Fisher radio Corporation New york

Fisher 500B

It is rare for a concert hall to be named after a technician. Rather, they are named after, for example, famous musicians. However, this one of the largest concert halls in New York is named after Avery FISHER. It is a tribute to the audio technology pioneer for his charity work and the construction that made it possible for the masses to listen to classical music.
Avery FISHER founded the company "The Fisher" in 1945, which for the next 30 years was one of the HiFi icons in the USA. "The Fisher" provided the Americans with high-quality radios, consoles, amplifiers, preamplifiers, monoblocks and receivers. He also dealt with gramophone technology and loudspeakers. At the end of the 1950s, the company began producing stereo tube receivers; initially working in the multicast system, and later MPX. The Fisher released a few models based on EL84, 7591 and 7868 tubes. Regardless of the electronic solutions used, they were all very similar to each other. By seeing one, you could easily recognize the other FISHER products. The front of the receivers was a pastel brown anodized aluminum sheet, the knobs were made of brown hard plastic and had a metal "eyelet" at the front. Glass scale in the center of the front.
The family of receivers closed the top 500C and 800C models. They differed in the ability to work in the medium wave range - this is the 800C model. The feature that distinguished them was the VHF head, thanks to which these FISHER models have earned the reputation of the most sensitive receivers. It contained a novelty at that time - miniature metal "nuvistor" lamps. The cheaper option was to purchase the model 400. It was depleted of the signal indicator 500C. The 7591 octal lamps were replaced by the Novar 7868 counterparts. An even cheaper model on the 7591 lamps was the 500B. It had a tuning indicator / mpx constructed on the "magic eye" of the EM84 and was not equipped with a headphone jack. The VHF head worked on a double triode and therefore had less sensitivity. In turn, the weaker 600 model was driven by 6BQ5 tubes, i.e. EL84, working in a push & pull system. It did not have an MPX decoder on board, but it did have two separate AM / FM tracks. Tuning indicators at the "eyes" of the EM84. FISHER's design was characterized by limiting the number of tube types in amplifiers. Apart from the mentioned output tubes in other blocks, such as the phono stage and bandwidth control, they were the ECC83. The so-called "drivers" or driver tubes were also the 12AX7 / ECC83. This greatly simplified servicing. Of course, all lamps were signed with the Fisher logo, and produced by Telefunken or Philips. The era of FISHER stereo tube receivers ended in the second half of the 1960s with the introduction of semiconductor models with the letter "T" to the market.
The number of stereo tube devices produced by The Fisher was huge and there are quite a lot of them on the "vintage" market. The excellent quality of production and the components used guarantees their operation for the next several dozen years.

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