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THE
FISHER
Philhqrmonic lV
stere
op,
"
"'lTjil1r"n
os
ro
ph
.
pRtCE
9t.00
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EADER IN
HIGH FIDELITY
WO
L
t&
!-
\-\
L;('II('KAIL'I-AIIL'II5:
\ \
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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
q
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 assistance
toward that
objective,
please
write
me
personally.
equipment
you
have
just
acquired
came
into being-its appearance,
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 engineers and
technical
writers
has now opened, for
you
and
your
family, on
virtually unlimited
to create this instruction book for
your guidance
and enjoyment.
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 and
president
FISHER FIRSTS-Milestones
in the History of High
Fidelity Reproduction.
lt
ri
r!
ri
il
1937 First high-fideliiy sound systems
featuring
a
beam-power
amplifier, inverse feedback,
acoustic
speaker
compartments
(infinite
baffle
and
bass
reflex)
and magnetic cartfldges.
1937
First exclusively high
fidelity TRF
tuner, fea-
turing
broad-tuning 20,000 cycle
fidelity.
1937 First
two-unit
high {idelity
system
with
sep-
arate sDeaker
enclosure.
1938
First coaxial speaker system.
1938
First high
fidelity
tuner
wlth amplified AVC.
1939 First 3-Way
Speaker in
a high fidelity system.
1939 First Center-of-Channel
Tuning
indicator.
1945 First Preamplifier-Equalizer
with selective
pho-
nograph
equalization.
1948 First
Dynamic Range Expander
with feedback.
1949 First
FM-A|\4 Tuner
with
variable
AFC.
1952
First 50-Watt,
all-triode amplifier.
1952
First
self-oowered
Master Audio
Control.
1953
First selt-powered,
electronic sharp-cut-off fil-
ter system
for
high
fidelity
use.
1953
First
Universal
Horn-Type
Speaker
Enclosure
for
any room location and
any speaker.
1953
First FM-AM tuner with aCascode
Front
End.
1954
First low-cost electronic Mixer-Fader.
1954 First moderately-priced,
protessional
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 PreamDlifier-Eoualizer.
1956 First dual dynamic limiters
in
an
FM
tuner for
nome
use.
1956 First Per{ormance Monitor in a high
quality
amplifier for home
use.
'1956
First FM-AlVl
tuner
with
TWo
meters.
1956
First complete
graphic
response
curve
indica-
tor for
bass and
treble.
1957
First
Golden Cascode FM
Tuner.
1957 First
MicroRay Tuning lndicator.
1958 First
Stereophonic
Radio-Phonograph
with
Mag-
netic Stereo Cartridge.
195S 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.
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 America's
first com-
mercially
manufactured high fidelity
radi0.
phonograph,
made by
Avery
Fisher in
1937.
|
960
First reverberation device,
for use in high fidelty
equipment
-The
Fisher
Dynamic Spacexpander.
First stereo
tuner with
MicroTune.
First FlVl
tuner
with
six
lF
stages.
First FM
tuner
with five limiters.
First front
panel
antenna
selector switch,72-
300 ohm, Local-Distant
positions.
First Multiplex units
with
STEREo BEACoN
and
automatic switching, mono
to
stereo.
First complete receivers
with
Multiplex.
First FM-Stere0-Multiplex
tuners with STERE0
BEAIV].
First
loudspeaker system with frameless
wooler
cone, eliminating all
parasitic
resonance.
First internal
switching system
to
permit
im-
medjate tape
playback
with
use of all controls
and
switches.
First
simplified - operation Control
- Ampliiier,
with infrequently
used controls
behind
tront-
panel
cover,
yet
immediately
accessible.
First loudspeaker
with eddy-current-damped
vorce
c0il.
First bass
speaker with
combined serrated-
aluminum and {iber
cone.
First Fl\4 Tuner Kit
with
seDarate d'Arsonval
meter for tuning
and sepaiate cathode
ray
stereo broadcast
indicator
(STERE0
BEAM).
First Stereophonic
FM
Tuner with TUNE-0-
MATIC
Motor
Tuning.
First Supersonic
Wireless Remote
Control in a
high
fidelity component.
1 960
1 960
1960
1960
1
961
1 961
1 961
1 961
1 961
1
952
1 962
1 952
1
962
1 962
1962
O1962
FTsHER RADIo
coRPoRATIoN
,F
ITIHE
MAGNTFIcENcE
of old-world cabinet craftsmanship
has been
I
combined with
the latest
products
of advanced
electronic engineer-
ing
to
create
the new FISHER Philharmonic -a musical
instrument
that meets
the most
exacting criteria. Each
section in the Philharmonic
has
been
designed to meet the laboratory
standards that distinguish all
FISHER
components. The
unusually sensitive tuner can be used
for
AM and
FM,
and
for multiplexed FM
stereo
reception
when
the
optional
plug-in
adaptor is installed.
Six
controls enable
you
to select
any
program
source instantly and to adjust
volume
and
tonal char-
acteristics to
your
taste. The renowned Garrard
record
changer and
diamond stylus cartridge
convey
faithfully every musical nuance
of
monophonic or stereophonic records.
Special
connections are
provided
THE FISHER
PHITHAR'NONIC
IV
MODET
P-29
Stereophon ic Rqdio-Phonogroph
for
the FISHER
WS-l Wide Surround
speakers.
Twenty
watts
of
music
power,
free
of all audible distortion,
are supplied by a dual-channel
stereophonic
power
amplifier which reproduces a
complex orchestral
passage
as easily
as
the
delicate tones of an oboe, Two acoustically-
balanced three-way
speaker
systems
recreate
the dynamics
and spacious-
ness
of the modern
orchestra as only stereophonic
sound reproduction
makes
possible.
Flawless
circuitry,
the
use
of
costly, carefully
selected materials,
and unhurried
manufacture - essential
constituents'of
quality
which
are
too
often lost in mass
production
-
all of these will contribute to
years
of
trouble-free
operation and to
your
greater
listening
pleasure.
These
are
the attributes which
have, {or over
twenty-five
years,
created
the
world-wide
FISHER
reDutation.
TABLE
OF CONTENTS
INSTATTING
THE PHITHARMONIC
THE
CONTROTS
ACCESSORTES
ANTENNAS
REPLACING
THE DIAI LAMPS
FOR
THE TECHNICALTY.MINDED
TECHNICAT
SPECIFICATIONS
PAGE
4
4
9
9
t0
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
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
of
the
original live
sounds. Thus,
good
stereophonic
sound is high
fidelity
in the
truest sense
of the term.
This
feeling of
dimension is lost with monophonic
(single
channel)
reproduction,
because
our ears help determine
the relative
position
of
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.
Merely
using
two
or more
speakers on a
single amplifier
does not
solve the
problem;
it only
spreads
the
single
sound
source without
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
recording,
transmission
and reception. This
requires the use
of two
separate sets of recording
amplifiers, a means
of keeping the
channels
apart
during recording
and
radio
broadcasting,
and finally, two
inde.
pendent
amplifier
and
speaker systems in the home.
In a
stereo record,
each
wall of the
groove
contains a
separate
signal, and
the stereo
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
sessions
to
the final
playback
in
your
home would
o
E
It
E
o
o
o
)
o
g
o
4
q
E
t
(,
E
result
in an unnatural
efiect. But
enough separation is maintained
so
that
a definite {eeling
of direction occurs
as
you
listen to the repro-
duced
sound. The
result is a remarkably vivid
illusion
of
great
depth
and spaciousness,
such as is normally
obtained on'ly at a live
perlormance.
INSTALTING
THE PHITHARMONIC
fDLEAsE
READ
these instructions
carefully before
you
begin
using
I
your
Philharmonic.
This booklet was
prepared
with
you
in mind,
to
help
you
become familiar with the controls,
Correct
installation
and
an understanding of
what each control does is important in obtaining
the fullest enjoyment from
your
FISHER
Philharmontc.
The Philharmonic operates on AC on!.y. Plugging
it
into a DC
outlet
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
in almost all areas of the
United States; but
if
you
are in
any
doubt
about
your power
source.
we
suggest
you
call
your
local utilities
company to make
sure,
In the rare
case that
you
have S0-cycle AC in
your
location,
you
will need a
special adaptor
pulley
so
that the Record
Changer
will
revolve at the correct
speed. Check
rvith
your
F'ISHER dealer.
The Record Chonger
f)uring
transit, the Record Changer
is held firrnly to its mounting
board
by
two
flat-head
screws - one in
the
left
rear corner
of
the
Changer
baseplate, the other
near
the
right {ront corner,
just
behind
the control levers.
To
prepare
the
Changer
for use, these screws
should both be turned
clockwise as far as
they
will
go
without using
force. When this is done,
the
Changer
baseplate will
"float"
about a
half inch above the mounting board,
and
should
bounce Ireely up
and down under hand
pressure.
The
purpose
of
this
shock mounting
is to
prevent
cabinet
vibrations
and
jolts
from
causing the stylus to
skip
around
the
record
grooves.
Remove
the rubber
bands
used
to
secure the
pickup
arm
and redord
overarm.
The Antennqs
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
in almost
all cases without
the aid
o{ an
external antenna.
The
FM antenna is
made
o{
300-ohm
"twin lead", the
same materia'l
used
for TV
antenna lead-in wire,
cut
and
wired
esperrially {or
use
as an
F\'I antenna.
You will
find
it
srapled
to
the
back of the cabiner.
It will
give
excellent results
on both
stereophonic
and
monophonic
FM broarlcasts,
except
possibly
in extreme fringe
areas.
If
you
have
difficulty with
FM
reception,
consult
"ANTENNAS"
on
page
8
of
this manual.
THE
CONTROIS
f\
n- rul
Nlrxr
pAcE
there is
an
illustration
of
the
dress
panel
of
your
\f
Plilharmonic,
with
all markings and
controls
shown.
The
con-
trols
have been set
at
the
{actory
to
the
positions
shown so that
you
can
use y<:ur Philharmonic
as soon
as it is installed. We urge
you,
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
your
benefit. You will find
it helpful to
refer to Figure
2 as
you
read,
or, better still, to operate
the
controls themselves and
become
iamiliar
with them.
Tuning
This
control
selects AM
and
FM
stations
you
want
to
receive,
The
single
knob
operates
both'the AM
and FM sections
oI the Phil.harmonic
tuner; which
mode
you
receive depends
upon the
setting of the
selector
switch,
which we will explain
below.
On the dial
glass, you
will
find the FM
markings
above, and
the AM
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-
in;r
exacl
station
frequencies.
Power On-Off crnd Volume
Control
This control
combines the lunctions of
power
switching
and volume.
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
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
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
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
position,
although
snrall
variations
to either side
are to
be expected
because
oI
differences
in
room
acoustics
or imbalance in the
program
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
With
these controls
you
can
adjust the tone
quality
of the sound
to
suit
your
tastes, or
to compensate {or deficiencies
in
the
program
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
@:
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FIGURE 2.
Dress Ponel
of
the Philhqrmonic
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FIGURE 3.
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Receiver Chossis
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PHONO
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PIUG IN
MUI-TIPI-EX
ADAPTOR
(OPTIONAI.)
9s,@
MIN, in
the same
manner
as the
Bass control. Both
controls
have
NORMAL
positions,
and
when they are set there,
the Philharmonic
will reproduce
the entire
frequency range
exactly
as
transmitted or
recorded.
This
is where the
controls should
generally
be
set,
but
since
their
use is chiefly a matter
of
taste,
we suggest
that
you
exper-
iment to
find the
settings which suit
you
best.
The
controls vary treble
and bass in
both channels
simultaneously.
Selector
Switch
This is
the
switch that will
permit you
to select
the
various
functions
of
your
Philharmonic.
Below are the
positions
and their uses.
AM.
Use this
position
to receive standard AM
broadcasts, Tune
according to
the AM
portion
on
the right
side
of
the tuning dial, or
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.
FM STEREO.
If
the FISHER MPX.77 Multiplex Adaptor
is installed
in
your
Philharmonic, you
can
receive multiplexed
FM stereo broad-
casts
with the
Selector set
here. If
you
do not
have
the
Adaptor, this
position
is
inactive.
See
your
FISHER dealer
about
obtaining
the
MPX-77.
It is extremely
simple
to install
(no
electronics
experience
is needed
to do
so),
but if
you
wish,
your
dealer
can
assist
you.
With the Adaptor installed and the
S$:ctor switch set
to FM
STEREO,
you
will not find it difficult to
recognize
FM
stereo
broad-
casts,
because
of
their unique sonic
"spread".
A few
days'experience
with
your
Philharmonic
and
with FM stations in
your
area will tell
you
which
ones broadcast
stereophonic
programs
regularly.
Your local
newspaper
will
also be a useful
guide
in
planning your
FM listen-
ing, and
will often
provide
a
list of
stations
in
your
vicinity
which
are
equipped to
broadcast
stereo.
Note:
Ifyour Philharmozic
is fitted with the
Adaptor,
we
suggest
that
you
do not
try to receive
monophonic FM broadcasts with the
Selector
in the FM
STEREO
position,
since there
may
be a
noticeable
hiss
present
in the
background. For monophonic FM, switch
to FM.
PHONO,
With
the switch in this
position, you
can
play
either
mono-
phonic
or
stereophonic records
on
the
Changer in the Philhannonic.
When
you
play
a stereo disc, the left and right
channels will be fed
to the corresponding
speaker
systems
and
you
can
enjoy stereophonic
sound. With a monophonic
recording, the same
sound will be
heard
from
both
speakers.
This is
not stereo, since the
program
source
is
monophonic,
but the reproduction will
still be
greatly
enhanced by
hearing
it through
two sets of
speakers.
AUX.
When
the Selector is set to
this
position,
the Philharrnonic will
reproduce
an external highJevel audio source fed
into the
AUX
INPUT
jacks
on the
Receiver chassis. Such a source might
be an additional
tuner, audio
from a TV
set,
an electronic
organ, or
some similar device.
See "ACCESSORIES"
before
you
make a connection.
ACCESSORTES
\r
ouR
Philharmonic is
provided
with
jacks
for
connecting several
I
additional
high fidelity
components: a tape
player
or tape recorder
for
stereo or mono tapes; any highJevel
stereophonic source,
or mono-
phonic
TV
sound
if the two AUX INPUT
jacks
are
connected
together;
the MPX-77
Multiplex Adaptor;
eind
a
pair
of FISHER
WS.l Wide"
Surround@
speakers.
All
these
jacks
are accessible from
the
back
of the
Philharmonic,
You will
6nd it helpful to refer
to
Figures I and 3 while
you
read
what follows.
Tope Recorder
You
can record on tape any
mono or stereo
program
through
the
Philharmonic.
The
jacks
labelled RCRDR
(RIGHT
and
LEFT)
on
the back
of the Receiver
chassis will feed
independent left and right
stereo signals
to
a tape
recorder.
Whatever souice is selected
by the
Selector
switch on
the Philharmonlc
panel
wiII appear at these
jacks,
but the Volume, Bass and Treble controls
have
rno
efiect on the
recorded
signal. Thus
you
can
record in
complete silence,
if
you
wish,
by turning the'Philharmonic's Volume control all
the way down, or
set
the Volume
control anywhere
you
like for
pleasant
listening, using
the tone controls,
too, without any efiect on
the
recording.
Recording
volume
is controlled
only by the appropriate knob on the recorder
itself.
Auxiliory
Sources
A
pair
of auxiliary input
jacks,
labelled AUX, one for each channel,
is
located at the
top of
the
rear chassis skirt. These are high-impedance,
highJevel inputs,
suitable
for audio from a tape
player
(or
playback
from a tape
recorder),
TV sound, an electronic organ, or any
other
stereo
or mono highJevel
source.
If
tl,re source is
monophonic,
the right
and left channel AUX inputs must
be
fed
together
with the
same signal, otherwise sound will be heard from only one side ol the Philharmonic. This
can be done by
using
a
"Y-connector",
about which
your
dealer or
TV repairman can advise
you.
In
order to
play
tapes on
a
player
or recorder
through
the
PhiI-
harmonic,
the
player
or recorder must already contain the necessary
preamplifier
and equalizer circuits. If
you
are in doubt, consult the
instruction
manual which accompanies
your
tape
recorder.
Mulriplex
Adaptor
This
optional accessory, the MPX-77, brings
you
full
enjoyment
from multiplexed
FM
stereo
broadcasts. It fits into
a special cut.out
on
the chassis,
and
four cables
connect
it
into
the
receiver
circuits.
Installation is
quick
and simple. If
you
wish to
obtain the adaptor,
see
your
FISHER dealer. He can help
you
install it.
ANTENNAS
\/
ouR Philharmonic has two
built-in
antennas,
one for AM
and
one
f
for
FM.
These will
suffice for
all monophonic
and stereophonic
reception
except
under
very
unusual conditions:
an extreme
"fringe"
area, or
one
where a
great
deal of
inter{erence
prevails.
In such
cases,
an
outdoor or attic antenna may be
required,
especially
for multi-
plexed
FM
stereo
reception.
If
you
wish,
you
can also experiment
with an external AM
antenna,
Figure I includes the Antenna
Terminal
Identification
Strip located
on the back ol
the
Philharmonic cabinet. It will be helpful to
refer to
it as
you
read,
FM
Aniennq
An outdoor or attic
antenna will
olten
make a world of difierence
in
the
quality
and reliability
of
reception. We suggest
you
see
your
dealer
or
TV
serviceman
for detailed
information about makes
and
types.
If
you
use an external antenna,
first disconnect the two lugs
from the built-in FM
antenna from
the terminal
screws, and
then
connect the wires
{rom
the nel{ antenna to
the
terminals marked
FM
ANT.
Under some conditions,
use of an
outdoor
antenna may
increase
the
input
signal to the
point
where it causes overloading of
the FM tuner. When this condition
is
present,
a
strong
FM station
may
appear
at
several
points
of the FM band.
To
prevent
overloading,
remove
the
lead from
the outdoor antenna and reconnect the internal
antenna of
the
Philharmonic.
Often a
TV
antenna
will serve
very
well
for
FM
reception,
both
mono and stereo.
Since the relative
success
or failure
oI an attempt
to use a TV antenna
for FM is
subject to
many
unpredictables, all
we can say definitely
is that
it
is worth a try. If it appears to improve
reception,
purchase
a
good-quality
two.set coupler
so
that
you
can
use the same antenna for
your
TV set
and
Ior the Philhannonic.
Since
multiplexed
FM reception requires
more signal
at
the
anrenna
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
your
FM antenna, reorient
it, or
use
one
with higher
gain
or direc-
tional
properties.
When
you
use
a directional
antenna
(many
TV
antennas
are
of
such
a design),
you
will often
obtain
good
reception
from
one
com-
pass
direction only; if this is true in
your
case,
you
may need a rorator
for
your
antenna.
AM
Anfennq
A
suitable AM
antenna can be
anything from a {ew
feet of wire
strung
behind a
picture
molding or draped
behind
the cabinet, to
an
elaborate
"long-wire"
array
on
poles
outdoors. A
complicated
system
is
generally
unnecessary, however, and
it may
cause
overload and
distortion
of the sound. If
you
wish to use
an
external antenna for
AM
reception,
Ioosen
the screw marked AM
and the
one marked
with
a
ground
symbol, both on the
antenna
terminal
strip. The
"jumper"
link
should
swing
free.
Tighten the
ground
screw to keep
the link
from rattling,
and
make
sure rhat the link
is
not
touching
the
AM
terminal
screw. This
AM
terminal is
now free for the
con-
nection
of an AM antenna wire.
REPTACING
THE DIAL LAMPS
[t
nnnr
#4?
nuI-ss
are used. To replace
any one of them, remove the
I
composition
board rear
panel
o{
the Philharmonic. The
bulb
assemblies can then
be reachld
{rom
the rear
of the set. Press the
metal clip holding
the
bulb
assembly
to the chassis and
pull
downward.
Once the
assembly
has
been
removed from
the chassis the
bulb can
be
detached
by turning it counterclockwise.
CAUTION: As
a safety
precaution,
disconnect the
power
<:orcI
belore
removing
the
back
panel
of the
Philharmonic.
Lamps
can be
ordered
from Fisher
Radio Corporation,
2l-21
44th
Drive,
Long Island
City l, New
York. The
part
number is 150009.1.
FOR
THE TECHNICATLY.N'IINDED
|TIHE TIsHER
Philharmonic
is a high fidelity
stereophonic
radio-
I
phonograph
console, incorporating a tuner capable of receiving
AM, FM, and multiplexed
FM stereo
broadcasts; a
Record
Changer,
a
power
amplifier,
and
two
matched
speaker
systems.
The FM tuner
portion
uses
an ECCB5/6AQB in its
"front
end," with
the first half of this
dual
triode
tube used as a
srounded-srid RF
amplifier,
and
the second
half as a local
oscillator and mixer.
The
mixer
produces
the 10.7
megacycle intermediate
frequency
(IF)
which
is amplified by three
IF
stages.
The final
IF stage
also behaves as a
Iimiter, efiectively
clipping
ofi
any spurious amplitude
variations
that
may have afiected the FM signal,
and
thus
providing
the
noise-free
reception which contributes so
much
to
the
popularity
of
FM.
A wide-
band, low-distortion ratio detector
follows the limiter, using
two
matched
semiconductor
diodes.
The optional multiplex adapter
is
the
device which extracts separate
lelt and right channels from
the multiplexed stereo signal
transmitted
by the radio
station. In all
FISHER tuners, decoding is accomplished
by the far
superior
time-division switching
technique, resulting
in
better separation than
available with other methods,
less noise, and
grPater
long-term
stability.
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
this tuner far
above
most conventional AM
radios.
Conversion to
the
455 kc IF
is accomplished in
an EK90/68E6 mixer-oscillator. The IF
amplifier features
a choice
of
sharp or broad selectivity.
In
the control
portion
oI
the Receiver chassis we find the switch-
ing center
oI the
Philharmonic. Here are
the tone
controls,
providing
17 db total variation
of bass and treble; the Volume and
Balance
controlsl
and the
Selector switch,
which
selects
any
one
of five
possible
program
sources or modes of operation.
Loudness
compensation is
provided
automatically to minimize ap-
parent
Ioss
of bass and treble at
low volumes
due to normal charac-
teristics
of
the
human
ear. Output
jacks
are
provided
for
feeding
a
tape
recorder
with a signal unafiected by tone or Volume control
settings.
The
power
amplifiers
(one
ELLB0
dual-beam-power tube for each
channel,
connected
push.pull)
supply the
audio
power
necessary
to
drive the two three-way
speaker
systems. Twenty watts of undistorted
music
power
is available. Each
push-pull
output stage is driven by
a
split-load
phase
inverter, which is fed in
turn
by a triode voltage
amplifier.
Negative
feedback
is
taken, in each channel, from the out-
put
trans{ormer
secondary to
the voltage
amplifier cathode.
9
TECHNICAT
SPECIFICATION5
lluric Powcr
Ourpur
(lHFIl/l
slondord,
both chonnek)
Hormonic Di3torlion
ot
Rotcd
lluric Powcr Oulput
Frcquency Rcsponrc
Frti{ultiplGx
ttcrco Scporotion
(with
opionol MPX-77 odoptor)
Amplifier
Chonnel lleporotion)
Scnsirivity
(AUX
cnd IAPE inpurs,
for
Rotcd Outpul)
Ffil Tuner Sensitivily
(IHFM
stondordr)
AIII funcr
Scnsirivily
Spcoker Complemcnl
(each
chonncl)
Record Chonger
lotol Powcr Consurnplion
(including
Chonger)
20 watts
t.o%
Unif orm throughout
audible
range
as an integrated
system
Better than
30 db at I kc
S0dbatlkc
320
millivolts
2.3
microvolts
5.0 microvolts
One 8" woofer
One
4 x 6" midrange unit
One 3" tweeter
Garrard 4.T.6
I(D
watts,
110
VA
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