(aus dem Fundus des Hifi Studio Kuhl) überarbeitet im Juli 2019
.

• Eine Anmerkung vorab: Der Prospekt im Original ist leider sehr verwirrend von der Reihenfolge der Erläuterungen und der Produkte. Der Layouter war wegen der super tollen technischen Daten vermutlich nicht mehr nüchtern, sondern leicht berauscht (so etwas geht auch auch ohne Alkohol).
• Jedenfalls habe ich die Reihenfolge der Seiten und der Absätze etwas strukturiert, sonst blickt überhaupt keiner mehr durch.
• Dieser recht ausführliche Prospekt oder die kleine Broschüre ist für den US- Markt gemacht und einige Produkte sind bei uns in Europa entweder nie aufgetaucht oder sie sind nie produziert worden.

.

This deliberate diversity allows Setton to benefit from each country's technological advances in the various branches of electro-acoustics. Setton is an entirely new brand. It was created for tomorrow's high fidelity, and equipped with today's most advanced materials. Everything has been conceived, thought out and planned with maximum appeal forthe ear and the eye in mind.

Take the design: it was the object of intensive effort by a group of specialists headed by Alain Carre, coming from a world-famous industrial design organization. Our designers are true technicians who have already proved their talents in the designing of such diverse products as pens, telephones and turbines. The artistic flair of the stylist, coupled with the strict discipline required for work with computers, made us reject flashiness and gadgetry in favor of designs that complement the technical instead of substituting for it.

At the same time, human values were not forgotten. For example, knobs and levers that are grasped in'operation were designed with comfortably curved surfaces. Yet where it was considered convenient to turn a knob rapidly, a catch bar was provided for greater leverage. Another example: the handles are not just decorative. The chassis has been designed so that the handles are an integral part of the structure rather than an attachment.

We are perfectly aware that the equipment we are introducing to you is above average. It is intended for the more demanding listeners. If you are one of them, you will appreciate our efforts and the direction they have taken.
You will understand that we are proud to have produced a line of equipment that is far ahead of its time.

And you will be proud to own any of our products.
.

Before they even look at our equipment people start to ask, "Why all the power?".

Indeed, the Setton line begins at 50 watts and moves up from there. The reason, according to Setton's research service, is that, given the current state of the art in audio-technology, it is misleading to promise real high fidelity unless all the circuits -- and particularly the power supply -- are functioning somewhere below their maximum capacity. Moreover, it should be noted that power ratings published by Setton are always conservative compared to the levels actually measured on the testing bench.

There's nothing surprising about this when you consider, for example, that amps in the 50 watt series (RS 220 and AS 1100) are in fact equipped with most of the circuits in the 69 watt series, which in turn borrow some fundamental elements from the 1 20 watt amps.

Setton's characteristic oversize -- a subject we will discuss at greater length from a technical viewpoint - is also visible. A 50 watt Setton looks like anybody else's 80 watt.

The striking thing about the RS 220, as you look at the front panel, is the studied aspect of its control features. It doesn't take long to realize how truly "functional" it is. The shape of the buttons, with the two symmetrical pins allowing for sensitive control, the perfectly logical operation of these controls -- everything has been thought out, not in order to catch the eye, but rather to spare the operator the loss of time and the ambiguity generally prevailing in other systems.

A "hands on" experience of the controls will further reinforce the sense of reliability you get by just looking at them. They're smooth, precise, and perfectly balanced. All the controls rely on the very finest componentry. Two handles, extending from the fiont panel of thick, quality aluminum, offer a firm grip on the unit to insure safe handling. The soft lighting is evenly diffused for better precision and readability.

As for the controls themselves, it's easy to see that nothing has been forgotten: tone control throughout the band, with two crossover frequencies in the 69 watt and 1 20 watt; filters (1 in the 50 w and the 69 w, 2 in the 1 20 w); two speaker outputs on the 50 w, three on the 69 w and 120 w; watt-calibrated VU meters (in logarithmic increments); a tape copy switch (dubbing); muting; FM muting; microphone mixing control (except the RS 220); two. wave lengths (FM, AM); and finally, all protected by a security panel.

Now let's open one of these Settons. With the two protective plates removed, the unit's reliable character is again evident. First of all, look at the chassis. It's perfectly steady; and we made a point of giving the side reinforcement that specific form, in line with the handles.

Thanks to the chassis sides' special profile, there will be no strain on the unit when it is carried by the handles.
It's obvious these handles weren't put there just for looks and that they provide for easy handling without risk of damage.

The overall circuitry has been arranged with special concern for neatness. We used the least possible amount of connecting wires between terminal blocks. And wherever possible the connections are made with flat wire with easily measurable stray capacitance. The problems usually associated with soldered terminal connections -- such as cracking -- are avoided altogether thanks to the technique of "wrapping". That is, a machine snugly fastens each wire at the terminal.

The circuits themselves are of tie best make, without any touch-ups (connections, capacitors, resistors) after installation to make up for such imperfections in wiring or componentry as occur in many well known makes of amplifier.
.

.

.
- 2 x 120 watts RMS (20-20,000 Hz. 8 Q. 0.035 % T.H.D.)
- Direct coupled OCL power amplifier stage
- Sensitive dual gate MOS FET in FM front end
- High-sensitivity front end with 4 gang variable capacitor
- High selectivity IF section with three 2-element ceramic filters
- PLL (Phase-locked loop) IC for stable stereo performance in the MPX section
- Output terminals for 3 sets of speakers
- Triple tone controls (Bass, Middle, Treble) and 2 position turnover frequency switches
- Two large meters are used for signal strength and center tuning on the FM reception
- Electronically-controlled protection circuit
- Wide dynamic range phono equalizer amplifier
- Security panel (Clipping indicator for power amplifier, over heat of the heat sink and protection indicator)
- Stereo microphone jack with mixing volume control
- Provided Dolby N.R. adaptor switch for Dolby FM
- Speaker mode switch (A, B, C, A + B,A + C, phones); Source selector (PHONO, FM, FM MPX FILTER, AM, AUX 1, AUX 2); Balance /volume control (4 gang); push type switches for loudness, FM muting, audio muting, tone control turnovers, external Dolby FM .and stereo [mono; Lever type Switches for two position high filter, two position low filter, tape dubbing and tape monitor.
- Two headphones jacks, Mic jack, phono, AUX 1J AUX 2 tape playback sources. Output for two tape recorders, DIN Jack for tape recorder, in jout jack for external Dolby NR adaptor, pre-out jack and input jack for mam amplifier.
.

.
- 2 x 69 watts RMS (20-20.000 Hz. 8 Q. 0.085 % T.H.D.)
- Direct coupled OCL Power amplifier stage
- Sensitive dual gate MOS FET in FM front end
- High Sensitivity front end with 4 gang variable capacitor
- High Selectivity IF Section with three 2-element ceramic filters
- PLL (Phase locked loop) IC for stable stereo performance in the MPX section.
- Output terminals for 3 sets of speakers
- Triple tone controls (Bass, Middle, Treble), and 2 position turn over frequency switches
- Two large meters are used for signal strength and center tuning in FM reception
- Electronically controlled protection circuit
- Wide dynamic range phono equalizer amplifier
- Security panel (clipping indicator for power amplifier, over heat of the heat sink and speaker protection indicator)
- Stereo microphone jack with mixing volume control
- Speaker mode switch (power off. A, B, C, A + B, A + C, Phones); balance/volume control (4 gang) Source Selector (PHONO, FM, FM MPX FIL, AM, AUX 1, AUX 2); Push type switches for loudness, high filter, stereo/mono and two tape monitors,-push type switches for tone control turn over, FM and audio mute
- Headphones jack, phono, AUX 11 AUX 2, Mic jack, 2 tape playback sources and outputs for 2 tape recorders; DIN jack
for tape recorder.
.

.
- 2 x 50 watts RMS (20-20,000 Hz. 8 Q. 0.08% T.H.D.)
- Direct coupled OCL power amplifier stage
- Sensitive dual gate MOS FET in FM front end
- High selectivity IF section with three 2-element ceramic filters
- PLL (phase locked loop) IC for stable stereo performance in the MPX sect/on
- 4 channel Dynaquad speaker matrix
- Output terminals for 2 sets of speakers
- Triple tone controls (Bass, Middle, Treble)
- Security panel (Clipping indicator for power amplifier, over heat of the heat sink and protection indicator)
- Two large meters are used for signal strength and center tuning in FM reception
- Speaker mode switch (power off. A, A + B, B, Phones); Balance control; Volume control;
Source selector switch (PHONO, FM, FM MPX FIL, AM, AUX); push type switches for loudness, high filter, stereo /mono, two tape monitor, and FM mute
- Headphones jack; phono, AUX, 2 tape playback sources and output for 2 tape recorders, DIN Jack for tape recorder.
.

We took special care to anchor each of the circuits and components. For example: the circuit board for the fuse-carrying circuits is mounted on flexible, shock absorbing supports which prevent the fuses' possibly being ejected from their rests. The materials themselves are the most sophisticated on the market.

Integrated circuits were employed wherever possible. And the individual components bear a close resemblance to those found in the most complex electronic ware, such as computers and aerospace electronic equipments.

Now, let's go more deeply into the Setton's insides to see how the principal problems of amplification and reception were solved.

Phono preamplifier: RIAA correction is all important for an efficient reading of records.

Thanks to circuits which have high open loop gain (about 100,000), it has been possible to obtain a curve regularity of +0.25dB. Input signals are always fragile. Setton engineers have constantly tried to eliminate useless connections which might disturb them. All input connectors were placed directly on the preamplifier circuit plate so there is no need for connecting wire.

Likewise, the source selector is assembled directly on this same plate. A long stem connected to the selection button commands it, for it is electronically more efficient to lengthen the mechanical component than the wiring. Then there is an input sensitivity commutator, wired directly onto the preamplifier to avoid saturation when using a high level phono cartridge.

Again, to avoid wiring, the potentiometers are assembled directly on the plate. Tone adjustments give as many as 1 331 different possibilities. Generally speaking, medium correction such as ours cannot be found on the market. This is unfortunate because the three-point action on the response curve provides great flexibility in tuning and acts on the main defects of the sources. In particular, the excellent centering of the medium correction eliminates a tendency towards roughness in voice transmission.

Volume controls: they work with a calibrated-degree attenuator which insures the tonal quality of your records, on both amplifiers and on the 3 stereo-receivers. The dissymmetry between tracks is maintained at a less-than-audible level. Here again is a clever piece of assemblage. There is no wiring for the connection between the circuit and the potentiometers.

Power amplification stage: whether on the 50 watt AS 1 1 00 and RS 220 or on the 69 watt AS 3300 and RS 440, the same type of high yield circuits deliver negligible distortion and a high signal-to-noise ratio. The main difference between the 50 watt and the 69 watt lies in the choice of integrated circuits for the most powerful receivers and amplifiers.

The RS 220 and AS 1100 are equipped with an OCL direct-coupled circuit in all stages. Moreover, the first stage possesses a PNP differential amplifier which improves the current's stability. The result is stable power from 20 Hz to 20,000 Hz into 8 ohms with a total harmonic distortion which never exceeds 0.8% (0.035% on RS 660); dynamic range is improved by a parallel push-pull circuit in the output stage which at the same time eliminates the even harmonic distortion.

The power supply on all Setton amplifiers and receivers has been especially perfected to insure an exceptionally stable voltage and all the current necessary for a wide dynamic range. Both transformer and electrolytic capacitors are heavy duty type. Notice also an assembly detail but one of importance: the transformer is attached to the chassis with 3 insulated points and one non-insulated point. This gives an appreciable improvement in the yield of the transformer and also eliminates risks of howling.

Protection circuits: all Settons are equipped with highly sophisticated protection circuits using powers relays. Besides the classic protection provided against short-circuits and other such anomalies, a detector of surge current directly controls the power relay. This gives a virtually unconditional protection of the circuits.

Three warning lights on the security panels featured on the front of all the amplifiers and receivers indicate when distortion occurs (clipping); when the protection circuit is functioning (protection); and when there is accidental overheating of the circuits (heat). These lights flash as the units are turned on to let you know exactly when all the various circuits have attained their normal operating condition.

Having covered the principal characteristics of the RS and AS preamplifier and amplifier parts, we will now turn to the FM/AM radio signal circuits which equip the RS 220, RS 440 and RS 660 stereo receivers.

The FM first stage: it fulfills the decisive functions of a receiver because it is responsible for sensitivity (ability to get weak signals) and selectivity (ability to keep programs which are close to each other separate). Setton has attached great importance to developing this latter quality.

Although, in most cases, the FM stations relayed by retransmitters are not difficult to capt, the great number of stations and their proximity to each other can be prejudicial to the purity of the broadcast, the supreme aim of hi-fi. In particular, interferences of harmonic elements in the non-linear section of the receiver, produce multipath reception. To deal with that, the RS 220 and the RS 440 use a dual-gate MOS-FET transistor. Thanks to the second separated gate, the gain can be modified according to the AGC (automatic gain control) voltage, without starting off the input circuit. This accounts for a greater selectivity, regardless of the gain.

Sensitivity is not at all neglected and has reached a point of excellence, thanks in particular to the 3-gang (RS 220) or 4-gang (RS 440) variable capacitors.

Great care has also been taken with the IF section as you can judge by the extensive use of ceramic filters, reputed for their excellent phase characteristics. This explains the quality of the reception, since the filters help reject interferences and improve the overall capture ratio. Any trace of AM signals totally disappears on such a circuit.

Finally the Multiplex circuit; let's remember its delicate function. Stereo FM signals are composed of unseparated "right" and "left" messages. The Multiplex circuit has to separate these messages before they are amplified. This is obviously a crucial part of an FM tuner.

Fortunately, a well-established technique allows this separation to be achieved without interference from exterior conditions of temperature and dampness. It involves the use of a Phase Locked Loop circuit (PLL) which
automatically controls the stability of the signals from the tuner front end in relation to those from the station. This type of circuit is found in the three Setton stereo-receivers RS 220, RS 440 and RS 660.

The AM section has also been highly perfected to cope with periodic distortions (fading) caused by variations in the input signal typical of AM transmissions. A special integrated circuit for the medium waves (535-1 605 kHz) handles this problem in all Setton receivers.
.

.
- 2 x 69 Watt RMS (20-20.000 Hz. 8 Ohm 0.08% T.H.D)
- Direct coupled OCL power amplifier stage
- Powerful amplifier using large IC
- Output terminals for 3 sets of speakers
- Two large logarithmic meters are used for indicating power output
- Triple tone controls (Bass, Middle, Treble)
- Tone flat and turnover switches
- Security panel (operating indicator, overheat indicate of the heat sink and protection indicator)
- Stereo microphone jack with mixing volume control
- Electronically controlled protection circuit
- Wide dynamic range phono equalizer amplifier
- Speaker mode switch (A, B, C, A + B, A + C. Phones): concentric balance /volume control (4 gang): source selector (phono 1, phono 2, tuner, AUX 1, AUX 2): push type switches for loudness, high filter, mono /stereo, two tape
monitor and turnover of tone control: lever type power switch
- Headphones jack: microphone jack: phono 7; phono 2: tuner: AUX 1; AUX 2; 2 tape playback sources: outputs for 2 tape recorders: DIN jack for tape deck.
.

.
- 2 x 50 Watts RMS (20-20,000 Hz. 8 Ohm 0.06% T.H.D.)
- Output terminals for 2 sets of speakers
- Two large logarithmic meters are used for • indicating power output
- Triple tone controls (Bass. Middle, Treble)
- Tone flat switch
- Security panel (Operating indicator, overheat indicate of the heat sink and protection indicator)
- Electronically controlled protection circuit
- Wide dynamic range phono equalizer amplifier
- Speaker mode switch (A, B, A + B, Phones); concentric balance/volume control; source selector (phono 1, phono 2, tuner, AUX); push type switches for loudness, high filter, mono/ stereo and two tape monitors; lever type power
switch
- Headphones jack; phono 1, phono 2; Tuner; AUX; 2 tape playback sources; Outputs for 2 tape recorders; DIN Jack for tape deck, Mic Jack
- Darlington power transistor
- Direct coupled OCL power amplifier stage
.

.

Separate triple tone controls (Bass, Middle, treble) for each channel;
.
- Push type switches (mute, loudness)
- Separate high and low tone equalizers 2 position low and high filter switches
- Dub and monitor tape functions for tape-to-tape duplication in either direction
- Left and right channel microphone jacks with separate mixing controls
- Fader button with variable level control and fade from 1 source to another
- Off-on power switch
- Concentric volume /balance control
- Source selector for Tuner, Aux I, Phono 1, Aux 2, Phono 2 and Mic with luminous function indicators
- 3 output terminals for bridged amplifier set-ups.
- Wide dynamic range phono equalizer with a high voltage plus-minus split power supply.
.

.
- 2 x 120 watts RMS (20 - 20.000 Hz) into 8 ohms
- Two entirely separated amplifiers on a single chassis
- Separate "off-on" power switches for each amplifier
- Separate control for 6 left and right speakers
- Separate Security panels for each amplifier
- 2 separate logarithmic watt-meters
- 2 separate volume controls
- 2 separate fuse boxes and voltage selectors
- Separate Power transformers.
.

The AS-5500 combination of separate basic amplifier and preamplifier (shown at left) represents the culmination of arduous research by Setton engineers aimed at taking the very concept of a split power supply, now employed in most of the highest quality amps on the market, to its ultimate limit.

The pair, which appears at first to be nothing more than a beautifully designed set of classical hi-fi components, is actually composed of three separate elements: two entirely separate power amplifiers on one chassis (BS-5500) and one highly versatile preamplifier (PS-5500).

For the first time in the BS-5500 the split power supply on the inside is reflected on the outside, with two separate on-off switches and two entirely separate mono channels. And in order to take full advantage of the high quality sound and the many possibilities offered by such an amplifier, Setton developed an unusually versatile preamplifier control unit that makes it possible to tailor high fidelity sound to several rooms at one time.
.

The two sections of the BS-5500 are not only separate, but completely independant as weil. In addition to the two power switches (each of which operates in conjunction with three speaker indicator lights per channel) there are two logarithmic watt-meters, two transformers, two pairs of condensors, two fuses and two separate security panels with their own set of warning lights.

And, of course, two power amplifiers. The only parts which are common to both sections of the amplifier are the line cord and the chassis. In fact, if you want to operate only one of the amplifiers to hear only one channel at a time, you can, thanks to the versatility of the preamp designed to go with it. Or you can reproduce the left signal on both channels, or reverse the right and left channels. These are a few interesting ways of analysing a musical passage, if you're curious.

But really, the split power supply is there for a much better reason. Used together as they're supposed to be, the two amplifiers deliver an exceptional stereo separation and an astonishing dynamic response designed to draw the best out of the most dynamic recordings and live broadcasts available today. Because a peak on one channel, no matter how high, can never drain power from the other channel. Each is always ready to give its maximum. And each has an abundant reserve of power beyond its nominal 1 20 watts (RMS) to cover the most explosive dynamic peaks, even at high volume.

The amplifiers used in the BS-5500 are the product of Setton's research on the outstanding RS-660 receiver's amplifier, itself the product of years of previous research. Like the RS-660, the BS-5500 has a direct-coupled OCL power amp stage and a carefully regulated power supply. And it's been put together with the same Setton concern for neatness, organization and smooth operation as the RS-660: wire connections have been kept to a minimum and soldering has been replaced by "wrapped" terminal connections.

The result in the split power design is an even more extensive frequency response that is virtually distortion free from 20 Hz to 20 kHz and which varies by only - 1 dB from 10 Hz all the way to 80 kHz. With a frequency response and dynamic range of this type, the BS-5500 had to be able to control the very long excursions it requires of loudspeaker cones. It does this well too: the damping factor is an impressive 40 at 1 kHz (8 ohms).

As for total harmonic distortion and intermodulation distortion, these never exceed 0.03 % at nominal power.

Finally, it should be noted that the BS-5500 even performs in terms of the latest distortion analysis, which few manufacturers are inclined to mention at the moment. If your ear is trained enough to -detect the difference, you'll find that TIM, or transient intermodulation distortion, is virtually non-existent in the BS-5500, which explains why it sounds even better than the few amps on the market with comparable levels of THD and IMD.

The PS-5500 is a classic wide-range, low-distortion preamplifier of exceptional flexibility. It has the advanced Setton triple tone control set-up (bass, mid-range, and treble), except that there are now two banks of controls: six tone controls, two turnover controls, and Setton's usual high and low filters. Instead of the conventional 6 dB rate of attenuation, the PS-5500 filters work on a 12dB slope to effectively cut out noise without affecting
music in the audible range.

And it has more flexibility than can be found in other preamps of its class. There are two microphone jacks (stereo and adjustable mono), 2 phono inputs, 2 auxiliary inputs, 2 tape inputs, plus a DIN tape jack, headphone jack and a tuner input. Moreover, the PS-5500's remarkable fader control set-up allows fading from phono 1 to phono 2, or from AUX 1 to AUX 2, or from phono 1 to AUX 2 and so on. In addition you can mix the stereo microphone input.

The only thing lacking from the traditional disco system here is the possibility of auditioning a record before it is played. Nevertheless, if you choose to tri-amp with three BS-5500s, the three sets of bridged outputs in the PS-5500 allow you to mix and fade up to 600 superbly clean watts. And there won't be any confusion because each source activitates its own indicator light, so that in mixing, two light up at once.

As mentioned above, in conjunction with the BS-5500, the PS-5500's mode selector offers a whole new range of possibilities for "dissecting" your music. In stereo you can reverse the right and left channels and in mono you can reproduce the left or right signal on both channels, in addition to the normal right and left mixing in both channels.

When you hear the BS-PS combination you'll understand why it was awarded the "Gold Decibel" by the French trade magazine, "La Nouvelle Revue du Son".

.

The TUS-600 is Setton's first tuner. However it is by no means a novelty to the Setton engineers who have been familiar with most of its components and functions since they developed the RS-660 receiver. In fact, the TUS-600 AM/FM stereo tuner has all the outstanding tuner components of this top-of-the-line receiver, plus a few special features of its own. For example it has an adjustable output level for matching with different amplifiers and a tape deck jack to permit direct taping of radio programs. And, as with all Setton equipment, there is a unique feature which distinguishes the product from all of its competitors on the market. In the case of the TUS-600, we refer to the continuously adjustable muting threshold provided on the front panel.

As far as performance is concerned, the TUS-600 is among the best on the market. High sensivity for the reception of distant stations is assured by the 4-gang variable capacitor and sensitive dual-gate MOS-FET in the FM front end. Selectivity -- considered more important today because the majority of people live in urban areas with several broadcasting stations -- has been given special attention. The selectivity of the TUS-600 has been enhanced by the use of three two-element ceramic filters in the IF section. And since most areas receive FM broadcasts only on alternate channels,

400 Hz apart from one another on the dial, the TUS-600 has been designed to reject every strong FM signal 400 kHz removed from the desired signal, without compromise. Alternate channel selectivity is an excellent 80 dB. Stereo separation is also excellent, thanks to a highly stable Phase Locked Loop IC in the multiplex decoder. Moreover, high frequency interferences that tend to impinge on FM broadcasts are virtually eliminated by a high quality MPX filter in the decoder which assures an even cleaner sound.

If one of your local stations comes to offer dolby-encoded FM broadcasts, as is increasingly the case in America, you can take full advantage of this greatly improved broadcast sound thanks to the adaptor switch for an external Dolby decoder which is provided on the TUS-600.

Conscious that many people even like to hear AM programs through a respectable pair of speakers, Setton has equipped this tuner with a high quality AM section. A 3-gang variable capacitor handles AM reception, with improved selectivity, and a single quality IC for the medium waves copes with the AM signal's tendency to "fade".

Since Setton aims to please precisely those hi-fi fans who are the most difficult to satisfy, it was only natural that the claims made in our specifications would be faithfully represented in a listening test. We know that a better-than-average capture ratio like the 1 dB shown in our specs also sounds better than average. Similarly, the excellent signal-to-noise ratio (67 dB in stereo) shown in our specs is a modest reading of the TUS-600's no-distortion, no-nonsense stereo performance. What all this means is that when people wonder why the radio programs "sound so much better" at your place, you can simply answer that it's because you're more demanding.

Setton, of course, makes no secret of this quality and the quality inside, the richness of the sound, are reflected in the exterior design. The TUS-600 conserves the increasingly popular styling and smoothness of operation of the Setton line. The aesthetics which characterize all Setton products can be summarized briefly: sturdy, reliable appearance, harmonious repetition of certain basic forms that have been found particularly pleasing in an up-beat, stylish environment (the oblong switches, indicator lights, and catch pins on the knob controls, the slight variation of the same form in the handles), the subdued, champagne tint of the plexiglass dial plate. The smoothness of operation is due to the logical disposition of the controls, the quality of the materials used (such as the extremely smooth high-inertia flywheel behind the tuning knob), and the balancing of aesthetic and functional consi-
derations in detemining the final design. In general all the two-position or two-value functions are commanded by oblong pushbutton controls, while continuous or multiple functions like manual tuning, muting, and the three-way selector switch are commanded by rotary knobs.

To complete this examination of the TUS-600, we will introduce a new term: "fine muting". Because that's precisely what the sophisticated muting control on the TUS-600 does. The rotary control makes it possible to vary the muting threshold on a continuous scale from 14 dBf to 35 dBf. This allows you to reach into the band for the weakest stations by setting the mute control at a low value, or to skip over the weakest signals in search of the strongest signal, without being annoyed by interstation noise along the way. When seeking a good, clean station for a long listen, just set the mute way up, at 8 for example. The "mute" light will come on as you sweep across the dial. As soon as you find the ideal signal strength, the light goes off to let you know you've passed the muting threshold. The large accurate vu-meters will help you pinpoint the station in terms of signal strengh and channel centering.
.

.
- Sensitive dual gate MOS FET in FM front end
- High-sensitivity front end with 4 gang variable capacitor
- High selectivity IF section with three 2-element ceramic filters
- PLL (Phase-locked loop) IC for stable stereo performance in the MPX section
- MPX filter
- Two large meters are used for signal strength and center tuning in FM reception
- Mode indicator (mono/stereo), muting indicator
- Dolby N.R. adaptor switch for Dolby FM
.

.

Setton engineering has brought a new contribution to hi-fi conception and this element has been designed with both a vision of the future and current reality in mind, testimony to the avant-garde spirit of the Research Division of the Setton Engineering Department. However, the RCS-X 1000 should not be likened to one of those 'prototypes" which are often as defective and as unreliable as they are ingenious. Rather, it is a well-tempered instrument equipped with the most refined component materials on the market - materials used regularly in such high technology fields as computer science and space research.

The manufacturing and test route has been mathematically formalized according to the principles of Graph Theory, which provide a systematic method of measurement (and thus of verification) of each functional link between modules.

There are in fact two RCS-X 1000's. The first one is like a stand covered with buttons and all shiny with its displays. The second one is a black box equipped with a small gold key and a warning light. They are joined by a very broad, flat multiconductor cable. Herein lies the principal originality of the RCS-X 1000: it was designed for remote control of amplification and reception. The stand is thus the center of all the control knobs: station tuning, volume, monitoring, input and output controls, tone controls, headphone and microphone jacks. The multi-conductor cable, designed to run under carpets and rugs, leads to the black box. This contains all the circuits which can be separated from the controls themselves and includes all the inputs and outputs, the outlets and the power supply.

The RCS-X 1000 features a digital frequency display - a system still rare today despite its recognized qualities.

Secondly, also on the tuner, there is a unique electronic "VU meter". It consists of an LED display looking like an inverted "T". When the tuning is perfect the vertical bar is at its maximum length and the horizontal bar disappears.

The third remarkable feature lies in the "Security Panel" - a Setton exclusivity similar to the one in the RS stereo receiver series.

And the last feature we will point out is the integrated volume and balance control system. This innovative system consists of two rocking levers (one per channel) which activate two logarithmically calibrated VU-meters in the form of LED displays, indicating volume, balance, and even the "clipping" threshold.

The tone controls offer four crossover points, controlled by four knobs (two per channel), with each correction acting on eleven positions. In turn, each of these modulations is translated on four digital readout displays that are calibrated in decibels with reference to the linear curve.

Additional features which are certain to interest anyone during a "hands on" experience with the RCS-X 1000 are the several filters, the monotoring controls and the presence of a "pink noise" emitter to help in instantly determining loudspeaker phasing; moreover there are six push button station settings. Each one includes a fully electronic potentiometer for fine tuning of preset stations. Just beside these six potentiometers, there is a variable muting control.

Here are some of the most significant circuits:

- The phono preamplifier. What is most remarkable here is the preamp's ability to correct the RIAA curve with never more than a +0.2dB deviation. Input impedance can be set for three different values (25, 47, 100 kOhm).

- The tone control preamplifier. What is most original here is the technique used to display the tone corrections. First the value of the required correction is determined. Then, thanks to a special circuit, this value is recorded in binary coded decimal (BCD) before being amplified and translated into a 7-segment code. Finally, the value of the correction is transmitted to the LED display, which expresses the correction in terms of its variation (in decibels) from the linear curve, as mentioned above.

- The volume control circuit. The first notable detail here is the professional quality of the potentiometers that were used. Then there's the electronic "VU meter", actually a dual-axis LED display. The logarithmic scale works through a double rectifier which acts upon the message level. An 8-stage amplifier (2 x 4 of 15 dB each) covers a dynamic range of 60 dB per channel, a spread seldom achieved even in today's best dynamic recordings.
.

The "pink noise" generator transmits a signal from the terminals of a Zener diode. These signals are filtered to yield the proper balance of frequencies.

The power supply circuits have been designed to avoid overload. When the unit is turned on, all the output circuits remain open (off) until the voltage reaches its nominal value. On the other hand, when the power is turned off, the voltage is immediately measured and the output circuits are opened (turned off) only after the incoming voltage has been substantially reduced. Thus, there is no danger of a loud cracking sound dammaging loudspeakers or other electronic parts. And this process is controlled by computing circuits tied in to eight different relays.

Then comes the tuner section of the RCS-X1000. The FM front end is composed of four "varicap" double diodes controlled by a special IC resistant to temperature variations.

The automatic frequency control switch directly activates all the varicap diodes for drift-free operation. The IF amplifier calls upon ceramic filters that insure extremely low distortion, while the multiplex decoder uses a single PLL IC.

We will complete this overview of the various circuits which make up the RCS-X1000 with an examination of the quartz-controlled frequency. The signal of the front end's oscillator is amplified, divided, then sent to a quartz- operated frequency meter. During an interval determined by the quartz cristal's vibration, the signal periods coming from the divider are counted. This value, treated as in the tone control operation described above, is then displayed in four figures on the parel.

We have thus gone over some of the features of this hi-fi control center. They should not overshadow the fundamental qualities of the whole: high performance at all levels, figures which may well make the Setton Hi-Fi Control Center a star of the 1980s.

.
- Tuner with 6 preselected FM stations Automatic frequency control - 4 digits display for tuned frequency
- Two volume levers. Bass and treble tone controls with 2 cross over frequencies and numerical display of the amount of correction
applied in dB. Low and high frequency filters (2 frequencies each). Tone defeat switch
- Speakers mode (none. A, B. C, A + B, A + C, B + C, A+B + CJ2 stereo headphones outputs:
- 5 inputs: phono 1, phono 2. Tuner, Aux /,
Aux 2
-Low frequency "pink" noise generator for
proper speaker phasing
- Double monitoring on Tape 1 and Tape 2
- Security panel
.

.

In terms of the technology involved, the turntable is the least complex of all the components in a hi-fi system. Other than the delicate task of transduction performed by the cartridge assembly, a turntable's functions are more mechanical than electronic in nature. And since most of the significant technical problems involved in phonograph record sound reproduction were solved a good many years ago, all the turntables of good quality recently introduced in the market perform according to well-established norms of high fidelity. In others words, there are perhaps fewer differences between any two high quality turntables than there are similarities.

Recognizing this, Setton isn't promising a "technical revolution" with its new TS-11 turntable -- though it certainly passes all the traditional tests of quality with honors. (Only 0.08 % wow and flutter; "ARLL" (was ist das ???) weighted rumble practically non-existent; calibrated stylus force gauge and antiskating for an accuracy as perfect as can be measured; and a mere 0.001 grams of vertical and horizontal friction).

Nonetheless, what we are offering is spectacular: spectacular design, actually, a revolutionary new format for more convenient record playing, with front access to the platter and its controls. Indeed, having already achieved their technical goals, the Setton engineers went a step further and tackled a problem which up to now has been generally neglected by everyone: the turntable's encumberance.

The result was the TS-11, which will end the turntable's habitual isolation as a component and make it welcome among all the other components in a rack or shelf installation.

The TS-11 is the first step in what Setton hopes will become the turntable's renaissance, because it represents a complete innovation.

It does away with a good number of outdated traditions in turntable design while keeping the best technical aspects intact, or improving them.

The TS-11's unique front access construction cuts out wasted space above and behind the turntable. The front of Setton's sliding cover moves back horizontally and nestles over its rear half, with such smooth sliding action in either direction, it can't disturb tonearm tracking.

This simple innovation in conjunction with the convenient disposition of the controls on the front (rather than the top plinth) permits the TS-11 to be placed where many people have always felt it belongs: just below eye level on a rack or shelf, alongside other components.

Vertical-action controls in this frontal configuration are a guarantee against accidents as well as against vibrations, since pressure is applied downward, toward a perfectly rigid
surface, rather than against the console itself.

The illuminated read-out panel makes it possible to check speed and functioning and to tell when a record is finished playing at a glance. A very special feature - a unique edge light similar to that on professional studio. designs -- allows you to choose exactly the cut you want to hear, even in full obscurity. Finally, the whole assembly is protected from vibrations by newly designed, wide insulating base pads.
It was about time somebody did something for the turntable.

That's why Setton Engineering went to such lengths in the conception, development and testing of the TS-11.

.
- Automatic return at the end of the record
- Auto-reject whatever you like
- Manual straight operation
- Pause with viscous damped filter
- Auto-shut-off power supply at the rest position
- Speed indicator light
- Belt-drive
- 4 pole synchronous motor
- 2 speeds: 33 1/3 Et 45 RPM
- Weight of platter: 2.05 I bs. with rubber mat
- Anti-skatmg system: spring type adjustable
- Head shell: detachable
- Counter weight: adjustable
- Wow and flutter: 0.08 %
- Signal to noise ratio: 60 dB (DIN B)
.

Setton: A young team, resolutely international, where engineers, researchers and designers have been working together for the last 7 years - Working hard to create a line of audiophonic components of the very highest quality, based on innovation - almost on technological revolution.

Computerized data has been largely used. The very best components, often over-dimensionel with regards to the constrainte they're submitted to, are the guarantee of an exceptional reliability.

The proof: practically the whole Setton line is covered by a 5 years guarantee and each machine is individually controlled and factory tested prior to delivery.

The Setton line of audiophonic composants are intended for audiophiles, the distribution is assured by a network composed of the best hifi specialists, highly qualified, preselected professionals.

SETTON INTERNATIONAL Ltd. - 60, Remington Boulevard, Ronkonkoma - NEW YORK, N.Y. 11779

AUSTRIA - Audio Sonics - 11 50, Wien - Grimmgasse 23 - CANADA - Evolution Audio Ltd. - 2289 Fairview street - suite 31 4 - Burlington, Ontario L7R LE3 DENMARK - Nielsson Trading Company - Vallensbaekvej 22 B II - 2600 - Glostrup - ENGLAND - Lewin-Adams Marketing Ltd. - 7, Clarke road, Mount Farm Milton-Keynes (Bucks) - FRANCE - Setton & Cy - 88, avenue du General-Leclerc - 92100 Boulogne - GERMANY - Dynaudio - Schulterblatt 120/124 2000 - Hamburg 6 - GREECE - Electronic Hellas Ltd. - 24A, Scoufa street - Kolonaki - Athens - HOLLAND - Delcon Holland B.V. - Weteringplein 7 - Den Haag - ITALY - Audio Consultants - Via Ventun 70 - 41100 - Modena - MALAISIA - Atlas Sound Company - PO Box 2'097 - U.I.C. Bldg - 5, Shenton Way - Singapore 1 NORWAY - Ingeniorforretningen Atlas A/S - Konows Gates - Oslo 1 - SWEDEN - Septon Electronic A/B - Box 4048 S. 42104 - Vastra Frolunda SWITZERLAND - Video Sonic AG - Langgrustrasse 11 2 - 8047 - Zurich - THAILAND - Conice Electronic Company - 1 20/41 Rajprarob road Indra Shopping Center - Bangkok
.