers. Set the level control so that the center channel loudspeaker's sound is lower in volume as compared with the left and right stereophonic speakers.

If the center channel is driving extension speakers, the separate loudspeakers can be equalized by using individual "T" pads on each speaker. A "T" pad is a specially designed level control that is readily available from your dealer.

The center channel output is controlled by all the front panel controls, therefore, the auxiliary amplifier should have a volume or level control to be able to obtain the proper balance. It is essential that the center channel speaker be in phase with the right and left channel speakers for proper operation. See section on phasing found later in the manual.
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In addition to the derived center channel output described above, a powered center channel output capable of directly driving center channel or extension speakers without a separate power amplifier is provided. Connect one end of the speaker wire to the two terminals on the back of the speaker system. Connect the other end to the "0" and "H" terminals under Center Channel (on the same strip that you connected the right and left speakers). If this output is to be used as a center channel, then the speaker should be in phase with the right and left speakers. Phasing instructions will be found in the back of the manual.

Using the derived center channel preamp output described in the previous section provides greater flexibility, depending on the power of the separate amplifier. If many extension speakers are desired, this method is preferable. However, for most normal requirements, the powered center channel output is certainly adequate and more convenient in that a separate amplifier is not needed.
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A low level, low impedance output jack is located on the front panel. This jack will accept the standard three-conductor phone plugs found on most popular low impedance stereo headphones. When using this jack, make sure that the plug is pushed in firmly.

When the headphone plug is inserted in the front panel Low Level Output jack, the Speakers switch on the front panel can be switched to OFF position. This will completely cut off sound from the loudspeakers, permitting use of the Low Level Output jack. This allows you to monitor tape recordings without any sound from the loudspeaker systems; absolutely necessary when recording from a microphone. If desired, the speakers and the Low Level Output jack may be used simultaneously.
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A tape deck is a machine without playback preamplifiers. The
signal is fed directly from the tape heads without any additional amplification. A very small electrical signal is produced similar to that obtained from a magnetic phonograph cartridge. With your Scott tuner-amplifier you can connect both a tape deck and a record player, and select either from the front panel.

Connect the leads to the Tape Head input on the back panel. To listen to tape, move the Equalization switch to the NAB tape position. This will switch the input from phono to tape head. The Input switch must be in the Phono position in order to listen to either the tape head or record player.
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An extra stereo input is provided for any other high level source
you may wish to connect. You can connect a second tape recorder, ceramic microphone, or sound from your TV set. If this extra source is a stereophonic device with two leads, connect the left channel lead to the left channel Extra input and the other to the right channel Extra input. Set the Input switch to Extra. If it is a monophonic device with only one lead, connect it to the left channel Extra input. To listen to this latter signal over both speakers you should turn the Selector switch to L. Input position and the Input to the Extra position.

Your Scott tuner-amplifier has a special set of outputs which permit you to record any signal passing through the unit. You can make tapes from your records or off-the-air from FM. The tape recorder output is completely unaffected by the volume and tone controls of the tuner-amplifier. If you want to turn the volume down to "0", you can and it will not affect the output to the tape recorder. Connect an audio cable from the left channel Recorder Output on the tuner-amplifier to the left input of the tape recorder. Repeat for the right channel.

Some tape recorders have both a high level (or tuner) input and a low level (or microphone) input. Use the high level input for all connections from the tuner-amplifier. If there is any question, refer to the recorder instructions and follow accordingly. If you have a monophonic tape recorder, connect the left channel Recorder Output to the tape recorder.

If your stereo tape recorder has its own playback preamplifier, connect an audio cable from the left channel output to the left channel Recorder Input jack on your tuner-amplifier. Repeat for the right channel. In order to listen to the tapes, slide the tape Monitor switch on the front panel to the IN position. When the tape Monitor switch is in this position, it completely bypasses the Input switch and permits you to hear the tapes regardless of the position of that switch.

When you are finished listening to the tapes, immediately return the tape Monitor switch to the OUT position so that the Input switch becomes operative again.

If you are listening to a monophonic tape recorder connect the tape recorder's output cable to the left channel Recorder Input jack. Use the tape Monitor switch as described above, but in addition, turn the Selector switch to L. Input so that the sound can be heard over both speakers.
If your tape recorder has a separate record and playback head, it may be possible to monitor the tape while you are making a recording. This will be described in the section on MONITOR.
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The power cord should be plugged into any 105 to 125 volt, 50 or 60 cycle AC source (wall outlet). Do not attempt to use with a DC outlet.

There are two accessory AC outlets on the rear panel. One of the outlets is controlled by the front panel On-Off Switch and is colored black. Your tuner, tape deck or recorder may be plugged into this outlet. When you turn off your amplifier anything plugged into this outlet will automatically be turned off as well.

The second accessory AC outlet (colored red) remains "live" as long as the amplifier itself is plugged in. It is suggested that your record player be connected to this outlet. This will insure that no rumble-producing "flat spot" will occur in your record player if you turn the amplifier off before the record player has completed its cycle. When this output is used you must independently shut off the device plugged into it.
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NOTE : To listen to (or play back) a tape recording, slide the tape Monitor switch to the IN position. In this position, the Input switch is completely bypassed. Immediately return the tape Monitor to OUT as soon as you are finished with the tape. Otherwise, it will be impossible to listen to any other source.
Anytime the amplifier appears to be inoperative, check to make sure someone hasn't accidentally left the tape Monitor switch in the IN position. (340, 380 series)
This can be quickly determined by observing the light beside the word "Monitor" on the tuning dial. The light will be on only if the Monitor switch is in the IN position.

Starting with the Input switch in the extreme counter-clockwise position, the first position allows you to select the low level inputs on the back of the unit; either Mag High, Mag Low, or Ceramic. Note: Only one set of these inputs may be used at the same time. For instance, if your record player is plugged into the Mag High inputs, nothing should be connected to either the Mag Low or Ceramic inputs.

The last position, fully clockwise, allows you to select whatever high level source is connected to the Extra input on the back of the unit; TV, Ceramic Microphone or second tape recorder (with playback preamps).
The intermediate positions select and control the various functions of the Tuner. Operation and selection of the various positions will be explained later, in the "Tuner Section."
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In the process of making a disc or tape recording, the engineers have found it expedient to deliberately reduce the low frequencies and boost the high frequencies. This makes it possible to get more music on the record and reduce annoying background hiss and surface noise. To return the overall frequency response to normal (flat), your amplifier must incorporate a corresponding amount of bass boost and treble cut. This process is referred to as equalization.

To perform its function properly the equalization curve used in the amplifier must correspond exactly to the one used in making the recording.

Since 1956, all phonograph records have been made with what is known as the RIAA equalization curve. All Scott amplifiers made since 1951 incorporate this equalization curve. If you have a few older records which may have been made using slightly different curves, small adjustments of the tone controls can easily correct for proper response.

(LR-40 and 340 Series) - The RIAA curve is built into your amplifier and automatically takes effect whenever you operate the system in the phono position.

(380 Series) - When you put the Equalization switch on the front panel in the RIAA phono position, it will automatically switch the record player into the circuit with the proper RIAA equalization.

In addition to this feature, your tuner-amplifier provides an additional equalization curve specially designed for playback of prerecorded tape from a tape deck. A tape deck does not include playback preamplifiers and signal is fed directly from the tape head to the amplifier without additional amplification. If you have such a device, connect it to the Tape Head input on the back of the amplifier and move the Equalization switch on the front panel to the NAB tape position. This will switch the tape head input into the circuit and simultaneously provide the proper tape equalization. NOTE: In order to use the Equalization switch and to listen to either records or tape (as played on a tape deck), the Input switch must be in the Phono position.
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This versatile switch controls the mode of operation of your
music system. If you are primarily interested in stereo program material, the switch will usually be in the Stereo position. If you occasionally play monophonic records or other monophonic material, it is an excellent idea to familiarize yourself with the various positions of this control.

Starting in the extreme counterclockwise position:

Bal L. - signals coming in on both left and right inputs are combined in the amplifier and then sent out to the left speaker only.

Bal R. - signals coming in on both left and right inputs are combined in the amplifier and then sent out to the right speaker only.

(These two positions are part of Scott's patented balancing network ... an easy way to match the loudness of your right and left speakers perfectly. Their use will be discussed in the section on "Balancing The System.")

Mono - If a stereophonic cartridge is being used to play monophonic records, use this position. It automatically combines the outputs from the left and right channels of the cartridge into a single monophonic signal. In the process of combining the two channels, noise and rumble present in the original record, and noise caused by vertical motion in your stereo cartridge is cancelled, resulting in much cleaner reproduction of your mono records.

Stereo - This is the normal position for this switch and should be used for listening to stereo program material of all types.

Stereo Reverse - Basically this is identical to the stereo position except that it reverses the two channels. The Left input will now be heard over the right hand speaker, and vice versa. This can be used, for example, to move the violins from the left side to the right ... the drums from the right to the left ... if you so desire.

L. Input - Any Left input signal will be fed through both amplifier channels and into both loudspeakers. This is useful if you have a monophonic cartridge or tuner connected to the left input of the amplifier. By using this position you can hear this single source over the full dual channel music system.

R. Input - Any Right input signal will be fed through both amplifier channels and into both loudspeaker systems.
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This control varies the volume of sound emanating from the music system. It is so designed that it will vary both channels at the same time. As the control is turned clockwise, the volume increases.

For some music systems using low output cartridges and inefficient loudspeakers it may be necessary to turn the control to the far right for real loudness. With high output cartridges and efficient speakers, the sound may become very loud at low settings of the control. This is not unusual. The actual position of the control is not critical as long as you obtain the range of volume desired.
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It is a phenomenon of the human hearing mechanism that when volume is low, the ear is less sensitive to extreme low and high notes. Thus, whenever the system is being operated at a low level, the sound will not seem to be as wide range as it is at higher levels.

To compensate for this deficiency, your tuner-amplifier incorporates a special circuit which automatically boosts the extreme lows and highs whenever the volume is reduced. To introduce this compensating network into the system, move the slide switch to "Loud."

When the sound level is increased, this compensation automatically decreases since it is no longer needed. When the switch is in the "Vol." position the compensation network is inactive.
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Whether the system is being used stereophonically or mono-phonically it is important that the sound from the two speaker systems be of equal volume. They may differ because of room acoustics, differences in speaker efficiencies, differences in output between the two channels of a stereo cartridge, speaker placement, discrepancies between the two channels in the original program material, etc.

Scott's patented stereo balancing system makes it easy to detect and correct any differences in loudness between channels. First, set the volume at full room level. It makes no difference what program material you use to check balance. It can be stereo or mono, FM or phono.

Then turn the Selector to Bal L. Listen to the overall loudness of the sound coming from the left speaker. Quickly turn to Bal R. The volume from the right speaker should be at the same level. Switch back and forth quickly between these two positions to check your findings.
If the tuner-amplifier is not situated near your usual listening area, have someone else turn the switch while you are in the standard listening location.

If the volume is the same at each position, the system is in balance. If it is not, then it is out of balance and this must be corrected by the following simple method: The Balance control on your tuner-amplifier is designed to correct for any differences in volume between channels. By rotating the control clockwise, the right channel increases in volume in comparison to the left channel. Rotation counter-clockwise has the opposite effect. By moving the control to its extreme position it is possible to eliminate one channel completely, if desired.

To balance the level, rotate the Selector between Bal L. and Bal R. rapidly, and vary the setting of the Balance until the sound from both speakers is equally loud. Unless there are discrepancies introduced by out-of-balance records or stereo broadcasts, the control should not have to be varied frequently.
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The tone controls used in your amplifier are actually two separate controls (one for each channel) held together by friction. When you turn the treble control, you are changing the high frequencies on both channels. If you desire to modify one channel only, firmly grasp the knob that affects the channel you do NOT want to change. Then turn the other knob as you wish.

These controls modify the sound to suit the user's taste, the room acoustics, and the program material being used. H. H. Scott provides separate controls for each channel to permit you to adjust for differences between speakers, and differences due to placement of the speakers in the room.

The Bass control modifies the low frequencies while the Treble control modifies the high notes. Rotating the controls clockwise cause an increase in the amplitude of the frequencies, while rotating counter-clockwise causes a reduction.

Feel free to use these controls as you see fit. You are the one who must be satisfied with the over-all sound, and the tone controls are the principal way of seeing that you are. However, boosting the treble will accent surface noise on phonograph records and hiss on tapes, while boosting the bass will emphasize record player motor noise.

By having separate tone controls, Scott makes it possible for you to simulate stereophonic sound on your older monophonic records. Simply turn up the Treble control on the left speaker and turn down the one for the right speaker. Then turn up the Bass control for the right speaker and turn down the one for the left. The amount of boost or cut is strictly a matter of taste. You will find that the higher pitched instruments like violins and flutes appear to be coming from the left speaker, while the deeper ones such as drums and cellos appear to be on the right. This will add to your enjoyment of monophonic material.
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To listen to the playback of recorded tape, simply slide the tape
Monitor switch to the IN position. In this position it automatically bypasses the Input switch and permits you to listen to tape only. When you are finished with the tape, immediately return the switch to the OUT position. Otherwise you will be unable to hear any other IN program material.

If your tape recorder incorporates a separate playback head (with playback electronics) it is possible to listen to the recording a fracton of a second after it is made as a quality check. Let us assume that a recording is being made off-the-air. The Input switch will be in the FM position. With the tape Monitor switch in the OUT position, the system will be playing the actual broadcast.

With the switch moved to IN, the system will now be playing the tape recording of the broadcast just after it has been recorded. By moving the switch back and forth it is possible to hear whether the recording is equivalent to the actual broadcast.
This method will work only for recorders with separate record and playback heads.
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If the surface noise of a phonograph record, or the hiss of the tape recording, or the background noise on a stereo multiplex broadcast becomes objectionable, the Scratch filter is the answer. By sliding the switch to the IN position, most of the high frequency noises will be sharply reduced.

If you are listening to especially old 78 RPM records, it may be necessary to turn down the treble controls, too.

(380 series) The functions of the Scratch filter and the AM Band switch have been combined into one switch. Use of the Band switch has the same effect and should be used in the same way as the Scratch filter described above. Wide is the normal setting. Distant has the same effect as introducing the scratch filter.
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All mechanical devices generate some low frequency noises. Even the finest turntable or tape recorder produces some undesirable sounds. Much of this noise is below the audible range (below 20 cps.) so you may not actually hear it. However, your tuner-amplifier is capable of reproducing these objectionable noises and, in doing so it may waste much of its usable power.

Scott engineers have designed a special low frequency sharp cutoff. This circuitry attenuates sounds below the audible range, insuring that your amplifier section will be able to devote all of its power to the audible frequencies.

Rumble Filter - In addition to the standard subsonic sharp cutoff described above, a filter is available to remove annoying low frequency sounds in the audible range. Generally these are caused by poorly designed record changers or by turntables in need of adjustment. Some phonograph records have rumble recorded right into the grooves. Sliding the Rumble filter to the IN position will greatly reduce these noises. However, some low frequency music will be lost as well.
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FM is capable of providing wide frequency response, low distortion, and a significant amount of noise rejection. However, to take full advantage of these capabilities, it is essential that the station be tuned exactly. To insure accurate tuning, Scott includes an accurate indicating device on all its Tuner-Amplifiers.

The precision tuning meter shows the strength of the incoming signal. Turn the tuning dial slowly and stop when the pointer has reached maximum. The meter reading will vary from station to station depending on the amount of signal present from the transmitter. The reading may even vary from day to day on the same station due to atmospheric conditions. Just tune to the point where the meter reads highest and you will be set for best reception. Occasionally you will note that the meter may swing violently back and forth. This indicates that an airplane is passing nearby. The swinging will stop once the plane has gone.
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The amazing auto-sensor actually switches your tuner to stereo automatically when you are tuned to a station broadcasting in multiplex. If the station returns to normal monophonic operation, the tuner will automatically switch back to monophonic reception. You never have to think about resetting the controls.

To listen to a stereo broadcast with the Auto-Sensor circuit, turn the Input switch to Automatic Stereo. Tune across the dial slowly. When you locate a stereo signal, the pilot light behind the tuning dial will flash on and the tuner will instantly switch to stereo operation.

Your tuner incorporates Scott's famous wide-range AM circuitry which is capable of providing AM reception virtually indistinguishable from FM. Although AM is not as interference-free as FM, there is no reason for the limited frequency response common to most AM receivers. Scott has proven that a good strong AM station with quality programming can provide enjoyable listening. It is important to supply the tuner with an adequate signal. Re-read the section on "Connecting an AM antenna"

To listen to AM, rotate the Input switch to the AM position. Monophonic AM will be heard over both speakers automatically without readjusting your amplifier input setting. If you have a strong signal, set the Band switch to Wide. In this position, you will get the best frequency response, but combined with a tendency to pick up noise if the signal is not strong enough. With a noisy signal or with a distant station subject to interference, slide the switch to Distant. There will be an improvement in noise rejection, with some restriction in frequency response. The quality will still be far above a common AM radio.
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3. If the interference is present on FM Stereo but not on FM mono, turn the Input switch to Stereo, Subchannel Filter In. This filter does not affect the regular FM carrier (see introduction on How Multiplex Works). It only affects the subcarrier which tends to be more prone to noise pickup. The use of this switch position can drastically reduce noise without affecting the frequency response of the main carrier. However, as the subcarrier transmits the stereo information, use of the switch will cause a slight reduction in stereo separation.

4. If the noise on stereo persists, return the Selector switch to Stereo, and slide the Scratch (or Band) switch to the IN position. This filter will reduce the frequency response of the main carrier and therefore remove some of the high frequencies from the program material. However, the noise level is usually significantly reduced. This switch has no effect on stereo separation.
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