Page 1
r/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
19381938193919391945
19481949195219521953
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.
Page 2
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,
