Fisher Futura-F-5593 Owners Manual

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CONGRATULATIONS!

With your purchase of a FISHER instrument you have com­pleted 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

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.
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 instrument to give long and trouble-free service.

In fact, instruments we made over twenty-seven years ago

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 booklet carefully. It will be time well spent:

AN IMPORTANT SUGGESTION

are still in use today.

1tu'lA.1(.

FISHERFIRSTS-Milestones in the History of High Fidelity Reproduction.

1937

First high-fidelity. sound systems Ieaturinq a beam- 1956 First performance m~nitor in a high-quality amplifier.
power amplifier, Inverse feedback, acoustic speaker 1956 First FM-AM tuner With two meters.
compartments (infinite baffle and bass reflex) and 1956 First complete graphic response curve indicator for
magnetiC cartridges. . bass and treble.

1937 First exclusively high-fidelity TRF tuner, teaturinq 1957 First GOLDENCASCODEFM tuner.

broad-tuning 20-20,000 cycle fidelity. . 1957 First MicroRay tuning indicator.

1937 First two-unit high-fidelity system With separate 1958 First stereophonic radio-phonograph with magnetiC

speaker enclosure. stereo cartridge.

1938 First coaxial s~eaker system. . . 1959 First high-quality remote control system.
1938 First high-fidelity tuner With amplified AVC. 1959 First complete stereophonic FM-AM receiver (FM­1939 First dynamic range .expander.. . AM tuner, audio control, 40-watt amplifier).
1939 First 3-way speaker In a h,gh-f.,del,ty system. 1959 First high-compliance plus high-efficiency Free-Pis­1939 First center-of~channel tuning !ndlcator. . ton loudspeaker system.
1945 First preamplifier-equalizer With selective phono- 1960 First to use MicroRay for FMtuning and as a record-

graph equalIZation.. ing audio level indicator.
1948 First dynamic range expander With feedback. 1960 Smithsonian Institution, Washington, D. C., receives
1949 First FM-AM tuner. With variable AFC. for its collection America's first commercially manu­1952 F!rst 50-watt ail-triode amplifier. factured high-fidelity radio-phonograph, made by
1952 First self-powered master audio control. . Avery Fisher in 1937.
1953 First self-powered, electronic sharp-cutoff Illter.svs- 1960 First reverberation device for use in high fidelity

tem for high-fidelity use. equipment-the Fisher Dynamic Spacexpandere.
1953 First universal horn-type speaker enclosure for any 1960 First stereo tuner with MicroTune.

room location and any speaker. 1960 First front-panel antenna selector switch, 72-300
1953 First FM-AM receiver With a cascode front end. ohm Local-Distant positions.
1954 First low-cost electronic mixer-fader. 1961 . ' . .
1954 First moderately priced professional FM tuner with First FM-Stereo multiplex. adapter With STEREO

two meters. BEACON and automatic SWitching, mono to stereo.
19S5First peak power indicator in high fidelity. 1961 First complete FM-multlplex stereo receivers.
1955 First master audio control chassis with five-position 1961 First FM-stereo tuners With STEREO BEACON and

mixing facilities. STEREOBEAM.. . ...

1955 First correctly equalized, direct tape-head prearnpli- 1961 First Internal SWitching system to permit Immediate

lier with self-powered master audio control. tape playback With use of all controls and SWitches.
1956 First all-transistor preamplifier-equalizer. 1962 First simplified-operation control-amplifier, with in­1956 First dual dynamic limiters in an FM tuner for home frequently used controls behind front-panel cover,

use. yet immediately accessible.

COPYRIGHT 1966 FISHER RADIO CORPORATION All Rights Reserved

il~

1962 First loudspeaker with eddy-current-damped voice

coil.

1962 First FM tuner kit with separate d'Arsonval meter

for tuning and separate cathode ray stereo broad­cast indicator (STEREO BEAM).

1963 First power amplifier to use oscilloscope-type fre-

quency-compensated input circuit.

1963 First amplifier kit with STRATABALANCE® visual

dynamic balancing system.

1964 First multiplex adapter with 'flywheel synchroniza-

tion.' Closely approaches theoretical limit of noise

rejection, and of all spurious responses.
1964 First FM Stereo Tuner with STEREOSCAN®.
1964 First peripherally-driven tweeter with cotton, soft

dome,
1964 First to use TUNE-O-MATlC® circuitry in an FM

tuner.

1965 First All-in-One, All-Transistor 4-Gang Front-End.
1966 First F.E.T. front-end design with over 40 db of

Automatic Gain Control (more than ten times that

of the best prior solid-state techniques.)
1966 First FM tuner with Automatic FM Antenna Signal

Attenuator.
1966 First FM tuner to achieve 0.6 db capture ratio-three

times better than the best previous achievement.
1966 First FM Tuner to use a 10-megacycle-wide Counter

Detector, eliminating all distortion for the life of the

tuner.

1966 First FM Tuner with Clear Signal Indicator.
1966 First FM Tuner to incorporate a Power Amplifier

Circuit for high-quality, low-impedance headphones.

1966 First time-division multiplex circuit to incorporate a

Four-Diode Coincidence Circuit.

1966 First all-transistor FM Receiver to use Overload

Protection.

Founder and President

Printed in U.S.A.

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FUTURA®

F-5593

Stereophonic Radio-Phonograph

Your new console is an outstanding example of the bold imagina­tion, sound design, and care in manufacture which have made the

FISHER name synonymous with leadership in high-fidelity for over
a quarter-century. Combining old-world artistry in furniture design
and construction with the latest advances in electronics and
electro-acoustics, it exhibits the superlative FISHER performance

long praised by professional musicians and musical connoisseurs.

This unit is a complete high-fidelity stereo system featuring a

transistorized AM-FM-stereo receiver, a precision four-speed

automatic turntable, and two matched full-range speaker systems.

(The receiver itself incorporates several design innovations,

among them a revolutionary new FET front end, a multiplex de-

coder with exclusive STEREO BEACON', and a power-amplifier

section with the unique

Transist-O-Gard"

protective circuit.)
The console's inherent flexibility permits you to play AM, FM,
and FM-stereo broadcasts, mono and stereo phonograph records
of any size and speed, and anyone of a wide variety of auxiliary

program sources of your choice. Whatever the program, you may
shape its sound characteristics to suit your personal tastes and
listening conditions with the console's versatile array of controls
and switches. These also permit you to listen either through the
console's speakers or through optionally connected stereo head-
phones and extension speakers. A pair of FISHER WS-2 WIDE-

SURROUND'> speakers may also be connected for enhanced
stereo 'spread', if desired. Special facilities are also inclu.ded for
tape-recording the selected program while listening, for playing

back

the recording (or any prerecorded tape) through the console

at your convenience, and for adding reverberation with the

FISHER K-10 DYNAMIC SPACEXPANDER".

The automatic turntable can be quickly adapted either for auto-

matic operation with a stack of records or for single-play manual
operation. In either case, accurate tracking is assured by a coun-

terbalanced transcription-quality tone arm with stylus-pressure
and antiskating adjustments and a high-compliance diamond­stylus cartridge. The built-in cue lever may be used to lower the
arm to any selected band on the record without risking stylus or
record damage. If desired, the turntable will automatically shut
off the console after playing the last record in a stack, permitting
you to leave the set unattended when playing records.

Each of the compound speaker systems contains separate
speakers for the various segments of the audible spectrum and
a specially designed low-loss crossover network. All speakers-
custom built to exacting standards with large-diameter voice coils
and massive magnet assemblies-are precisely matched for the
smoothest overall response and minimum distortion.

As with any FISHER instrument, the most important advantages of
this console will become increasingly apparent with the passage
of time. These are the craftsmanship in construction, the use of
costly, more durable materials, and the rigid test procedures

behind every FISHER unit which receives the final stamp of
approval. Before leaving the factory, your set had to pass a com-

prehensive series of stringent examinations. In this way, we
endeavor to maintain our long-established world-wide reputation
for the very highest standards in performance and reliability.

"The trademark, STEREO BEACON", signilies this model has the exclusive

convenience feature that automatically switches to the stereo mode, signals the
presence of the stereo broadcast, and automatically switches back to mono
again-according to the type of program being received.

0:

11

Patent Pending

TABLE OF CONTENTS-PAGE 2

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TABLE OF CONTENTS

INSTALLING THE CONSOLE
OPERATING THE CONSOLE
ANTENNAS
ACCESSORIES
MAINTENANCE

TECHNICAL DATA

INSTALLING THE CONSOLE

While installation is relatively simple, certain precautions must
be observed. PLEASE KEEP IN MIND THAT OUR WARRANTY
DOES NOT COVER DAMAGE CAUSED BY MISHANDLING,
MISUSE, EXCESSIVE LINE VOLTAGE, OR INSUFFICIENT VEN­TILATION. We therefore urge you to follow the instructions in

this section carefully. You may then proceed directly to

ATING THE CONSOLE.

POWER REQUIREMENTS

This console will operate safely and correctly only on 50-Hz (cps)
AC power between 110 and 128 volts. If the voltage in your locality

is correct but the line frequency is

special adapter pulley to maintain correct turntable speed. If

local power is DC or if its voltage is appreciably different than
that specified, your dealer or a qualified technician must make
the necessary modifications to prevent damage to the set.

50

Hz, your dealer will supply a

OPER-

13
16

LOCATING THE CONSOLE

Place the console in any convenient location that suits both your

2
3
6
9

listening requirements and room decor but make sure that it is

away from radiators, warm-air ducts, or other sources of heat.

at least

Leave
the wall (or other obstruction) for ventilation. If the electrical
power in your home satisfies the requirements in item 1, connect
the console's power cord to a convenient electrical outlet.

2 inches clearance between the rear of the set and

PREPARING THE AUTOMATIC TURNTABLE

(a) Turn the two shipping screws (near the left-rear and right­front corners of the turntable's baseplate) clockwise as far as
they will go so that the turntable bounces up and down under

hand pressure. This 'floating' suspension isolates the pickup from

vibrations and jolts, minimizing 'skipping' and record damage.
(b) Remove the turntable platter from its shipping container and

install it as described in the instructions provided with the platter.

(c) Remove the stylus guard (if any) from the pickup cartridge
and the rubber bands that hold the pickup (tone) arm in place.
Please keep the arm locked in its rest clip when not playing rec-
ords. (See the turntable instructions for operating details.)

CAUTION: Should it be necessary to reship this set, lock the turn-
table baseplate to the cabinet by turning the shipping screws
counterclockwise as far as they will go, Lock the pickup arm in
its rest and remove its counterbalance. Then remove the turn-
table's spindle, spring clip, and platter and pack them for ship­ment as described in the CAUTION card packed with the console.
FAILURE TO OBSERVE THESE PRECAUTIONS WILL VOID ALL
WARRANTIES ON THIS INSTRUMENT.

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ANTENNAS

Your console's built-in FM antenna (the 'T'-shaped twin-lead
dipole at the rear of the set) and AM antenna (a ferrite-core loop

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COPYRIGHT 1966 FISHER RADIO CORPORATION All Rights Reserved

2

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on the receiver chassis) should yield excellent results in most
cases. However, certain urban localities with severe FM multi­path interference, some steel buildings, or distant 'fringe' areas
with weak-signal problems may require external antennas. If you
encounter consistently poor FM or AM reception when operating
the set, refer to the

ANTENNAS

section.

ACCESSORIES

The

ACCESSORIES

a pair of WS-2 WIDE-SURROUND® speakers to the console (for
enhanced stereo effect) as well as headphones (for private listen­ing) and a pair of remote speakers (for stereo listening in another
room). Instructions are also included for connecting an auxiliary
program source, a tape recorder, deck, or player, and the FISHER
Model K-10 DYNAMIC SPACEXPANDER.jj) reverberation unit. We
recommend, however, that you go on to

SOLE

and familiarize yourself with basic operations before con-

necting any accessories.

section provides instructions for connecting

OPERA TING THE CON-

OPERATING THE CONSOLE

it has played the last record in a stack. In such cases, set the
switch ON,

other program source.

f)

AC POWER SWITCH AND VOLUME CONTROL

Turn this control clockwise towards 10 until it clicks. If the
AUTOMATIC SHUTOFF switch (item 1) is OFF, the tuning dial
and the pilot lamp near the base of the console will light imme-

diately to indicate that the set is on. (If, however, the AUTO-

MATIC SHUTOFF switch is ON, the set will not turn on until you

start the automatic turntable and will shut off automatically after

the turntable has played the last record in a stack.) After select­ing the program source you want (item 3), adjust the VOLUME
control for a comfortable listening level. To shut off the entire set
manually, turn the control to AC OFF.

This control incorporates a special 'loudness' circuit that prevents
apparent 'thinning out' of music and speech at
tings by automatically emphasizing low- and high-pitched tones.

This overcomes the ear's naturally reduced sensitivity to such
tones at low listening levels. At normal and high VOLUME set­tings, the emphasis tapers off gradually.

but remember to set it OFF again when playing any

low

VOLUME set-

This section-keyed to Figure 1-describes the console's controls
in the order in which you would normally use them. Follow the
instructions in step-by-step sequence and you'll find that, in a
very short time, you will have mastered operation of the unit.

o

AUTOMATIC SHUTOFF SWITCH

This switch (in the record-player compartment) determines
whether you or the automatic turntable will control power to
the console. When playing program sources other than records,
keep the switch OFF so that you can turn on and shut off the set
without having to operate the turnable. Occasionally, when play­ing records, you may want the turntable to shut off the set after

6) SELECTOR SWITCH

Select the program source you want (except tape; covered in

item 4) by setting this switch to the appropriate position:
PHONO-to play phonograph records on the console's automatic

turntable. Do

stylus supplied; objectionable distortion will result.

tion on ordering and installing an optional 78-RPM stylus, refer to

REPLACING THE PHONOGRAPH STYLUS

section of this manual.)
FM AUTO-to listen to radio programs on the FM-broadcast band

(88-108 MHz). Broadcasts in this band are high fidelity (and, in

not play 78-RPM records on this turntable with the

in the

(For informa-

MAINTENANCE

3

II

---,

many cases, stereophonic) and are relatively immune to natural
and man-made electrical noise. They are therefore widely used
for symphonic concerts, operas, and other musical and cultural

programs. Refer to item 7 for FM (and AM) tuning instructions.
AM-to listen to radio programs on the AM standard-broadcast

band (510-1630 kHz). Programs in this band are monophonic only
and consist chiefly of news, sports, and popular music.

AUX-to playa stereo or mono auxiliary device (short-wave or
multiband tuner, TV set, sound-movie projector, etc.) through the
console. Refer to the
any such devices.

NOTE: While listening to the selected program source, you may
simultaneously record it on an external tape recorder or deck con-
nected to the console. Refer to the

o

MONITOR SWITCH

Normally, keep this switch OFF; otherwise any program source
chosen with the SELECTOR switch will be silenced. Set it ON
only when

or player connected to the MON jacks. (Refer to the

RIES

o

SPKRS SWITCH

Normally, keep this switch set at MAIN to hear the selected pro-

gram through the console's built-in speakers. If you connect
stereo remote speakers to the console, set the switch to REMOTE
when you want to hear the program through them instead. The
REMOTE position is also useful for silencing the set when listen-
ing through headphones, answering telephone calls, etc. For fur-
ther information, refer to the

o

MONO/STEREO SWITCH

This switch determines whether you will hear mono or stereo

playingormonitoring

section for details.)

ACCESSORIES

tapes from a tape recorder, deck,

ACCESSORIES

section before connecting

ACCESSORIES

section.

ACCESSO-

section.

sound from your speakers or headphones. When listening to FM

broadcasts (either mono
at STEREO; in most cases, the set will automatically switch be-
tween mono and stereo reproduction for you to match the type

of program received. (The STEREO BEACON lamp at the left of
the tuning dial will light whenever the set is in the FM-stereo

mode). For the rare exception to this rule, refer to
When listening to records, tapes, or auxiliary program sources,

set the switch to STEREO if the program is stereophonic (so
that you actually
is monophonic (to ensure that you always hear the program
through both speakers-though monophonically-and to mini-
mize objectionable rumble from older mono records). AM broad-
casts will always be heard through both speakers, whether the
switch is set to MONO or STEREO.

hear

or

stereo), always keep the switch set

TUNING.

stereo sound) and to MONO if the program

GTUNING

Turn the TUNING control
either the desired station on the appropriate band scale or a
coinciding number on the small 0-10 logging scale at the bottom
of the dial. Use whichever scale is more convenient, but always
tune each station for the highest possible reading on the tuning
meter (at the left of the dial) and for clear, undistorted sound
and minimum interference from adjacent stations.

If the STEREO BEACON lamp start to blink on and off during an
FM-stereo broadcast, or the program sounds noisy, distorted, or

erratic in quality, the station signal might be weak or marred by
transmission or reception problems. In this case, set the MONO/
STEREO switch to MONO; the blinking and interference should
stop and you can listen to the program in mono. Should you en-
counter this problem with many stations, or if you hear symptoms
of overload (a strong nearby station appearing at more than one
point on the dial and sounding distorted), you may be in a local-
ity that requires a change in the antenna or its connections for

slowly

until the dial pointer indicates

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1066 FISHER RADIO CORPORATION All Rights Reserved

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TRANSISTOR FM-AM MULTIPLEX RECEIVER

88 90 92 94 96 98~00 102 104 106 107108

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53 55 60 65 70 80 0 100 110120 140 160

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TUNING

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Figure 1. Control Panel of the Console

to·

VOlUME

3 3 3 3 3 3

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'0'

5 5 5 5 5 5

BALANCE

.

MONO l/EMOTE

~~~~

MAIN

SIHEO

MUTING MONIIOR

OH

ON

Off

ON

0

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0

- BASS

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FMAUTO AM

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reliable reception. Please refer to

NAS

section of this manual. Similarly, if you encounter consist-

ently poor reception on the AM band, refer to AM

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BALANCE CONTROL

Adjust the BALANCE control so that the volume levels from both
channels sound about equal from your
this should occur with the control set at its normal mid-position
(marked 0). However, imbalances in the program source, unusual
room layout, or your position with respect to the speakers may
make it necessary to turn the control either towards R (to empha­size the sound on your right) or towards L (to emphasize the
sound on your left). At the extreme settings of this control, only
one channel or the other will be heard.

control

o

MUTING SWITCH

and extremely weak stations on the FM band. (These stations are
difficult to tune in, almost impossible to listen to in stereo, and do
not provide the noise-free reception possible only with stronger
signals.) However, should you want to search for and listen to
such stations, set the switch OFF.

as a

substitute for the

Normally, keep this switch ON to silence between-station noise

FM ANTENNAS

VOLUME

in the

ANTENNAS.

listening

Do not use the

position. Ideally,

control.

BALANCE

~ BASS AND TREBLE CONTROLS

In most cases-especially with modern recordings and FM broad­casts-keep both controls set at their normal mid-positions
(marked 0) for natural tonal quality of speech and music. If,
however, a particular record, broadcast, tape, or other program
source has poor tone, or if the acoustical properties of your listen­ing room, extension speakers, or headphones affect the sound
unnaturally, adjust the controls as follows:

To correct for thinness in the bass-baritone voice, lower-pitched
solo or orchestral instruments, low pedal notes of the organ, etc.,

ANTEN-

+.

turn the BASS control the desired amount towards
tones sound 'boomy' (or if the program material is marred by
rumble, hum, or other low-pitched noise), turn towards -.

If speech sibilants, the soprano voice, and higher-pitched instru­ments (violin, piccolo, cymbals, etc.) sound 'muddy' or unclear,
turn the TREBLE control the desired amount towards
sound too harsh or 'wiry' (or if the program is marred by objec­tionable hiss, scratch, or clicks), turn towards -.

Each of these controls has two parts; the outer segment of the
knob for the left channel and the inner segment for the right chan­nel. Normally, both parts of each knob turn together as one unit,
but you may adjust the tonal quality of each channel
by holding one part of the knob and turning the other. You may
use this feature to compensate for tonal imbalances (when using
a different type of remote speaker in each channel) or to create a
synthetic 'stereo' effect when playing a mono program. For the
latter, simply turn the left-channel BASS and the right-channel
TREBLE all the way to -. The receiver will then act like an elec­tronic crossover, feeding only the higher-pitched tones to the left
channel and the lower-pitched tones to the right channel. While

not

this is
imparts added clarity to older program material. Please remem­ber to return the controls to their normal settings for conventional
mono and stereo reproduction.

true stereo, it does produce a directional effect and

If bass

+.

If these

separately

ANTENNAS

FM ANTENNAS

The following paragraphs provide instructions for changing the
connections of the built-in antenna to reduce overload or-if nec-
essary-for replacing it with other indoor or outdoor antennas to
suit local reception conditions:

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I IllllI'R RADIO CORPORATION All Rights Reserved

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REDUCING OVERLOAD-If

station, its signal might be strong enough to overload the re­ceiver's FM-tuner section, causing the station to appear at more
than one point on the dial and to sound distorted. In such rare

cases, switch the built-in antenna from the two
nals to the two
antenna lugs do not touch each other, adjacent terminals, or the
metal chassis. Tune in several stations including the one that was

previously overloaded. If the
fect reception of many normal or weak-signal stations, reconnect
the antenna to the

REDUCING MULTIPATH INTERFERENCE-In

localities, pronounced Signal reflections from surrounding build-

ings, towers, or hills may cause severe multi path interference.

(This phenomenon is similar to 'ghosts' in TV pictures and can
cause distortion, 'fuzziness', and reduced left-right separation in

FM-stereo broadcasts.) In such cases, it may be necessary to

replace the built-in antenna with a more directional indoor an­tenna that can be rotated for best reception of the desired signal

and maximum rejection of the unwanted reflections. This type of
antenna (known as a 'rabbit-ears' or telescoping-dipole type) is
available at most electronic-parts dealers. Disconnect the built-in
antenna from the

rabbit-ears antenna in its place, making sure that the antenna

lugs or wires do not touch each other, adjacent terminals, or the

metal chassis. Tune in several
for best reception in each case. If you hear symptoms of overload
(a strong, nearby station appearing at more than one point on
the dial and sounding distorted), switch the antenna connections

FM

to the
many normal or. weak-signal stations, reconnect the antenna to

FM

the

TRICAL INTERFERENCE -

NORM terminals.

IMPROVING FRINGE-AREA RECEPTION AND REDUCING ELEC-

FM

LOC terminals (Figure 2). Make sure that the

FM

FM

LOC terminals. If this adversely affects reception of

you are very close to a powerful

FM

NORM termi-

FM

LOC connections adversely af-

NORM terminals.

some strong-signal

NORM terminals (Figure 2) and connect the

FM

stations and rotate the antenna

In weak-signal 'fringe' areas, an out-

FM

door antenna may be necessary, especially for effective, noise-free
FM-stereo reception. If you already have an outdoor

vision

antenna, and most
same general direction as the TV signals, the antenna may prove
suitable for
in antenna from the
the TV antenna in its place, making sure that the antenna lugs or
wires do not touch each other, adjacent terminals, or the metal
chassis. If the results are satisfactory, obtain a two-set antenna
coupler so that you can operate both the TV set and the console
from the antenna simultaneously. If reception is unsatisfactory,
you'll have to connect an outdoor antenna designed specifically
for FM. Though an omnidirectional antenna may sometimes be
satisfactory, directional antenna arrays are usually preferable.
In localities where FMsignals come from several different direc­tions, a remote-control antenna rotator is a useful accessory
with a directional array.

If you live near a busy thoroughfare or industrial area, and the
outdoor antenna is connected to the set with conventional 300­ohm twin-lead, interference from automotive ignition systems or
electrical machinery may radiate into the long lead-in, causing
objectionable noises throughout the
place the conventional lead-in with
(available at major electronic-parts dealers). Connect the lead-in's
two signal conductors to the console's
the usual manner; connect the shield to the hex-head machine

screw just to the left of these terminals.

FM

reception as well. To test it, disconnect the built-

FM

signals in your area come from the

FM

NORM terminals (Figure 2) and connect

FM

band. In such cases, re-

shielded

300-ohm twin lead

FM

NORM terminals in

VHF tele-

AM ANTENNAS

If AM reception is marred because you live in a steel-frame build­ing, or if you want to supplement the built-in AM antenna for
improved reception of weaker stations, connect 10 to 20 feet of

insulated, flexible, single-conductor wire to the AM terminal (Fig-

ure 2). Run the wire in a straight line along a

non-metallic

base-

7

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L

R

HIGH

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LOW

AUX

LOW

AUX

HIGH

L

R

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L

R R

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Bottom-Rear View of the Receiver Chassis

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IISllrR RADIO CORPORATION All Righls Hoscrvca -

board or under a rug. In some cases, reception may be further
improved by draping the wire out a window or by connecting it to
an outdoor whip or rod antenna.

ACCESSORIES

HEADPHONES

For private listening from all program sources, you may plug a
pair of FISHER headphones (or other similar high-quality low- or
medium-impedance devices) into the PHONES jack on the control
panel. FISHER headphones are available from- your dealer, who

will assist you in the installation of several pairs, if desired.

When using the headphones for the first time, turn the VOLUME
control to minimum
VOLUME control for a comfortable
use this setting for future reference. If you are presently not using

remote speakers, set the SPKRS switch to REMOTE to shut off
the console's speakers. (If you
still wish to silence all speakers when usinq the phones, your
dealer can provide you with an external switch for this purpose.)

CAUTION: Do not leave the headphones plugged in when playing
the speakers at high volume levels; the large amounts of audio

power required by the speakers at these levels can overload and
damage the phones.

fl

WIDE-SURROUND" SPEAKERS

To enhance audible left-right separation when listening to stereo

program sources, you may connect a pair of FISHER WS-2 WIDE-

SURROUND'" speakers to the console. These speakers-working
in conjunction with the console's speaker systems-will augment

the stereo sound pattern to a startling degree. (They are equally
effective in monophonic operation as welL) Further details about

before

plugging in the phones. Readjust the

headphone

are

using remote speakers and

listening level and

the WS-2 speakers may be obtained from your dealer. To install
WS-2 speakers, proceed as follows:

only.

CAUTION: Use WS-2 speakers
other types of speakers. They may cause serious damage to the
receiver circuits.

(1) Turn off the console and disconnect its power cord from the
electrical outlet.

(2) Place the speakers to the right and left of the console as de-

scribed in the WS-2 Operating Instructions.

(3) Connect the speakers to the WS jacks at the bottom-rear of
the console. Make sure that the speaker to the left of your
position goes to the L jack while the speaker to your right goes
to the R jack.

(4) Connect the power cord to the electrical outlet and turn on
the console.

Do not connect WS-1's or

listening

STEREO REMOTE SPEAKERS

The REMOTE SPKR and adjacent COM terminals at the bottom
rear of the receiver (Figure 2) provide convenient means for con-
necting a pair of remote extension speakers. This arrangement
will enable you to enjoy stereo sound in another room of your
home when you set the SPKRS switch to REMOTE.

CAUTION: Make sure that each extension speaker's rated impe-

dance is at

load and distortion. (Look near its connecting terminals or in
its instruction book for the value or, if necessary, consult your

dealer.)

(1) Turn off the console and disconnect its power cord from the

electrical outlet.

(2) Place both speakers against a wall or on a shelf in the remote
listening area so that they face your selected listening position.

least

4 ohms; a lower value may cause severe over-

9

Make sure that they are equidistant from you, no more than
to15feet apart (to prevent exaggerated stereo effects) and as
close as possible to ear level (for maximum clarity). Later on, you
can determine optimum locations on the basis of listening tests.

(3)

If the speakers are each50feet or less from the console, use
the cables supplied with the speakers or 'ordinary No.
ductor lamp cord or antenna twin-lead for the connections. For
longer distances, use heavy-duty cable (at least No.
cables to the desired length but leave some slack in case you
want to change speaker locations slightly. Strip about half an inch
of insulation from both ends of each conductor and twist the bare
wires to gather up loose strands. Look for some sort of marking
on each cable that distinguishes one conductor from another: a
distinctive color, stripe, or raised ridge on one of the insulators,
a thread under one of the insulators, or a different color for each
wire. This will help you to 'phase' the speakers in step

(4) Connect the speaker at the left of your
L (upper) terminal strip, making sure that its COM, GND, C, G, or
black terminal goes to the receiver's appropriate COM terminal
while its 4 OHMS, 8 OHMS,
the appropriate REMOTE SPKR terminal. Connect the speaker at
your right to the R (lower) terminal strip in the same manner.
Both speakers must be connected the same way ('in phase') for
correct stereo perspective and good bass response. Check that
the bare wires at the ends of the cables do not touch each other,
adjacent terminals, or the chassis.

(5) Connect the power cord to the electrical outlet and turn on
the console. Set the SPKRS switch to REMOTE and the MONO/
STEREO switch to MONO and playa record or FM program. If
the deep bass tones sound normal, the speakers are in phase, if
they sound weak or 'tinny', the speakers are out of phase; in this
case, turn off the console and carefully reverse the connections

one

of the speakers. Turn on the console and listen for normal

at
bass.

16

OHMS, or red terminal goes to

listening

18

two-con-

16).

Cut two

4.

position to the

10

(6) Set the MONO/STEREO switch to STEREO and playa

record or FM program. Experiment with speaker placement until
you find the permanent location that best suits your personal
tastes and listening conditions.

stereo

7

AUXILIARY PROGRAM SOURCES

You may increase the versatility of your console by playing an

additional mono or stereo program source through its AUX LOW
or AUX HIGH jacks (Figure

mally plays through its own low-fidelity speakers and amplifiers,

playing it through the console instead will improve its sound qual-

ity noticeably.
The auxiliary source may be an AM short-wave or multiband

tuner or receiver, the audio output of a TV set or sound-movie

projector, an electronic organ, or any other similar device so
as

it has at least one medium-or high-impedance output jack pro-

viding about 410

often marked CATHODE FOLLOWER, LINE OUTPUT, EXTERNAL
AMPLIFIER

like. If the device does not have the required jack, a qualified
service technician can install one and, if necessary, add provi­sions for switching off its built-in speakers. If the device is an

AC/DC

eliminates shock hazard and hum caused by a 'hot' (electrically
unisolated) chassis. If you are in doubt about the safety charac­teristics of the device, do

Please note that you may use the AUX LOW
but not both sets of jacks at the same time. The following proce­dure gives instructions for determining which set of inputs to use:

(1) If the auxiliary device is monophonic (single channel), connect

its single output jack to the console's AUX LOW L jack; use a
shielded cable with the appropriate connector at each end. If the
auxiliary device is stereophonic, it will have
one with the additional marking LEFT, L, A, or 1 and the other

or 'transformerless' type, make sure that the technician

mVto2.5

(not

EXTERNAL SPEAKER), TAPE RECORDER, or the

2).

Moreover, if the extra source nor-

volts of signal.

not

connect it to the console.

This type of jack is

or

AUX HIGH jacks

two

such output jacks,

~

i

long

(

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10

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with the marking RIGHT, R, B, or 2. Using two shielded cables,
connect the left output to the console's AUX LOW L jack and

the right output to the AUX LOW R jack.

(2) Connect the auxiliary device's power cord to a standard elec­trical outlet. Keep the power cord as far as possible from all
shielded cables.

(3) Turn on the auxiliary device. Set the console's SELECTOR
switch to AUX. If the auxiliary device is monophonic, set the

console's MONO/STEREO switch to MONO; if the device is

stereophonic, set the switch to STEREO. Adjust the console's
VOLUME control for a comfortable listening level.

(4) Turn the console's SELECTOR switch back and forth between
AUX and FM AUTO and compare the relative volume levels of the
two program sources; they should be approximately equal

out you having to readjust the

time you switch.

auxiliary volume as heard through the

necessary, to equalize the volume levels.

(5) If you can't reduce auxiliary volume sufficiently in step 4, or

if the auxiliary program sounds distorted on loud passages, switch

the connection(s) at the rear of the console from AUX LOW to
AUX HIGH. (Make sure that the left and right cables go to the

correct jacks.) Once again, turn the SELECTOR switch back and

forth between AUX and FM AUTO and make any possible adjust-

ments on the auxiliary device until the volume levels are about
equal. Adjust all other console controls as usual.

If the auxiliary device has any controls that affect

VOLUME

control drastically each

console,

adjust them, if

with-

TAPE RECORDERS, DECKS, AND PLAYERS

The console has provisions for connecting an external tape

recorder or tape deck so that you may record any program source
to which you are listening and then play
any previously recorded tape) through the console at your con­venience. If you wish playback

only

back

the recording (or

(of commercially prerecorded

tape), you may connect a tape player (having self-contained pre-
amplifiers) instead of the recorder or deck. In any event, the tape
unit may be a reel, cartridge, or cassette type.

CONNECTING THE TAPE UNIT-Use the following instructions

and Figure 2 to connect the tape unit to the console.

necting

(1) If the recorder or deck is monophonic (single channel), it may

input to the console's RCDR L jack. If the recorder or deck

the other with the marking RIGHT, R, B, or 2. Using two shielded

be severely overloaded and distorted.

the appropriate connector at each end, connect this output to the
console's MON L jack. If the tape unit is equipped for stereo

output to the console's MON L jack and the right output to the
console's MON R jack.

(3) Connect the tape unit's power cord to a standard electrical
outlet. Keep the power cord as far as possible from any shielded
cables that connect to the console.

a

player, ignore step 1.

have a single high-level recording input marked HIGH LEVEL,
LINE INPUT, PHONO, P.U., GRAM, or the like. Using a shielded
cable with the appropriate connector at each end, connect this

is equipped to make stereo recordings, it will have
level inputs, one with the additional marking LEFT, L, A, or 1 and

cables, connect the left input to the console's RCDR L jack
and the right input to the console's RCDR R jack. Never con­nect the console to any input(s) on the tape unit marked MIC.,
MICROPHONE, RADIO, or DIODE; the resultant recordings will

(2) If the recorder, deck, or player is monophonic (single channel)
it may have a single playback output marked CATHODE FOL-
LOWER, LINE OUTPUT, MONITOR, EXTERNAL AMPLIFIER
EXTERNAL SPEAKER), or the like. Using a shielded cable with

two

playback, it will have
additional marking LEFT, L, A, or 1 and the other with the mark-
ing RIGHT, R, B, or 2. Using two shielded cables, connect the left

such playback outputs, one with the

When con-

two

such high-

(not

11

RECORDING AND MONITORING - Use the following instructions
as a general guide to recording (and - if your recorder is properly
equipped as described in step
recording). The tape unit's Instruction Manual will provide speci-

fic recording instructions.
(1)

As usual, choose the desired program source with the con-

sole's SELECTOR switch;

is the source that will be recorded.

and the tape unit are stereophonic (and you intend to make a

stereo recording), set the receiver's MONO/STEREO switch to
STEREO. If the program source or tape
phonic, or if you want to record a stereo source on a stereo
machine
MONO. This will blend the signal from a stereo source into a

complete, balanced mono signal; it will also assure that signals

from a mono Source are heard through both channels.

(2) Follow the tape unit's Instruction Manual for specific record-
ing instructions. The SELECTOR and MONO/STEREO switches

are the only console controls that have any effect on the re-
cording; you may therefore adjust all other controls in the usual
manner to suit your personal tastes and listening conditions.

(3) If you are absolutely certain that your tape unit has
monitor facilities (different circuits and heads for recording than
for playback), you may monitor the tape - while recording _ to

compare its sound quality with that of the original program mate-
rial from which it is being derived. To do this, alternate the
console's MONITOR switch between OFF (to hear the original

program material as usual) and ON (to hear the same material,
a fraction of a second later, as
repeat this as often as you like without affecting or interrupting
tho recording process in any way. When you've finished record-

Ing, remember to set the MONITOR switch OFF; otherwise, any
program chosen with the SELECTOR will be silenced.

PLAYBACK - To play back tapes from your recorder, deck, or

monophonically,

3-

to monitoring the tape while

the source to which you are listening

set the MONO/STEREO switch to

If both the program Source

unit

(or both) are mono-

it sounds on tape).

true

tape-

You may

player, simply set the console's MONITOR switch ON. If the tape
is stereophonic, set the console's MONO/STEREO switch to

STEREO; if either the tape or tape unit is monophonic, set the
switch to MONO. Adjust all other console controls in the usual
manner to suit your personal tastes. When you've finished playing
tapes through the console, remember to set the MONITOR switch

OFF; otherwise, any other program source chosen with the
SELECTOR switch will be silenced.

NOTE: If the tape unit is stereophonic and you wish to listen to a

monophonic tape that has more than one track recorded on it,
the tape unit must have track-selection facl/ities (to prevent play-
back of more than one track at a time); otherwise, an external

track-selector switch must be used. To obtain a diagram of such
a SWitch, write to: Mr. Richard Hamilton, Customer Relations
Department, Fisher Radio Corporation, 11-40 45 Road, Long

Island City, New York 11101.

DYNAMIC

The FISHER Model K-10 OYNAMIC SPACEXPANDER~' is a unique
reverberation device that can be used in conjunction with this
console to recreate the acoustical environment of a large concert

hall or theater in your listening room. Further details about this
device may be obtained at your dealer. To connect a SPACE-
XPANDER to the console, proceed as follows:

(1)

Install the SPACEXPANDER in a suitable location as described

in its Instruction Manual.
(2) Connect

to the console's RCDR L jack.
(3) Connect

the console's RCDR R jack.
NOTE: If you had to disconnect a tape recorder or deck from the

console in steps 2 and 3 to accommodate the SPACEXPANDER,
reconnect the recorder'S high-level inputs to the SPACE}wAND-

SPACEXPANDER®

one

of the SPACEXPANDER's channel A INPUTS

one

of the SPACEXPANDER's channel B INPUTS to

f

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12

--

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ER's

extra

record from the console while still using the SPACEXPANDER.
(The recordings, however, will not have reverberation since this
effect is added

Refer to the SPACEXPANDER manual for details.
(4) Connect the SPACEXPANDER's channel A OUTPUT to the

console's MaN L jack.
(5) Connect the SPACEXPANDER's channel B OR C OUTPUT to

the console's MaN R jack.
NOTE: If you had to disconnect a tape recorder, deck, or player

from the console in steps 4 and 5 to accommodate the SPACE-
XPANDER-and you still wish to play tapes through the console

- connect the output(s) of the tape unit to the console's AUX
LOW or AUX HIGH jacks (if they are presently not in use) and
use the AUX position of the SELECTOR switch; this will permit

tape playback but not monitoring. As an alternative, you may
obtain a switchbox that will permit you to feed the outputs of
either the tape unit or the SPACEXPANDER to the console's MaN
jacks. This type of switch is available at many electronic-parts
dealers.

(6) Set the console's MONITOR switch ON and keep it in this posi­tion whenever you use the SPACEXPANDER. When the SPACE­XPANDER is turned off or disconnected, set this switch OFFj
otherwise, all program sources (except tape) played through the
console will be silenced. Adjust all other console controls in the
usual manner and operate the SPACEXPANDER as described in
its Instruction Manual.

channel A and B INPUTS. This will permit you to

after

the point at which the recorder is connected.)

MAINTENANCE

CAUTION: Turn off the console and disconnect its power cord
from the electrical outlet whenever instructed to do so in the

following procedures. Do
in this section. For further service, consult your dealer.

not

attempt any maintenance not listed

PRESERVING THE CONSOLE'S FINISH

Your console's fine-grain surfaces and rich satin finish are indi-

cations of the care and craftsmanship that have gone into its

construction. To preserve its appearance, we recommend that
you dust the console regularly and that you polish it occasionally
with a cream-type product such as OZ or GUARDSMAN.

CLEANING THE CONTROL PANEL

The beautiful gold-bordered control panel will retain its color and
brilliance permanently. However, it is possible that, over a period
of time, a film from atmospheric contamination may dull the sur-
faces. Simply use a soft,

plain lukewarm water

use any houseold or industrial cleaning agents or any cloth that
has been used to apply such agents.

freshly laundered

and the panel will look new again. Do not

cloth moistened with

CLEANING THE DIAL GLASS

(1) Turn off the console and disconnect its power cord from the
electrical outlet.

(2) Gently

Do not attempt to remove the rocker switches.

(3) The control panel is held to the rest of the receiver chassis by

hex nuts on some of the control-shaft bushings. Remove the hex
nuts and lift off the panel.

(4) If there are two foam-cushion strips fastened to the retaining

clips at the ends of the dial glass, detach them from the clips.
(5) Loosen (do not remove) the screws that hold the dial-glass

retaining clips. Swing the clips aside and lift off the dial glass.

(The glass is held from behind by adhesive rubber strips; it may
therefore be necessary to apply a gentle prying force at the ends.)

pull each control knob upwards and off its control shaft.

13

(6) Remove dust with a soft, dry, lint-free cloth. If you wish to clean
more thoroughly, moisten the cloth with

wipe the glass back and forth gently until it is clean and free of
streaks. Do not use any household or industrial cleaning agents;
they may damage the markings on the glass.

(7) Replace the dial glass. Make certain to reset it in its original
position by placing it firmly against the

of the plastic end frame. Swing the retaining clips back into

place and tighten the retaining-clip screws.

(8) Replace the foam-cushion strips (if removed previously),
control panel, hex nuts, and control knobs by reversing the pro­cedures in steps
trical outlet and turn on the console.

2

through 4. Connect the power cord to the elec-

plain lukewarm water

Iront lelt-hand

and

corner

REPLACING DIAL LAMPS

The tubular dial lamps are spring-clip mounted at the ends of the

dial glass under the control panel. Should they burn out, you may
obtain exact replacements (Part No. 1-50441-1) from your author-

ized FISHER dealer or from: Parts Department, Fisher Radio
Corporation, 11-40 45 Road, Long Island City, New York 11101.
Remove the control panel and replace the lamps as follows:

(1) Turn off the console and disconnect its power cord from the
electrical outlet.

(2) Gently

Do not attempt to remove the rocker switches.
(3) The control panel is held to the rest of the receiver chassis by

hex-nuts on some of the control-shaft bushings. Remove the hex
nuts and lift off the panel.

(4) Gently pull the burned-out lamp out of its clip and snap the
replacement lamp into place. Make sure that the
of the lamp faces

pull each control knob upwards and off its control shaft.

towards

the edge of the dial glass.

unpainted

side

(5) Replace the control panel, hex nuts, and control knobs by
reversing the procedures in steps
cord to the electrical outlet and turn on the console.

2

and 3. Connect the power

SERVICING OTHER LAMPS

The STEREO BEACON and tuning-meter lamps under the dial
glass and the pilot lamp near the base of the console are long-
lite devices that should not require replacement in normal use.
However, in the rare event that they should, do

replace them yourself; they are

your dealer or a qualified service technician.

not

customer serviceable. Consult

not

attempt to

REPLACING THE PHONOGRAPH STYLUS

The stylus assembly is an integral part of the color-coded plastic

block at the front of the pickup cartridge. Should it be necessary
to replace a worn or damaged LP-stereo stylus, use this color as
a guide in obtaining an exact replacement (gold block with brush,
Part No. G3511). To play old 78-RPM shellac records, you will
need an additional, interchangeable stylus with a larger tip (blue
block, Part No. G3509). Either stylus may be purchased from:

Parts Department, Fisher Radio Corporation, 11-40 45 Road,
Long Island City, New York 11101. To replace or interchange styli,

proceed as follows:
(1) If the console is on, turn down the VOLUME control to pre-

vent objectionable noises while changing the stylus.
(2)

Unlock the pickup (tone) arm from its rest clip and raise the

arm slightly;
(3) Grasp the plastic block between the tips of the thumb and

forefinger of your free hand and
body of the pickup cartridge. Insert the new stylus in its place
and lock the pickup arm in its rest.

CAUTION: Never play LP, LP-stereo, or 45-RPM records with the
78-RPM stylus (blue block); the larger stylus tip will damage the

do not lorce it.

gently

pull it away from the main

14

fine-groove records. Always make sure that the appropriate
stylus is in place

before

playing records.

REPLACING THE POWER FUSE

The power fuse at the rear of the console protects it against
abnormal power-line surges and overloads. If the set fails to oper­ate when plugged in and turned on or if it suddenly becomes com-

pletely inoperative while playing (i.e., all dial and pilot lamps go

off, turntable stops, and both channels are silent regardless of

program source), the fuse may have blown.

NOTE:

Before attempting to replace the fuse, make sure that other
factors aren't causing these symptoms. Check that the AUTO­MATIC SHUTOFF switch is OFF when you are not using the rec­ord player as the program source. Also make sure that the power
cord is firmly in the electrical outlet. If these measures don't
clear up the malfunction, proceed as follows:

(1) Turn off the console and disconnect its power cord from the

electrical outlet.

(2) The power fuse is in the black receptacle marked 1 AMP SLO-
BLO at the bottom-rear of the receiver chassis (Figure 2). Turn the
fuseholder cap counterclockwise (in the direction of the arrow on

the cap) until it disengages from the receptacle and remove the
fuse from the cap.

(3) The spare fuse supplied with the console has a short spiral coil
of wire inside its glass envelope (identifying it as a slow-blow
type). One of its metal ends is marked

an exact commercial equivalent) as a replacement.
(4) Insert the replacement fuse in the fuse cap. Push the cap into

the receptacle and turn it clockwise (against the direction of the

arrow on the cap) until it is firmly in place. Connect the power
cord to the electrical outlet and turn on the console.

CAUTION: If the console still does not operate or if it becomes
inoperative within a short time, do not attempt to replace the

fuse again. Consult your dealer or a qualified service technician.

1A.

Use only this fuse (or

15

TECHNICAL DATA

Music Power Output (IHF

standard, both channels)

Instantaneous Peak Power Output

Total Harmonic Distortion

At full rated output

At normal listening levels

Frequency Response

Input Sensitivity for

Rated Output

Auxiliary Low

Auxiliary High

Monitor

Hertz (Hz), Kilohertz (kHz), and Megahertz (MHz) have been used in this

material to conform to the standards established by the IEEE. They replace
cycles per second (cps), kilocycles (kc), and Megacycles (Mc), respectively.

Because its products are subject to continuous improvement, Fisher Radio Corporation reserves
the right to modify any design or specification without notice and without incurring any obllgation.

55 watts

110 watts

Less than 1.0%
Less than 0.5%

Uniform throughout
audible range as an

integrated system

410 mV
800 mV
240 mV

FM Sensitivity (IHF)

I

FM-Multiplex Stereo Separation

Speaker Complement

Automatic Turntable

Power Consumption at

AM Sensitivity

(at 400 Hz)

(each channel)

Cartridge

Rated Output

2.5 uV
10 uV

35 db

One 10" woofer

One 5%" midrange
One 3" tweeter

DUAL

Pickering V-15

110 watts, 115 VA;
automatic turntable
extra

N1624-102

16

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WARRANTY TO OWNER

Tho warranty

quality of materials and workmanship that go into it. The unique FISHER
warranty protects your investment. Please read it carefully.

All FISHER equipment is fully guaranteed to the original using purchaser

against defects in materials and workmanship, subject to the following:

All parts are guaranteed for two years, except tubes, record changers and
tape recorders which are guaranteed for one year. Any defective part will be

repaired or replaced without charge, including parts of record changers and

tape recorders. For the first ninety days there is nocharge for warranty labor.

All se~vice on FISHER 'Radio Phonographs will be provided by the FISHER

franchised dealer from whom the unit was purchased.

The warranty is void if our inspection shows that the equipment has been
tampered with, or installed, altered or repaired at variance with factory-

designated procedures, subjected to negligence, misuse or

aged by excessive line voltage or insufficient ventilation, or had -its serial
number altered, defaced or removed.

other obligations or liabilities o~ the part of FI~HER. N? person, including

anydealer, agent or representative of FISHER,ISauthorized to assume any
liabilily for FISHER except to refer purchasers to this warranty.

This warranty takes effect only if the warranty-registration card has been
fully an~ ~roperly filled out and returned to FISHER RADIO CORPORA-

ence Withour Customer Service Department. - ASSistanceIn finding your
equipment or establishing its value in case of I.oss.thro~gh.theft, f.ire, etc.

FOR WARRANTY SERVICE, CONSULT YOUR DEALER

",~~,'I'II','.1,1~'I',l': "II,'I'II'~~H~ 1~,.::t!I~:::t.j:~,,:ed!:~"';Ii;/t,l';.

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a product reflects tho confidence of It, maker " tho

Be Sure to

and EnjOy the Following Advantages:

;1,1"'I_~'H~~~Ih~

~egister

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PROTECT YOUR PURCHASE!

PI,ease complete and return this

'¥ARRANTY CARD

\ PLEASE PRINT

FIRST NAME INITIAL

'S HOME ADDRESS

STATE

DATE OF PURCHASE

Name of
Dealer _

City State _

I

first

heard of THE FISHER through (check one box only)

o

Advertising

If purchased because of advertising. please give name of

publication: _

Have you seen The Fisher Handbook?0Yes

I chose THE FISHER because: _

What I think of my FISHER equipment: _

o

You may quote me.

I also own these additional hi-Ii units and speakers: _

0

Friend

0

Dealer

0

No

THE MAN BEHIND THE PRODUCT

AVERY FISHER

Founder and President.

Fisher Radio Corporation

Twenty-seven years ago, Avery Fisher introduced America's first high fidelity
radio-phonograph. That instrument attained instant recognition, for it opened a
new era in the faithful reproduction of records and broadcasts. Some of its features
were so basic that they are used in all high fidelity equipment to this day. One of
these models is now in the permanent collection of the Smithsonian Institution as
an example of the earliest high fidelity instruments commercially available in this
country.

The engineering achievements of Avery Fisher and the world-wide reputation of
his products have been the subject of descriptive and biographical articles in
Fortune, Time, Pageant, The New York Times, Life, Coronet, High Fidelity, Esquire,
The Atlantic, and other publications. Benefit concerts for the National Symphony
Orchestra in Washington and the Philadelphia Orchestra, demonstrating recording
techniques, and the great advances in the art of music reproduction, used FISHER
high fidelity instruments both for recording and playback, to the enthralled audi­ences. FISHER equipment formed the key part of the high fidelity demonstration
at the American National Exposition in Moscow, July 1959. FISHER FM and FM-AM
tuners are the most widely used by broadcast stations for monitoring and relay
work, and by research organizations-under conditions where absolute reliability
and maximum sensitivity are a 'must.'

The FISHER instrument you have just purchased was designed to give you many
years of pride and enjoyment. If you should desire information or assistance on

the installation or performance of your FISHER, please write directly to Avery

Fisher, President, Fisher Radio Corporation, Long Island City 1, New York.

WARRANTY VOID UNLESS COMPLETED AND RETURNED

WITHIN 10 DAYS AFTER DATE OF PURCHASE