Fisher Ambassador IV, A-60 Operating Instructions Manual

OPERATING INSTRUCTIONS

AN

D

WAR RANTY

THE

FISHER

Ambqssqdor

lV

MODEL

A.60

Stereophonic

Rqd io-Phonog rd

ph

PRICE

9r.00

WORLD

LEADER

IN HIGH

FIDELITY

\tr/rtH

your purchase

of a FISHER

instrument

you

have

com-

V V

pleted

a chain of events that

began many

months ago,

in our

research

laboratories. For

it is there

that the basic

concept

of

the

equipment

you

have

just

acquired

came into

being-its appearance,

its functions,

its

quality

of

performance,

its

convenience

of use.

But the

end step-your

purchase-is

merely

a beginning. A

door

has now

opened, for

you

and

your

family,

on virtually unlimited

years

of

musical

enjoyment. Recognizing

that one

of

the keys

to

pleasurable

ownership

is reliability, we

have

designed this instru-

ment to

give

long and trouble-free

service,

In

fact, instruments we

made

over twenty-five

years

ago

are

still in use

today.

Remember

always that we

want

this

equipment

to

give you

the

best

performance

of which

it is

capable.

Should

you

at

any time

need

our assistance

toward that

objective,

please

write

me

personally.

AN IMPORTANT

SUGGESTION

Many hours have

been

spent by

our engineers

and technical

writers

to

create this instruction

book for

your guidance

and

enjoyment.

If

you

want

the most

out of

your

FISHER,

there

is only

one way

to

obtain it.

With the equipment

before

you, please

read this

book-

let

carefully. It

will be time well

speot!

1937

I

937
1937
1938

1938
1939

1939
1945

1948
1949
1952
1952
1953

1953 First

Universal

Horn-Type

Speaker Enclosure

for

any room location

and any speaker.

1953

First FM-AM

Receiver with

a Cascode

Front End.

1954

First low-cost

electronic

Mixer-Fader.

Aa*y

F*at

r-

Founder and

presidenl

1960

First to uSe MicroRay

for FM

tuning and as a

Recording

Audio Level

Indicator.

1960 First

complete stereo FM-AM

receiver with

60-

watt

power

amplifier and new

7591 output tubes.

1960

Smithsonian Institution,Washington,

D.C.,accepts

for its

collection Amdrica's

first

comfierciallv

manufactured

high fidelity

radio-phonograph',

made

by Avery Fisher

in 1937.

1960 First reverberation

device, for

use

in

hish

fidelitv

equipment

-

The Fisher Dynamic

Spac-expander-.

1960

First stereo

tuner with MicroTune.

1960

First FM tuner

with six lF stages.

1960 First

FM tuner with

five limiters.

1960

First

front

panel

antenna selector

switch,

72-300

ohm, Local-Distant

positions.

1961 First Multiplex units with Stereo

Beacon

and

automatic

switching,

mono to

stereo.

1961 First

complete receivers with Multiplex.

1961 First FM-Stereo-Multiplex tuners

with Stereo

Beam.

1961 First loudspeaker

system with

frameless woofer

cone, eliminating

all

parasitic

resonance.

1961 First internal

switching system to

permit

imme-

diate tape

playback

with

use of all

controls and

switches.

O1962

FrsHeR

RADto coRpoRAttoN

TiAlt

trhfu,

- Milestones

ln

the History

of Hish

Fidetity

Reproduction

First

high-fidelity

sound systems featuring

a

beam-power

amplifier, inverse

feedback,

acous-

tic speaker

compartments

(infinite

baffle and

bass

reflex)

and

magnetic

cartridges.

First

exclusively high fidelity

TRF tuner, featur-

ing broad-tuning

20,000

cycle fidelity.

First two-unit

high fidelity

system with

separate

sDeaker

enclosure.

First

coaxial speaker system.

First

high

fidelity

tuner with amptified

AVC.

First

3-Way Speaker

in

a high

fldelity system.

First

Center-of-Channel

Tuning indicator.

First

Preamplifier.Equalizer with

selective

pho-

nograph equalization.
First Dynamic

Range Expander

with feedback.

First FM-AM

Tuner with variable

AFC.

First

so-Watt, all-triode

amplifier.

First self-powered

Master

Audio Control.

First self-powered,

electronic

sharp-cut-off

f ilter

system

for

high

fidelity

use.

1954

First moderately.priced,

professional

FM Tuner

with TWo meters.

1955 First Peak Power

Indicator

in high fidelity.

1955 First

Master Audio

Control Chassis with

five.

position

mixing facilities

1955

First correctly

equalized,

direct tape-head mas.

ter

audio

controls

and

self-powered

preamplifier.

1956 First

to use Power Monitor

in a home

amplifier.

1956 First

All-Transistorized

Preamplifier-Equalizer.

1956 First

dual

dynamic

limiters

in

an

FM tuner for

home

use,

1956 First Performance

Monitor in a high

quality

amDlifier

for home use.

1956

First FM-AM

tuner with TWo

meters.

1956 First complete

graphic

response

curve indicator

for

bass and treble.

1957

First

colden Cascode FM Tuner.

1957

First MicroRay

Tuning

lndicator,

1958

First

Stereophonic Radio-Phonograph

with Mag-

netic Stereo Cartridge.

1959

First high.quality

Stereo Remote Control

System.

1959

First complete

Stereophonic FM-AM Receiver

(FM-

AM

tuner, audio control,

4o.watt amplifier).

1959

First high.compliance

plus

high-efficiency

free.

piston

speaker

system.

f,

oveNcen

ELECTRoNTc

ENGTNEERTNG has been

combined with old.

f!

world

cabinet craftsmanship

to create

the

new FISHER Ambassa-

dor -

a

musical instrument

that meets

the

most

exacting criteria, Each

unit in

the

Ambassad,or

has been

designed to meet the laboratory

stand-

ards

that distinguish all FISHER

components. The

unusually sensitive

tuning

seclions can

be used separately for

the

reception

o{

monophonic

FM

or AM broadcasts,

or simultaneously

to

receive FM-AM

stereo-

phonic

broadcasts.

The renowned

Garrard

Automatic

Turntable, con-

taining a

professional

magnetic cartridge

with a

diamond stylus,

will

faithfully

convey every musical nuance

of

your

most

treasured stereo-

phonic

or monophonic

record selections.

Located on the

operating

panel

of

Ihe

Ambassador

are eight controls which

will

enable

you

to select

any

program

source instantly,

and adjust

the volume and

tonal characteristics

of sound to

your

most critical

listening

tastes.

Special connections

are

provided

for

the

FISHER

Spacexpander

and

the MPX-70 multiplex

adaptor,

and a new Automatic

Shutoff

switch

has

been

included

which

will turn off

the

entire Ambassatl,or

a:uto-

matically,

after

the last record has

been

played.

Fifty watts

of music

power,

free

of all audible

distortion, is supplied

by a

dual-channel

Power Amplifier

which

can reproduce

the most complex

symphonic

passage

as easily

as the softest notes

of an

oboe. Lastly,

two acous-

tically-balanced

speaker enclosures,

each

containing

a three-way

speaker

system,

provide

the full

orchestral sweep

that only stereo-

phonic

sound makes

possible.

THE

FISHER

AMBASSADOR

IV

MODET

A-60

Stereophonic

Rqdio-Phonogroph

Flawless

circuitry, the

use

of

costly, durable materials,

and

un-

hurried

manufacture - essential ingredients

that are often lost

in

mass

production

*

all of these will contribute

to

years

of trouble-free

operation and

your greater

listening

pleasure.

These

are the

qualities

that have for

over two decades won for

the FISHER a r,yorid-wide

reputation.

A NOTE

ON STEREOPHONIC

SOUND

[l

ne

oevnornrnr

of stereophonic

sound has

brought us c]ose to

I

achievins

"Concert

Hall"

reaiism in

the home, This

dual-channel

system offers

a distinct advantage

over monophcnic

(single-channel)

systems

by virtue o{ two important

audio characteristics:

the dimen-

sions of

direction

and depth.

These live

sound

qualities

are for

the

most

part

missing in monophonic

systems because

recordings are made

and reproduced

over a single channel,

This

is somewhat analogous

to

listening

to music with

one ear.

Stereophonic recording

techniques,

however,

utilize two separate banks

of microphones

which

are

posi

tioned in

the left and right

sections of

the orchestra. In

this arrange-

ment,

the microphdnes receive

the musical

sounds in.much

the

same

manner

as the two ears

of a listener.

The

sound

picked

up by each

bank of microphones is

then fed

to independent

channels

and recorded

on disks or

tape, or transmitted

over

s€parate channels

of a stereo-

phonic

broadcast,