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THE FISHER
P hilhqrmonic
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WO L EADER IN HI G H FI D E L I T Y
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II /rrH your purchase of a FISHER instrument you have com- Remember always that we want this equipment to give you the\t
YV pleted a chain of events that began many months ago, in our performance of which it is capable. Should you at any time needin-
research laboratories. For it is there that the basic concept of the our assistancetoward that objective, please write me personally.
equipment you have just acquired came into being-its appearance, lt
its functions, its quality of performance, its convenience of use. AN IMPORTANT SUGGESTION

But the end step-your purchase-is merely a beginning. A door Many hours have been rp".tfby our engineersand technical writers ri
r!
ri
has now opened, for you and your family, on virtually unlimited to create this instruction book for your guidance and enjoyment. il
years of musical enjoyment. Recognizing that one of ihe keys to If you want ttre most out of your FISHER, there is only one way
pleasurable ownership is reliability, we have designed this instru- to obtain it. with the equipment before you, please read this book-
ment to give long and trouble-free service. In fact, instruments we let carefully' It will be time well spent!
made over twenty- five years ago are still in use today. A
/hld,.y F*r"z Founder president
and


FI SHER FIR STS -Milestones in t h e His t o ry o f Hig h F id e lit y Re p ro d u c t io n .
1937 F irs t h i g h - f i d e l i i y so u n d syste ms featur ing a 1955 Fir st cor r ec tl y equal i z ed,di r ec t tape- headm as - | 960 F i r s t r ev er ber ati on dev i c e,for u s e i n h i g h f i d e l t y
b e a m - p o w e r a mp l i fi e r, i n ve rse feedback, ter audio contr ol sand s el f- pow er ed eam pl i fi er .
pr equi pm ent- T he F i s her D y nam i c S p a c e x p a n d e r.
acoustic speaker compartments (infinite baffle 1956 Fir st to use Pow er M oni tor i n a hom e am pl i fi er . 1960 F i r s t s ter eo tuner w i th M i c r oT u n e .
and bass reflex) and magnetic cartfldges. 1960 F i r s t F l Vltuner w i th s i x l F s ta g e s .
1956 Fir st All- Tr ans i s tor i z edPr eam D l i fi er - Eoual i z er .
1937 F irst e x c l u s i ve l y h i g h fi d e l i ty T R F tuner , fea- 1960 F i r s t F M tuner w i th fi v e l i m i te rs .
t u rin g b r o a d - tu n i n g2 0 ,0 0 0 cycl e fi delity. 1956 Fir st dual dy nam i c l i m i ter s i n an F M tuner for
nom e use. 1960 F i r s t fr ont panel antenna s el e c t o r s w i t c h , 7 2 -
1937 F irs t t w o - u n i t h i g h {i d e l i ty syste m with sep- 300 ohm , Loc al - D i s tant pos i ti o n s .
a ra t e s D e a k e re n cl o su re . 1956 Fir st Per { o r m anc eM oni tor i n a hi gh qual i ty
amplifier for hom e us e. 1961 F i r s t M ul ti pl ex uni ts w i th ST E R E oB E A C o Na n d
1938 F irs t c o a x i a l sp e a ke r syste m. '1956 First FM-AlVl autom ati c s w i tc hi ng, m ono to s t e re o .
tuner with TWo meters. 1961 F i r s t c om pl ete r ec ei v er sw i th M u l t i p l e x .
1938 F irs t h i g h f i d el i ty tu n e r wl th a mp l ified AVC.
1956 Fir st com plete gr aphi c r es pons e c ur v e i ndi c a- 1961 F i r s t F M - Ster e0- M ul ti pl ex tune rs w i t h S TE R E 0
1939 F irst 3 - W a y Sp e a ke r i n a h i g h fi d e lity system . bass and tr ebl e.
tor for BEAIV].
1939 Firs t C e n t e r - o f-C h a n n e l u n i n g i n d icator .
T
1957 Fir st Golden C as c odeF M T uner . 1961 F i r s t l ouds peak er y s temw i th f ra me l e s sw o o l e r
s
1945 First P r e a m p li fi e r-E q u a l i ze r th se lective pho-
wi
c one, el i m i nati ng al l par as i ti c re s o n a n c e .
n o g r a p h e q u a l i za ti o n . 1957 Fir st M icr oRayT uni ng l ndi c ator .
1961 F i r s t i nter nal s w i tc hi ng s y s te m t o p e rmi t i m-
1948 F irst D y n a m i c R a n g e E xp a n d e rw i th feedback. 1958 Fir st Ster eophoni c adi o- Phonogr aphi th M ag-
R w m edj ate tape pl ay bac kw i th use o f a l l c o n t ro l s
1949 F irst F M - A|\ T un e r wi th va ri a b l e A F C.
4 netic Ster eo C ar tr i dge. and s w i tc hes .
1952 F irst 5 0 - W a t t , a l l -tri o d e a mp l i fi e r. 195S Fir st high- qual i ty Ster eoR em oteC ontr olSy s tem . 1952 F i r s t s i m pl i fi ed- oper ati on C o n t ro l- A mp l i i i e r,
1952 F irst s e l f - o o w e re dMa ste r A u d i o C o ntr ol. 1959 Fir st complete Ster eophoni c F M - AM R ec ei v er w i th i nfr equentl y us ed c ontr o l s b e h i n d t ro n t -
( FM- AMtune r , audi o c ontr ol ,4o- w att am pl i fi er ) . panel c ov er , y et i m m edi atel y a c c e s s i b l e .
1953 F irst s e l t - p o we re d ,e l e ctro n i c sh a rp- cut- offfil-
t e r s y s t e m f o r h i g h fi d e l i ty u se . 1959 Fir st high- c om pl i anc e us hi gh- effi c i enc y ee-
pl fr 1962 F i r s t l ouds peak er w i th eddy - c u rre n t -d a mp e d
piston spea k ers y s tem . v or c e c 0i l .
1953 F irst U n i v e r s alH o rn -T yp e p e a ke rE nclosur e
S for
1952 F i r s t bas s s peak er w i th c omb i n e d s e rra t e d -
a n y r o o m l o c a ti o n a n d a n y sp e a ke r. 1960 Fir st to use M i c r oR ayfor F M tuni ng and as a al um i num and {i ber c one.
1953 First F M - AMt u n e r w i th a C a sco d e Fr ont End. Recor dingAudi o Lev el Indi c ator . 1962 F i r s t F l \4 T uner Ki t w i th s eDa ra t e d ' A rs o n v a l
1954 Firs t l o w - c o s t el e ctro n i c Mi xe r-F a d er . 1960 Fir st com plete s ter eo F M 'AM r ec ei v er w i th 60- m eter for tuni ng and s epai a t e c a t h o d e ra y
1954 Firs t m o d e r a t e l y-p ri ce dp ro te ssi o n alFM Tuner
, watt power a m pl i fi er and new 7591output tubes . s ter eo br oadc as t i ndi c ator ( STE R E 0B E A M).
with TWo meters. 1960 Smithsonian Ins ti tuti on, W as hi ngton, D .C . 1962 F i r s t Ster eophoni c F M T une r w i t h TU N E -0 -
1955 F irst Pe a k P o we r In d i ca to r i n h i g h fidelity. accepts for i ts c ol l ec ti on Am er i c a's fi r s t c om - M AT IC M otor T uni ng.
1955 F irst M a s t e r A u d i o Co n tro l Ch a ssis with five- m er cially manufac tur ed hi gh fi del i ty r adi 0. 1962 F i r s t Super s oni cW i r el es s R emo t e C o n t ro l i n a
p o s i t i o n m i x i n g fa ci l i ti e s. phonogr aph, ade by Av er y F i s her i n 1937.
m hi gh fi del i ty c om ponent.

O1 9 6 2 FT sHER RADIo coRPoRAT IoN
,F




THE FISHERPHITHAR'NONIC
IV
MODET P-29

Stereophon ic Rqdio-Phonogroph




for the FISHER WS-l Wide Surround speakers. Twenty watts of music
ITIHE MAGNTFIcENcE old-world cabinet craftsmanship has been
of power, free of all audible distortion, are supplied by a dual-channel
I combined with the latest products of advanced electronic engineer- stereophonic power amplifier which reproduces a complex orchestral
ing to create the new FISHER Philharmonic -a musical instrument passage as easily as the delicate tones of an oboe, Two acoustically-
that meets the most exacting criteria. Each section in the Philharmonic balanced three-way speaker systemsrecreate the dynamics and spacious-
has been designed to meet the laboratory standards that distinguish all ness of the modern orchestra as only stereophonic sound reproduction
FISHER components. The unusually sensitive tuner can be used for makes possible.
AM and FM, and for multiplexed FM stereo reception when the Flawless circuitry, the use of costly, carefully selected materials,
optional plug-in adaptor is installed. Six controls enable you to select and unhurried manufacture - essential constituents'of quality which
any program source instantly and to adjust volume and tonal char- are too often lost in mass production - all of these will contribute to
acteristics to your taste. The renowned Garrard record changer and years of trouble-free operation and to your greater listening pleasure.
diamond stylus cartridge convey faithfully every musical nuance of These are the attributes which have, {or over twenty-five years, created
monophonic or stereophonic records. Special connections are provided the world-wide FISHER reDutation.
WHAT IS STEREOPHONIC
SOUND?
q TEREoPHoNIc souND (stereo) is a method of reproducing sound by
t) means of two independent channels, left and right, so that a
spatial feeling of direction and depth is recreated. It is the exrension
TABLE OF CONTENTS oi high fidelity sound into three dimensions. In fact, it ofiers the closest
approach to true high fidelity yet achieved because it comes closest to
the ultimate aim of all high fidetity systems- a perfect recreation
PAGE
of the original live sounds. Thus, good stereophonic sound is high
fidelity in the truest sense of the term.
INSTATTING PHITHARMONIC
THE 4 This feeling of dimension is lost with monophonic (single channel)
reproduction, because our ears help determine the relative position of
THE CONTROTS 4 separate instruments in an ensemble only if each hears a slightly dif-
ferent version of the sound, just as visual depth perception depends
on the two separate, slightly difierent pictures received by the eyes.
ACCESSORTES Merely using two or more speakers on a single amplifier does not
solve the problem; it only spreads the single sound source without
ANTENNAS providing the all.important difierent "aural viewpoints."
True stereo sound, then, requires the use of two independent sound
paths from the origin to your ears, kept separate at all times during
REPLACING DIAI LAMPS
THE 9 recording, transmission and reception. This requires the use of two
separate sets of recording amplifiers, a means of keeping the channels
FORTHE TECHNICALTY.MINDED 9 apart during recording and radio broadcasting, and finally, two inde.
pendent amplifier and speaker systems in the home. In a stereo record,
TECHNICAT each wall of the groove contains a separate signal, and the stereo
SPECIFICATIONS t0 cartridge is designed to pick up each of these two channels separately.
The new system of FM stereo broadcasting (known as "multiplex")
utilizes a separate supersonic signal, in addition to the main signal.
By combining these two signals in a multiplex converter, the original
Ieft and right channels are recovered. Stereo tape recordings are made
by impressing the two channels on separate,parallel tracks running
along the length of the tape.
No attempt is made to keep the two channels completely separate.
In a live performance, your left ear hears many of the sounds on your
right, and vice versa. Thus, keeping the channels totally apart from
the original recording sessionsto the final playback in your home would
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result in an unnatural efiect. But enough separation is maintained so Remove the rubber bands used to secure the pickup arm and redord
that a definite {eeling of direction occurs as you listen to the repro- overarm.
duced sound. The result is a remarkably vivid illusion of great
d e p t h a n d s p a c io u sn e ss, ch a s is n o r m a lly o b ta ined on'l y at a l i ve
su The Antennqs
perlormance. There are two antennas already built into the Philharnonic: one lor
AM and one for FM. The AM antenna is a ferrite-core loop, mounted
on the chassis. It will provide excellent reception of AN{ stations
INSTALTINGTHE PHITHARMONIC i n al most al l cases w i thout the ai d o{ an external antenna.
The FM antenna is made o{ 300-ohm "twin lead", the same materia'l
f D L E A s E R E A Dth e se in str u ctio n s ca r e fu lly b e fo r e you begi n usi ng used for TV antenna lead-in wire, cut and wired esperrially {or use
I your Philharmonic. This booklet was prepared with you in mind,
as an F\'I antenna. You will find it srapled to the back of the cabiner.
to help you become familiar with the controls, Correct installation and It will give excellent results on both stereophonic and monophonic
an understanding of what each control does is important in obtaining FM broarlcasts, except possibly in extreme fringe areas. If you have
the fullest enjoyment from your FISHER Philharmontc. di ffi cul ty w i th FM recepti on, consul t "A N TE N N A S " on page 8 of
The Philharmonic operates on AC on!.y.Plugging it into a DC outlet thi s manual .
will result in serious damage, The power cord extending from the back
of the cabinet should be connected to a wall outlet supplying 105 to
120 volts AC at 50 or 60 cycles. The 60-cycle current is availablc THE CONTROIS
in almost all areas of the United States; but if you are in any doubt
a b o u t y o u r p o w er so u r ce . we su g g e st yo u ca ll your l ocal uti l i ti es f\ n-rul N l rxr pA cEthere i s an i l l ustrati on of the dres s panel of y our
c o m p a n y t o m a k e su r e , \f Plilharmonic, with all markings and controls shown. The con-
I n t h e r a r e c ase th a t yo u h a ve S0 - cycleAC in your l ocati on, you trols have been set at the {actory to the positions shown so that you
will need a special adaptor pulley so that the Record Changer will can use y<:ur Philharmonic as soon as it is installed. We urge you,
revolve at the correct speed. Check rvith your F'ISHER dealer. though, to read the following section in a careful and leisurely way
so that you will know what each control does and how to use it to
The Record Chonger your benefit. You will find it helpful to refer to Figure 2 as you read,
f)uring transit, the Record Changer is held firrnly to its mounting or, better still, to operate the controls themselves and become iamiliar
board by two flat-head screws - one in the left rear corner of the w i th them.
Changer baseplate, the other near the right {ront corner, just behind
the control levers. To prepare the Changer for use, these screws Tuni ng
should both be turned clockwise as far as they will go without using This control selects AM and FM stations you want to receive, The
force. When this is done, the Changer baseplate will "float" about a si ngl e knob operatesboth'the A M and FM secti onsoI the P hi l .harmoni c
half inch above the mounting board, and should bounce Ireely up tuner; w hi ch mode you recei ve depends upon the s etti ng of the
and down under hand pressure. The purpose of this shock mounting selector switch, which we will explain below.
is to prevent cabinet vibrations and jolts from causing the stylus to On the dial glass, you will find the FM markings above, and the AM
skip around the record grooves. calibration below. Between them is a "logging" scale, calibrated in
linear {ashion {rom 0 to 100, which you may use to locate either ANI
or Fl\{ stations by noting the position of the dial pointer along the
logging scale. \Iany people find this more convenient than remember-
i n;r exacl stati on frequenci es.

Power On-Off crnd Volume Control
This control combines the lunctions of power switching and volume.
,.in',
@: ; ln the AC OFF position, power to the entire set is shut ofi. Turning
the control slightly clockwise until it clicks turns the power on. You
"V/ will see the tuner dial light up, and the jewel indicator at the base
of the Philharmonic will also be illuminated. Wait about 30 seconds
for the tubes to reach operating temperature. Turning the control
.A'-
j'V,t
further clockwise increases the totai sound volume from both soeakers.

Bqlqnce Control
You can use this control to obtain equal volume from both speaker
systems in rhe Phil.harmo'nic; and, in general, to vary the volunie of
the right speaker system relative to the left. For a natural stereo
a ;6 r';
'vr- efiect, balanced separation is important: neither side should predom-
inate over the other any more than it did during the original per-
formance. Normally, this control will be in the center, or NORMAL
S position, although snrall variations to either side are to be expected
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material. Turning the control toward MAX.R will increase the volume
of the right speaker relative to the le{t; turning it toward MAX-L
: will increase the lelt speaker volume over the right.

Treble qnd Bqss Conlrols
A ': e With these controls you can adjust the tone quality of the sound
to suit your tastes, or to compensate {or deficiencies in the program
V /,
material. The Bass control afiects the low-frequency portion of the
sound spectrum, leaving the midrange and treble unchanged. Turn-
ing this control toward MAX boosts the bass; turning it ro MIN
attenuates it. Any intermediate degree is available. The Treble con-
trol boosts the high frequencies relative to the middle and lower
notes when it is turned toward MAX, and attenuates them toward

F I G U R E . D r e s sP o n e l o f th e Ph ilh q r m o n ic
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FIGURE fhe ReceiverChossis
3.




AND RIGHT
LEFT
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TONECONTROI- P
AM I
Ave I
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@ FM IF AMP FM IF AMP




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IEFT RIGHT AND I"IM AND TIM




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PIUG IN MUI-TIPI-EX
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ADAPTOR




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- PU SH .PU T L
POWER OU]
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MIN, in the same manner as the Bass control. Both controls have PHONO, With the switch in this position, you can play either mono-
NORMAL positions, and when they are set there, the Philharmonic phonic or stereophonic records on the Changer in the Philhannonic.
will reproduce the entire frequency range exactly as transmitted or When you play a stereo disc, the left and right channels will be fed
recorded. This is where the controls should generally be set, but to the corresponding speaker systems and you can enjoy stereophonic
since their use is chiefly a matter of taste, we suggest that you exper- sound. With a monophonic recording, the same sound will be heard
iment to find the settings which suit you best. The controls vary treble from both speakers. This is not stereo, since the program source is
and bass in both channels simultaneously. monophonic, but the reproduction will still be greatly enhanced by
hearing it through two sets of speakers.
Selector Switch
AUX. When the Selector is set to this position, the Philharrnonic will
This is the switch that will permit you to select the various functions
reproduce an external highJevel audio source fed into the AUX INPUT
of your Philharmonic. Below are the positions and their uses.
jacks on the Receiver chassis. Such a source might be an additional
AM. Use this position to receive standard AM broadcasts, Tune tuner, audio from a TV set, an electronic organ, or some similar device.
according to the AM portion on the right side of the tuning dial, or See "ACCESSORIES" before you make a connection.
use the logging scale.
FM. In this position, your Philharmonic will receive monophonic FM
broadcasts, and also stereophonic FM broadcasts monophonically. In
both cases, the same sound will be heard from both speaker systems.
ACCESSORTES
FM STEREO. If the FISHER MPX.77 Multiplex Adaptor is installed \r ouR Philharmonic is provided with jacks for connecting several
in your Philharmonic, you can receive multiplexed FM stereo broad- I additional high fidelity components: a tape player or tape recorder
casts with the Selector set here. If you do not have the Adaptor, this for stereo or mono tapes; any highJevel stereophonic source, or mono-
position is inactive. See your FISHER dealer about obtaining the phonic TV sound if the two AUX INPUT jacks are connected together;
MPX-77. It is extremely simple to install (no electronics experience the MPX-77 Multiplex Adaptor; eind a pair of FISHER WS.l Wide"
is needed to do so), but if you wish, your dealer can assist you. Surround@ speakers.
With the Adaptor installed and the S$:ctor switch set to FM All these jacks are accessible from the back of the Philharmonic,
STEREO, you will not find it difficult to recognize FM stereo broad- You will 6nd it helpful to refer to Figures I and 3 while you read
casts, because of their unique sonic "spread". A few days'experience what follows.
with your Philharmonic and with FM stations in your area will tell
you which ones broadcast stereophonic programs regularly. Your local Tope Recorder
newspaper will also be a useful guide in planning your FM listen-
You can record on tape any mono or stereo program through the
ing, and will often provide a list of stations in your vicinity which are
Philharmonic. The jacks labelled RCRDR (RIGHT and LEFT) on
equipped to broadcast stereo.
the back of the Receiver chassis will feed independent left and right
Note: Ifyour Philharmozic is fitted with the Adaptor, we suggest that stereo signals to a tape recorder. Whatever souice is selected by the
you do not try to receive monophonic FM broadcasts with the Selector Selector switch on the Philharmonlc panel wiII appear at these jacks,
in the FM STEREO position, since there may be a noticeable hiss but the Volume, Bass and Treble controls have rno efiect on the
present in the background. For monophonic FM, switch to FM. recorded signal. Thus you can record in complete silence, if you wish,
by turning the'Philharmonic's Volume control all the way down, or an outdoor or attic antenna may be required, especially for multi-
set the Volume control anywhere you like for pleasant listening, using plexed FM stereo reception. If you wish, you can also experiment
the tone controls, too, without any efiect on the recording. Recording with an external AM antenna,
volume is controlled only by the appropriate knob on the recorder Figure I includes the Antenna Terminal Identification Strip located
itself. on the back ol the Philharmonic cabinet. It will be helpful to refer to
it as you read,
Auxiliory Sources FM Aniennq
A pair of auxiliary input jacks, labelled AUX, one for each channel,
An outdoor or attic antenna will olten make a world of difierence
is located at the top of the rear chassis skirt. These are high-impedance,
in the quality and reliability of reception. We suggest you see your
highJevel inputs, suitable for audio from a tape player (or playback
dealer or TV serviceman for detailed information about makes and
from a tape recorder), TV sound, an electronic organ, or any other
types. If you use an external antenna, first disconnect the two lugs
stereo or mono highJevel source. If tl,re source is monophonic, the right from the built-in FM antenna from the terminal screws, and then
and left channel AUX inputs must be fed together with the same sig-
connect the wires {rom the nel{ antenna to the terminals marked
nal, otherwise sound will be heard from only one side ol the Philhar-
FM ANT. Under some conditions, use of an outdoor antenna may
monic. This can be done by using a "Y-connector", about which your
increase the input signal to the point where it causes overloading of
dealer or TV repairman can advise you. the FM tuner. When this condition is present, a strong FM station
In order to play tapes on a player or recorder through the PhiI-
may appear at several points of the FM band. To prevent overloading,
harmonic, the player or recorder must already contain the necessary
remove the lead from the outdoor antenna and reconnect the internal
preamplifier and equalizer circuits. If you are in doubt, consult the
antenna of the Philharmonic.
instruction manual which accompanies your tape recorder.
Often a TV antenna will serve very well for FM reception, both
mono and stereo. Since the relative success or failure oI an attempt
Mulriplex Adaptor to use a TV antenna for FM is subject to many unpredictables, all
This optional accessory, the MPX-77, brings you full enjoyment we can say definitely is that it is worth a try. If it appears to improve
from multiplexed FM stereo broadcasts. It fits into a special cut.out reception, purchase a good-quality two.set coupler so that you can
on the chassis, and four cables connect it into the receiver circuits. use the same antenna for your TV set and Ior the Philhannonic.
Installation is quick and simple. If you wish to obtain the adaptor, Since multiplexed FM reception requires more signal at the anrenna
see your FISHER dealer. He can help you install it. terminals than monophonic FM, you may find that stereophonic
broadcasts are noisy even though monophonic programs from the
same station are quiet. If this is the case, you may need to relocate
ANTENNAS your FM antenna, reorient it, or use one with higher gain or direc-
tional properties.
\/ ouR Philharmonic has two built-in antennas, one for AM and one When you use a directional antenna (many TV antennas are of
f for FM. These will suffice for all monophonic and stereophonic such a design), you will often obtain good reception from one com-
reception except under very unusual conditions: an extreme "fringe" pass direction only; if this is true in your case, you may need a rorator
area, or one where a great deal of inter{erence prevails. In such cases, for your antenna.
AM Anfennq amplifier, and the second half as a local oscillator and mixer. The
A suitable AM antenna can be anything from a {ew feet of wire mixer produces the 10.7 megacycle intermediate frequency (IF) which
strung behind a picture molding or draped behind the cabinet, to an is amplified by three IF stages. The final IF stage also behaves as a
elaborate "long-wire" array on poles outdoors. A complicated system Iimiter, efiectively clipping ofi any spurious amplitude variations that
is generally unnecessary, however, and it may cause overload and may have afiected the FM signal, and thus providing the noise-free
distortion of the sound. If you wish to use an external antenna for reception which contributes so much to the popularity of FM. A wide-
AM reception, Ioosen the screw marked AM and the one marked band, low-distortion ratio detector follows the limiter, using two
with a ground symbol, both on the antenna terminal strip. The matched semiconductor diodes.
"jumper" link should swing free. Tighten the ground screw to keep The optional multiplex adapter is the device which extracts separate
the link from rattling, and make sure rhat the link is not touching lelt and right channels from the multiplexed stereo signal transmitted
the AM terminal screw. This AM terminal is now free for the con- by the radio station. In all FISHER tuners, decoding is accomplished
nection of an AM antenna wire. by the far superior time-division switching technique, resulting in
better separation than available with other methods, less noise, and
grPater long-term stability.
REPTACINGTHE DIAL LAMPS Turning to the AM portion of the tuner, we find a tuned RF ampli
fier stage (EF93/68A6), which puts the sensitivity and selectivity of
nnnr #4? nuI-ss are used. To replace any one of them, remove the this tuner far above most conventional AM radios. Conversion to the
[t
I composition board rear panel o{ the Philharmonic. The bulb 455 kc IF is accomplished in an EK90/68E6 mixer-oscillator. The IF
assemblies can then be reachld {rom the rear of the set. Press the amplifier features a choice of sharp or broad selectivity.
metal clip holding the bulb assembly to the chassis and pull downward. In the control portion oI the Receiver chassis we find the switch-
Once the assembly has been removed from the chassis the bulb can be ing center oI the Philharmonic. Here are the tone controls, providing
detached by turning it counterclockwise. 17 db total variation of bass and treble; the Volume and Balance
CAUTION: As a safety precaution, disconnect the power <:orcIbelore controlsl and the Selector switch, which selects any one of five possible
removing the back panel of the Philharmonic. program sources or modes of operation.
Lamps can be ordered from Fisher Radio Corporation, 2l-21 44th Loudness compensation is provided automatically to minimize ap-
parent Ioss of bass and treble at low volumes due to normal charac-
Drive, Long Island City l, New York. The part number is 150009.1.
teristics of the human ear. Output jacks are provided for feeding a
tape recorder with a signal unafiected by tone or Volume control
FOR THE TECHNICATLY.N'IINDED settings.
The power amplifiers (one ELLB0 dual-beam-power tube for each
|TIHE TIsHER Philharmonic is a high fidelity stereophonic radio- channel, connected push.pull) supply the audio power necessary to
I phonograph console, incorporating a tuner capable of receiving drive the two three-way speaker systems. Twenty watts of undistorted
AM, FM, and multiplexed FM stereo broadcasts; a Record Changer, music power is available. Each push-pull output stage is driven by a
a power amplifier, and two matched speaker systems. split-load phase inverter, which is fed in turn by a triode voltage
The FM tuner portion uses an ECCB5/6AQB in its "front end," with amplifier. Negative feedback is taken, in each channel, from the out-
the first half of this dual triode tube used as a srounded-srid RF put trans{ormer secondary to the voltage amplifier cathode.



9
TECHNICAT
SPECIFICATION5

lluric Powcr Ourpur (lHFIl/l slondord, 20 watts
both chonnek)
Hormonic Di3torlion ot Rotcd t.o%
lluric Powcr Oulput

Frcquency Rcsponrc Unif orm throughoutaudible
range as an integrated system
Frti{ultiplGx ttcrco Scporotion Better than 30 db at I kc
(with opionol MPX-77 odoptor)

Amplifier Chonnel lleporotion) S0dbat lk c
Scnsirivity (AUX cnd IAPE inpurs, 320 millivolts
for Rotcd Outpul)
Ffil Tuner Sensitivily (IHFM stondordr) 2.3 microvolts
AIII funcr Scnsirivily 5.0 microvolts
Spcoker Complemcnl (each chonncl) One8" woofer
One 4 x 6" midrange unit
One 3" tweeter
RecordChonger Garrard 4.T.6
lotol Powcr Consurnplion I(D watts, 110VA
(including Chonger)