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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. |