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RECORDCHANCIR CAUTION lhe Record Ch!nge. lurnished with thi5 oquipn6nt ha. been designed to : ' -i ,-' glay up to ten rgcordt continuou5ly. 1 : ; : l- . , ;, : ;..;i,..--..t"r",.i *,.:;-*"; .*r * d:,-- :.."-; llow€ver, ita.king this changer to " ".,.t ' -.-.. it! full capacity nay €xeeod lhe allowable stylur prersure, which i: extrgmelv critical whed stereo cart' ridg.s are used, The PickuP arm h3s bsen adiusted at lh. lacto,Y lot optimum stylsr PreltulE with a THE PRESbIIER,E naxinum ol live rEcords. lt ii recom' nendsd thal not nore th.n thir number bc stacked on the chanEor lor the bert tound toProduction. dt^^pl,*tu N.50t72 22aR5M-l l9 HIGH FIDELITY RADIO.PHONOGRAPH
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l .--- ..! i$'t' :.:- tr..\.i, AVEBY FISHER .' - Fosda aad Preidett, .::\.:,-j1.. -.- Firtq Rodio CsPorilio^ " "l;;*oFsi :
The Msn Behind the Prodr.lct
radio- //-\vER 20yEARS Aco, Avery Fisher introduced America's first high fidelity Lrl phonograph. That instrument attained instant recognition as heralding a new era in theenjoyment of reproducedmusic. A numberof the featuresof that earlyhigh fidelity radio-phonographwere so basic that they are used to this day in all high fidelityequipment. The engineeringachievements of Avery Fisherand the world-wide reputationof his productshave been the subjectof articlesio Fortune,Time, Pugeant, The New York Titnes,Coronet, Life, Hi7h Fidelity, Esquire, and other publications. Benefit concertsfor the National Symphony Orchestrain Washingtonand the Phila- delphiaOrchestra, demonstrating the great advancesin reproducingequipment, used FISHER. instrumentsto play back the recordingsthat had just been made in the presenceof the audience."Fascinating evening, acousticalll' and musically,"was the fhiloadpnio Inqtirer's comment, "the reproduction had remarkable fidelity"' Ttrte magazinestated, "Listeners could hardly tell thedifference between real and electronic." The FISHER instrumentyou havejust purchasedhas been designed to giveyou many years of pride and enjoyment.It is the product of a comPany dedicatedto bringing ieproOuceOmusic in its finestform, to the homesof America.If at any time you should desireinformation or assistanceregarding the performanceof your FISHER instru- ment,please do not hesitateto write directlyto Avery Fisher,President, Fisher Radio Corpoiation, Long Island City 1, New York. Your communicationswill be welcome'
FISHER 'FIRSTS' - Milestones ln Audio History ' "
a f954 First moderately-priced,professional FM Tuner l93t- First high tidelity soundsystems.featuring beamooweramplifier, inverse feedback, acous' with TWometers. tlc ioeakercompartri:ents (infinite baffle and 1955First PeakPower lndicator in high {idelity. bass-tefter)and magneticcartridges' 1955First MasterAudio Control Chassis viith five' 1937First elclusively high tidelity TRF tuner' featuring positionmxlng facilities. broad-tuninS20,000 cvcle fidelity. 1955 Firstcorrectly equalized, direct tape'head mas' llltT FirstttYcunit high fidelity systemwith separate ter audiscofltrols and self{owered preamplifier. spealerenclosure. 1955 First to iqcorporatePower Monitor in a home 133! First coarial speakersystem' amplifier. l93E FirsthiSh tidelitv tsner with amplifiedAvC. 1955First All-TransistorizedPreamPlifier'Equalirer. 1339First Dyn3nic Range Erpander. 1956 Firstdual dynaoic limiters in an FM tunerfor 1939 FirstSitay Speakerin a highfidelity svstem' hone use. 1!39 FirstCenter+f'Channel Tuning Indicator' 1955 First PerformanceMonitor in a high quality tg.dtiFitst Preamplifier' Equalizer with selectivePh0' ampliliertor homeuse. nographequalization. l!58 First FM-AMtuner v{ith TWometers. 194,1tFirst Dynamic Range Expandef Y/ith teedback. 1956 Firstcomplele graphic response curYe indicator FM-AMTuner Y{ith variable AFC. tor bassand treble. t9{9 First Tuner. First 50-watt,all-triode amplifier. 1957 first GoldCascode FM 1952 195t FirstMictoRay Tuning Indicator. 1952 First sell-poweredMastet Audio Control. Radio-Phonographwiti Mag' 195:l First self-poviered,electronic sharp-cut'off fil' t95E First Stereophonic ststem{or h,tl Fdelityuse. neticStereo Cartridge ter RemoteControl l!53 FirsiUniversalHorn-Tvpe speaker Enclosure for 1959First high-qualityStereophonic and any speal(er. SYstem. anYmom location FM'AMReceiver (FM' t953 Fiist FM-AtrlReceiver with a CascodeFront End. tgls Firltcomptete Stereophonic audiocontrol, 4o-watt amplifier). 1954 First l0w{ost etectronicMirer'Fader. AM tuner,
!r- -- -!' THE FISHERPrerniere W High FidelirY Rsdio-PhonogroPh Model 22O
THE FISHER Premiereis a completestereophonic high-fidelity music rgpro- ducing system.Enclosed in its attractive console cabinet is a completestereophonic radio-receiver, a four-speed record changer, and two matched speaker systems'
/ The stereoreceiver chassisis located behind the upper door in the center section of the Premiere cabinet. It provides both monophonic FNI and ANI radio programs and also permits you to lisien to FNI-AM stereo broadcasts.'The control pa-nelof the receivesegulates the output of the Premiere's entire sound system, including any external equipment which may be played through it.
A Garrard four-speed automatic record changer is mounted behind the lorver drawer in the center of the Premiere. The pickup arm on this changer, is equipped with a magnetic cartridge, rvhich uses a diamond needleto assure long record life and mininium record wear. The Space provided between the record changer com- partment and the receiver section may be used for stor!1S re99r{s or for installing additiotral sound equipment, such as the FISHER MPX-10 Multiplex Adaptor. Two identical speaker systemsare installeC in the compartmentson either side of the console,to permit balanced stereophoniclistening. Each system consistsof a highly efficientlorv-frequency woofer, a mid-range speaker and a-high lre-quenc,v tweeier, with a net'lvorkto assure Proper distribution of sound for best "ro.r-ou.i speaker utilization.
STEREOPHONICSOUND
In monophonic high fidelity systems,the reproduced sound-has all the char' acteristics of the original performance-lvith trvo exceptions.These are direction and.ilistance. With the advent of stereophonichigh fidelity systems,all the charac- teristics of live sound are norv capable of being reproduced in the home or audi- torium. THE FISHER constitutesa complete stereophonic high fidelity system.
Reproduction of the live sound characteristics of directions and distatrce are made possible by the use of lroo sound sources and tuto sound channels. For placed before an orchestra so that they 'ohear" two microphones are -the music"*"-pir, as we would, rvilh both ears.Vhat is pickedup by eachmicrophone is then recorded separately and independently on record_or t-apj, or broadcast as a stereo radio program. The stereoprogram is then reproducedthrough two separatesound channels.the sound originally picked up by the microphone on the right is used to drive a speaker system on your right, rvhile the sound picked_up by the_micro- phone on the left simultaneously drives a speaker system placed on your left.
The effectivenessof stereophonicsound in achieving realism is mueh greater than might be imagined on the basis of the simple explanation just given. The stereo system actually spreads out the orchestral sound in the same manner as it 3 I
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F o o 3 a " oP .9 ; l= o o o € 'a € E56E o :3= E € : *;= I E o o o 96 o- c I 5T€ ^o€ oL o = : i xY 4- go € € x:o- E :b € 6.'5 :-- qq Pq !q 6.: o: ,' -gol =' = 4 I I I\ lvould emanatefrom the stage. In other rvords, instruments located at center stage appear to be heard at a point midrvay betrveenthe speakers.The other orchestral insirumentscan be locatedaccordingly from left to right. This resultsin a realism and clarity never before possible in high fidelity systems. It is rvell to emphasizethat stereo is something added to high fidelity to form a better music repioducing system,not a substitutefor it. A monophonic high fidelity sysremwiil actually surpassin performancea stereosystem 19191 !tS! fidelity standards.For this reason,all the advancesrvhich have madeTHE FISHER . t"oild leader in high fidelity for over two decades,assure you of the best in stereophonichigh fidelity instruments. INSTALIATION THE FISHER Premiereoperates on AC only.The AC PorverCord at the back of the instrument must be connectedto a line receptaclesupplying 105 to 120 volts at 60 cycles. A step-up transformer can be used where the line voltage is lower, a step-downtransformer where it is higher. THE FISHER can be modified for SO-cycleoperation by means of an adaptor for the record changer,available from your FISHER Dealer. The polver consumedby the receiver section of the Premiere is 175 u'atts, and and additional 15 watts is supplied rvhenthe record changeris operating.A 3.2- ampere slorv-blorvfuse is located on the rear panel of the receiver chassis. FM ANI-_1 f AM ANT-*I f 456 AW 1602 IO FM DIPOI,TOR FM ROOFANTENNA FlG. I: Connectionslo dntenno lerminql slrip for FM qnd AM reception,os wired ol fotlory ANT-] r- AM ANT -- l--FM It '4 5 6' 2 3l IO ROOF.TYPEAAITENNA IO FM DIPOTI OR FM ROOf ANTENNA FlG. 2: Terminal conneslions fot instolling o roof-type AM qnfenno. The link belween fermi- FlG. 3: Connectionsond position of link for in- ncls I ond 2 i3 detq(hed. slolling on FM onlenno in o slrong signol oreo. t recordchqnget'... roof antenna is ordinarily not required, and its use may sometimes overload the sensilive TIIE FISHER is shipped with a holding tuner circuits. To prevent any possible over- screw at the back of the Record Changer load under these conditions, detach the link drawer to prevent it from opening in transit, belween terminals 4 and 5, as shown in plus two screws designated by red and white Figure 3, tags holding the record changer on wood blocks 6rmly against its mounting shelf. Be otherconnections... sure that the screws and the wood shipping lrom blocks have been removed. This is normally THE FISHER Premiereis shipped the factory with all the components properly done when the instrument is delivered and connected to permit you to listen to mono' set up. Be sure, also, that the protective cover phonic and stereophonic phonograph records, All controls and srvitchesrequired for normal operation of the Premiere are located on the control panel of the receiverchassis. The control panel, shorvnin Figure 4, has been carefully designedfor convenienceand easeof operation,and the control functions are clearly marked on the panel. Horvever,to enableyou to operatethe Premiereeffectively, a brief descriptionof the purposeof eachcontrol is provided belorv. qc off sv/itch . . . quency of the AII station desired, then tune in precisely with the XlicroRay Tuning Indi' This switch is part of the Yolume control caIor. located at the lower right side of the control to its ex- panel. When this switch is turned om micro-roy tuning indicator . . . treme counterclockwise position, a click signi' 6es that the AC power has been turned ofi. The AII llicroRay Tuning Indicatoris lo- 'When cated behind the dial glass next to the AII the knob is rotated clockrvise from tuning knob. It permits precise tuning of AII the orr position, AC porver is supplied to the stations in the same manner as the FII Premiere and at the same time also to any llicroRay described above. associated equipment which may be plugged into the auxiliary receptacles on the rear panel of the receiver chassis, The dial glass qm bqndwidth swifch . . . is illurninated to show that the power is on. The AII Bandwidth switch, located in the center of the lront panel, has two positions fmtuning... marked Atr BRotD and lu sH.{RP.\I''hen there is no interference from neighboring stations, The FM Tuning knob on the upper left the bandryidth switch should be set to eno.ro side ol the control panel is used to select F\I position rrhich provides the optinum in band- stations in the BB to 108 megacycle band. width and the best tonal quality. This is es- Turning this knob moves the pointer across peciaily imporiant when listening to FII-A)I the FilI dial scale. Accurate tuning is achieved stereo broadcasts in rvhich the :\lI tone qual- by turning the FII Tuning knob until the dial ities should be as nearly equal to FII as pos' pointer is at the approximate frequency of sible. For maximum selectivity and minimum the Ftr{ station desired, then tuning in with i-nterference from adjacent stations, switch the tbe }IicroRay Tuning Indicator. AII Selector to SE.\RP position. fm micro-rqy tuning indicqior . . . loggingscqle... The FII llicroRay Tuning Indicator located In addition to the scales lor locating FII glass the FII Tuning behind the dial next to and AII stations, the dial glass on the control knob, is a bright bar of light divided into panel includes a Logging Scale numbered lrom defined, dark two sections by a small, clearly 0 to 100. With its aid your favorite stations the area. When you turn the tuning knob to can be tuned in more easily, since only a two- gap between vicinity of an FII station, the digit number need be remembered. The scale the two sections of the bar of light becomes can be used Ior both FII and AlI. smaller. You are tuned to the exact center of the channel when you have made the gap ia tle bar of light as small as possible. This selectorswitch... point has been reached when turning the knob The Selector switch in the center of the in either direction'rvidens the gap. control panel permits you to choose the pro- gram material which is played through the omtuning... Premiere. The five positions of this srvitch and their respective functions are as follows: The AM Tuning knob, on the upper right FM-AM: Use this position to listen to mono- side of the control panel is used to selectAII phonic FII or AII radio programs and to stationsin the 550 to 1600 kilocycle standard FII-AII stereo broadcasts. broadcastband. Turning this knob movesthe pointer acrossthe AII dial scale,and also op- PHONO: Use this position for playing steieo. €rates the A.\I trIicroRay Tuning Indicator' phonic and monophonic records. Note, horv' Set the dial pointer to the approximate fre- ever, that 78-rpm records must not be played t' i with the stereo cardridge in your record changer. It is necessary to install a supple' a mentary cartridge with a 3-mil stylus for use ss, with tiese records. =q s] FM-MPXr This position is used to permit you to t{ listen to FII-FXI or FilI.multiplex stereo Ira a\? t> oij lo broadcasts. To hear these programs, how- \x L': ever, an external FII tuner or an FII multi- d plex adaptor must be connected to the Premiere. These connections are described on 3!r-r - aEr 16 page 13. AUX: Set the Selector to this position if you wish to listen to the output of a tape recorder, an external record player with a cerantic cart- uo=:ridge, or any other highJevel program source which you may want to connect to the Premiere. See page 12, for information making these connections. TAPE HEAD: This position is used for playing 3.3 0 back material from a tape deck which has E been connected to the TArE rlEAD input of the *,Ve.n Futura as described on page 12. Do not 2" use this position with a tape recorder which =!E : contains equalization and preamplification fa- cilities. =5l-ls mono-stereoswitch... The trIono-Stereo switch on the control ,il-**l:g panel selects the outputs heard in the speaker systems. Its five positions which provide the n:l--lB desired stereo or monophonic output in con- junction with the program you have selected, are as follows; 9:3 (Al FM: Use this position to listen to mono- 5 phonic FII radio broadcasts. Be sure that the i''\, Selector switch is in the FII-AII position. The H program will be heard in both speaker sys- t.* tems of the Premiere, producing a panoramic E? efiect. This position is also used to play back i aa external monophonic program source, such rj as a tap€ recorder, which has been plugged I I into a Channel A input only. The output will I be heard in both speakers. I (AMl: the switch to this position to listen I ,.A,t I Set I to AII radio broadcasts which will be heard I I tVu= in both speaker systems. Be sure that the { Selector switch is in the FI'I-AII position. I I =gn,t Use this position also to listen to a mono- I phonic prograrn source which has been plugged I l into a Channel B input only. I MONO PHONO: This position permits you to I nz\ / F . play record, whose output will I ^\ a monophonic \-/r be beard in both speakers. When tbe switch ,"i '5.d 1 is in this position both phono stages operate ". in parallel to eliminate vertical rumble from I your record changer. I ^E I STEREO:This position is normally used for lis- i l. tening to stereo recordings and stereo broad- I FlG. 4: Control ponel of Premiere locoled I ot the fronf of the recsiver chosris. l g I I I T 6asts. With the switch in this position, the new monophonic records. This also represents spatial arrangement of the orchestra is repro- the "normal" position when listening to FII duced in your speakers as it rtas originally and AII radio. recorded-or broadcast, rvith the strings heard Set switch to r-e position for long-playing predominantly at the left and the brass to records produced before 1955. The 78 position your right. If you have an external stereo is Ior playing old-type shellac records rvhich input connected, the Channel input rvill --l 'were cut at 78 rpm. Avoid extreme settings be heard in the speakers to )our left, and the of the Bass control at high volume as this may Channel B input in the right-hand speakers. cause distortion and rumble at the speakers. REV: This position reverses the normal stereo TREBTE:The Treble Tone Control is operated listening arrangement by feeding the FII or a dual-knob, with Channel A input to the speakers on the right by marked a triangle for Channel A (FlI) and wirh a dot for ind the AII or Channel B input to the speak- Channel B (FlI). This dual control is used to regulate ers on the Ieft side. This position rvill nor- mally be used only if a tape recording or the treble response in each channel in the manner other stereo input has been reversed channel- same as descri.bed above for the Bass wise and you wish to restore the original Tone Control. spatial arrangement of the orchestra. The Treble tone control alters the intensity of the high-Irequency treble tones. The knob oudiocontrols... is turned to the right towards rrAx to provide greater treble intensity, and to the lelt towards There are six audio controls on the front MI:{ for less treble, There are three positions panel of the Premiere, rvhich permit you to on the Treble control which indicate the posi- vary the volume and tonal characteristics of tions to which the control should be set to progr:am material. The Bass and Treble con- provide correct treble equalization for RIAA, trol knobs provide individual tone regulation LP or 78 rpm records. If uniform response is in each channel, iI desired, to ryatch the desired, set this switch to RL\A. acoustic conditions of your iiving room. The other controls are ganged to provide identical IOUDNESSCONTOUR: r\s the relative volume cheracteristics in both output channels for of sound is reduced, our natural hearing sen- convenience in operating your sound system. sitivity drops ofi more rapidly in the bass and upper treble regions than it does in the middie yolume VOIUME: This is the master control Irequency range. The Loudness Coniour switch which controls the level simultaneously at bo:h pernrits you to l.isten to program material at speakers. Turning the knob away from orr to low levels rvithout being deprived of the high uax position, increases the sound output from and low frequencies which would otherwise both speaker systems, be lost. Setting this srvitch to LouDriEss coti- BA55: The Bass Tone Control is a dual knob TouR automatically increases tbe amount of which permits you to regulate the intensities loudness compensation as you lorver the VoI- of the low-frequency or bass tones in either ume control and decreases this compensation you the FII (A) channel A or in the FII (B) as increase the vol.ume. B, or in both channels simultaneously. Channel [O FIITER: The Low Filter srvitch is used to knob, marked rvith a gold tri- The smaller eliminate possible rumble or other low-fre- controls the bass response in Channel angle, quency disturbances, Turn this sryitch to Lo The larger knob, marked rvith a gold dot, ,{" rtrrrn position iI you encounter rumble or the bass tone in Channel B. regulates ottrer undesirable lorv frequencies when play- The knobs are friction loaded, so that rvhen ing your record player or tape deck. one is turned tbe other turns with it, thereby Hl FTLTER:Set this switch to nt rnrrn position perm.itting simultaneous contol of both chan- to eliminate needle scratch or other unlvanted nels. II individual control of the bass is de- high-frequency sounds originating in your sired in Channel A, hold the large Channel B phonograph records. This position may also kaob with one hand and rotaie the small be used to suppress whistling and other high- Cbannel A brob to the desired position with frequency interference rrhich may be present the other hand. Reverse the procedure to reg- in some AII broadcasts. ulate the bass tones in Channel B. The three positions marked on the Bass bqlance . . . contro! indicate the recommended points at whicb the control should be set to assure The Balance control, provides the correct correct bass tones for the various phono equali. balance between the speaker systems in the eations used with difierent types of records. Premiere for Iistening to stereophonic pro- Use the nr,r.l position for all stereopbonic and grams, Tbe proper setting of the Balance I ,l-. -* control depends on the acoustics of the room, left and, at the same time, reduces the level the point where the music is heard, and some- in the speakers to your right. Rotating the times on the program material. When the con. control in the opposite direction to\yard B trol is set to the NoRIIAL position, the output rrex raises the volume of the right or B level of ihe two speaker systems is approxi- speaker and lowers that of the left speaker. mately equal. Turning the Control knob from Set the Balance control to the position which NoRlrAL toward the e lr.rx position increases provides an equal outpu! from the speakers the volume of the A speaker system to your at the point rvhere the program is heard. OPERATINGTHE FISHER PREMIERE The Premiereis shipped from the factory completely equipped and rvired to play both monophonicand stereophonicdisc recordingsurld to receivestandard FM, standardAM and FNI-Ali stereobroadcasts. This sectiontells you hoiv to set the controls, 'rvhich have been previously described, to listbn to each of these Programs. In addition, both monophonicand stereotape recordings,FNI multiplex broad- casts,and other program sourcesmay be played through the Premiere'ssound system.Such programs require the use of auxiliary equipmentwhich is plugged into the rear panel of the receiverchassis. Instructions for connectingand operat- ing auxiliary equipmentwill be found on page 12. For your conveniencein operating the Premiere, a check list for setting each of the significant controls for various types of programs is shorvn in Table I, on page 4. Controlswhich are not listed in thesetables may be set to suit individual listening conditions.The settingsfor monophonic operation are shorvnfirst, follorved by thosefor stereoprograms. The required connectionsfor each type of operation are also includedrvhere necessary. Before operating any of the controls,make certain that theseconnections have been properly made. stsndqrd fm broqdcssts . . . 4-Tune to the desired AII station on the 550-1600 kilocycle scale, using the AII Tun- | -Tura the AC switcb on by turning the Vol' ing knob and the AII trIicroRay Indicator. ume control away from the orr position.The 5 * Set the Al{ Bandwidth s'rvitchto .{}t BRoAD panel lights should go on and illuminate the dial glass. position, If reception is noisy or interference is heard, switch to A1r sHARp position. 2-Set the Selectors'rvitch to rn'rI position. c-Set the audio controls to nrovide desired 3 - Set the Mono-Stereoswitch to r, (r*r) volume and tone. position. 4-Tune to the desiredFII station on the 88- fm-om s?ereo broqdcqsts . . . 108 megacyclescale, using the FfI Tuning knob and the Fi\I trIicro-RayTuning Indicator. I - Turn the power on by means of the Vol- ume control knob. 5-Set the audio controlsto providethe de- 2 the Selector switch to rn-err position. sired volume and tone in your listening area. -Set Do not use the sx-rne position unless local reception conditions are such that less band qm stondqrd broqdcqsls.. . width is required. | -Turn the power on by turning the Volume 3 - Set the llono,Stereo srvitch to srrnro posi- control away Irom the orr position. tion. REvERsEposition permits you to hear the FII program in the speakers to your right and 2-Set the Selectorswitch to rtt-,rlt position. the AII speakers in the left-hand speakers. 3-Set the ilIono-Stereoswitch to r (elr) This position is normally used only to reestab- position. lish the correct spatial relationship vhen play- l0 t' t I i. pro- ing d recording which has been made with the 6 - Set the remaining audio controls to channels reversed. vide the desired volume, loudness control and 6"ltering. 4 - Tune to the respective frequencies of ihe cartridge supplied with FM and AII stations which are transmitting Varning! The stereo your must not be used to play 78 rpm the stereo program, using the FIl and AtrI changer you wish to play these old sheilac Tuning knobs and the corresponding MicroRay records. If will be necessary to instail a Indicators. records, it second plug-in cartridge, which is available from your Fisher dealer. You may also con- 5 Set the AII Bandwidth switch to AM BRoAD - nect an external record player with a ceramic position. Do not use the sn.lnp position unless cartridge to the Premiere, as described on local reception conditions are such that less page 13. To provide proper equalization with band widtb is required. these records. set the tone controls to ?8 position. 6 - Set the audio controls to provide the de' sired volume and tone, and set the Balance control for best stereophonic listening. stereophonic recordings . . . t Turn the Volume control knob so that . . - monoPhonic re(ordings . power is applied. | - Turn the Volume control knob so that 2 - Set the Selector switoh to rnoxo position. power is applied to the set. 3 - Set the Nfono-Stereo switch to srERso posi- 2 - Set the Selecror switch to rroxo position' tion. Use the nsvrnse position if you wish to transpose the output channels. 3-Set the tlono-Stereo switch to MoNo' rnoxo position. 4 - Set the Bass and Treble tone controls to nn.l positions to provide normal equalization you the tone 4 - Set the Bass and Treble tone controls for in each channel. Il wish to vary both channels to RIAA position, if the mono' in either channel. set the dual Bass and Treble phonic record you are playing is a new knobs as required. iecord which has been made with this equali- zation. For 33-1,/3 and 45 rpm records made 5 - Place the record changer in operation in before 1955, use the r,r position. accordance with the operating instructions fur' nished for the changer. Do not stack more the to 5 - Place the record changer in operation in than three to 6ve records on spindle accordance with the separate instruction book insure good listening results. Iurnished. To obtain the best sound reproduc- tion, it is recommended that not more than 6 - Set the remaining audio controls as re' pro' ,tlree to 6ve records be stacked on the quired and adjust the Balance control to changer. vide the best stereoPhonic efiect. INSTAtttNGAND OPERATINGASSOCIATED EQUIPMENT In addition to providing FM and A1\{ broadcasts and playing both stereo- phonic and monophonic phonograph records, external sound sources can be con- nect€d to the Premiere to provide other high fidelity program material. Associated equipment which can be used rvith the Fremiere include a tape recorder or tape deck, an adaptor for FM multiplex reception, an external FM tuner for FM-FII 'stereo broadcasts,and an external record player rvith a ceramic cartridge. ' Instructions for connecting and operating these auxiliary sound sources are cbntained belorv. All input and output connections are made to the jack bracket , located on the rear panel of the receiver chassis,as shown in Figure 5. .-fl F-*',r 1 i ,t I : AEITA 6N{rcTIONI @ a 1; CHANXELA CHANNELA i rdttutrt-lxruT'- q_9_9_9 *@e9 .oo. *on eux mrxllllrff,f o A---l 8-.l cl rsPK rlMP [sPK s€r------l ATIXITIARY ECETACtES PHASI t6taoaa16tGx T-rEvEl ,^\ n\ @@@o@@ @@@o (t i> (/ > {ru*)(/Z) m @@ @ @@ -.W \./ \/I!,/ ! t^ 6w stw .tii",if. FlG. 5: Reor pon€l of the receiverchossis showing locotion of iock brocket for moking conneclions lo exlernql equipment. tqperecorder... Set the Selector switch on the Premiere to prroNo, or FM-Alr depending on which pro. . either stereo' A standard tape recorder, gram source you are recording on magnetic can be used for two phonic or monophonic, tape. For playing back taped programs, set the Premiere. First, it can be purposes with the Selector to AUx or FM-[rPx depending on in' A[1 or FM broadcasts used to record on tape put connections. or phonograph records being piayed through tle Premiere sound system. Secondly, it will If you are using a monophonic tape re. play back through the Premiere sound sy-stem corder se! the Mono-stereo switch on the Pre' ptogt"^ material which has previously been miere control panel to A or B, depending on recorded on magnetic tape. Permanent connec' whether the tape recorder has been connected tions between the tape recorder and the rear to the A or B channel. A stereo recorder panel o{ the receiver chassis to permit both should be set to srEREo, or to REVERSEif you to be carried out may be made as wish to reverse the tape output channels, l iunctions indicated below. The tape monitor switch, located on the . II your recorder utilizes separate record and front panel, has two positions, uotrlton and playback heads, connect a cable between the pLAyaAcK. If the tape recorder has been con- \ icnon ourpur jack on the Premiere and the nected to the tr{onitor Inputs of the Premiere, input or record jack on your tape recorder' set this switch to xroNlroR. This wiil pernit Connect another cable between the output or you to hear the program as you have recorded playback jack on the recorder and the ilIoNI' it. To play back program material from a tape ToR rNPUT jack on the Premiere. If you are recorder which is not connected to the }Ioni- using a stereo recorder, make these connec' tor Inputs, set the Tape }fonitor switch to tions to both the Channel A and Channel B PLAYBACK. RcRDRand MoNIToR jacks. If a monophonic re- Set the volume, tone and balance controls on corder is being used, make these connections the Premiere as required. Operate the tape i ao either Channel A or Channel B. These con' { recorder in accordance with the instructions trections will permit you not only to record T furnished with it. I and play back as described above, but also to monitor, or play back, material as you re- cord it. tapedeck... II your recorder utilizes a common head for A tape deck is a tape transport mechanism recording and playback, the output cable both without a preamplifier. It is connected to a Irom the tape recorder should be connected to sound system to provide playback from re- AUx input on the Premiere, If the eux in' the corded tapes. If you have a stereo tape deck, put is already occupied by another program connect the A and B output cables to the re- you may use the lroxtroR or MPx in- source, spective inputs marked rApE HEAD in both put, Another cable is connected between the Channel A and Channel B. A monophonic ncRDR ourPUT jack on the Premiere and the tape deck may be connected to either the input or record jack on your tape recorder. If Channel A or Channel B tlpp HEADinput. you irre using a stereo recorder, make these connections in both the A and B channels' The reps nr.lo inputs provide the pream- With a monophonic recorder, connect either plification and equalization required when con- A or B. Using the AUx input provides a sirong- nected directly to tape heads. Do not use these er playback signal inputs lor standard, tape record,ers in which l2 L the playback preamplifers are incorporated. These Premiere. Connect this external tuner to jack panel iecordets should be connected as indicated un' Channel B trpx llpur on tire rear Also con' der Tape Recorder. of the Premiere's receiver chassis' nect a jumper betw-een the rlr ouirur jack the Premiere to Set the Selector srvitch on and the Channel A rrrx txeur jack. T.{pE HEAD. Turn the llono-Stereo switch to srEREo if you are using a stereo tape deck' Caution! The shielded cable leads from the jacks With a monophonic tape deck, set the ]Iono- Flr ourpur and rrpx ourPur should be FJI Stereo switch to A or B position, depending on kept as far away as possible from the the Channel to rvhich lhe tape deck has been anlenna, antenna lead-in or antenna terminals. Tape llonitor switch to corulected. Turn the The receiver in the Premiere should supply PLAYE.TCK. the left or A channel of the stereo broadcast, provide the B Set ttre volume, tone and balance controls and the external tuner should you as required, For other information on oper- channel. It i{ill be necessary for to ascer- your , ating the tape deck, see the instructions fur' tain from neuspaper which FII station nished with it. is broadcasting the respective channels and to set your tuners accordinglY. the switch on the Premiere multiplexsdqPtor... Set Selector conirol panel to FII-upx, and the ]Iono-Stereo A multiplex adaptor, such as the FISHER switch to srEREo. The tone and balance con' model trIPX-l0, is required to receive multi' trols on the Premiere control panel should be plex stereocasts. The adaptor can be perma' set as required. Dently connected to the Premiere receiver whenever chassis to hear these broadcasts exlernql re€ord ployer . . . they are available. Connect a cable from the MPx ourPUT jack on the rear panel of the re' A second record player with a ceramic cat' ceiver to the appropriate input jack on your tridge may be connected to the Premiere to multiplex adaptor. Then connect the Channel provide another phonograph source. If the ex- A and Channel B ourpur jacks of the adaptor ternal record player is equipped with. a 3-mil to the coresponding urx Ixeur jacks of the sty.lus, you can play 78 rpm records without . Premiere. See the operating instructions fur- changing the cartridge in the Premiere record nished with your multiplex adaptor {or addi- changer, The external record player may be tional inormation. equipped with either a monophonic or a stereophonic cartridge. Set the Selector switch on the Premiere con' tiol panel to Flr-)IPx. The ]Iono'Stereo srvitch II the external record player or changer you shoutd be set to srEREo. Set the Tuning knob are using has a ceramic slereo cartridge, con- to the FII station which is transmitting the nect the leads from the cartridge to the inputs stereo broadcast. The volume and tone controls on the Premiere jack bracket marked ,rux. on the Futura are set as required. The sepa- Connect both Channel A and Channel B. A ration and other controls on the adaptor should monophonic ceramic cartridge may be con- be operated as described in the instructions nected to the lux input in either channel. The furnished with the multiplex adaptor. input impedance ol the .lux jack is 2 meg- ohms and is, therefore, highly suitable for The Fisber IIPX-10 llultiplex Adaptor can ceramic cartridges. be readily fitted into the record storage com' partment in the Premiere cabinet. Note! An external record player with a mag- zeac cartridge must not be connected to the AUx inputs. If you wish to use an external fm-fmsfereo... player o{ this type, it can only be plugged into This rype of stereo broadcast, available in the inputs marked tIcN PHoNo, into rvhich some areas, requires an external FII or FII- the Premiere's record changer is normally A.r\I tuner in addition to tbe receiver in the plugged. MAINTENANCEAND ADJUSTMENTS There are five Level Sets and a Phase Reversing srvitch located on the rear panel of the Premierereceiver chassis (see Figure 5). Thesecontrols may require someadjustment when the consoleis first installed,but they are not normally used in subseguentoperation. t3 '**- E-'-'"F , levelsets... CHANNETB AMPIIFIER:Vl3-Tone control am- pliiler (7025/ECCB3,/12AX7) ; Vl4-Driver and marked Phono Tbere are 6ve Level Sets (7199) V15, Vf6-Push-Pull Phase Inverter I A, Phono B, ilIPX A, IIPX B, aad AlI. The Power Amplifier (7189) I Vl7-Phono-Tape Pre- Phono and the AII Level sets have been ad- amplifier \iO2S/ECCB3/ l2AX7) i' justed at ttre lactory to provide a uniform out- program sources which are put lyith various CHANNELA AIAPUFIER:\'18-Phono-Tape Pre- standardized with the unvarying FII output. amplifier (7025/ECCB3/ 12-'\X?) ; V19-Tone- II a tape recorder or multiplex adaptor has Control Amplifier (7025/ECCB3/12AX7) ; V20- been connected to the Premiere, the IIPX (7199) Driver and Phase Tnverter i Y21,22- Level Sets will probably require adjustment Push-pull Porver Amplifier (?189). '' , ) +7 from the ilIaximum position in rvhich they are shipped from the factory. Turn the IIPX Level There is also a matched pair of crystal di- iet counterclockwise until the volume of the odes in the FfI detector stage Iocated on the tape recorder or trIPX stereo program is equal top of the FJI discriminator transformer. to the other levels. Note! The Phono level set can also be used replqcing pqne! lighrs . . . to adjust the level of tape deck inputs. When tle AC power is turned on, two panel lights will go on to illuminate the dial glass phase reversing switch . . . of the Premiere control panel. These lamps are located behind the front panel on either The Phase Reversing switch provides a side o{ the dial glass, and are not visible. To means of compensating for improperly phased replace these bulbs, it is necessary to remove speakers. Since the. speaker systems in the the front panel, first disconnecting the AC Premiere have been properly phased at the cord as a safety precaution. factory, this srvitch is not normally used. The front panel is held in place by means If the speakers are out of phase, it is neces' of four hex nuts located behind the Volume, sary to reverse the leads to one of the speak- Bass, FII Tuning and Am Tuning control $ers. This .is accomplished by the Phase Re- knobs, Remove the knobs and hex nuts and lift versing switch which electrically reverses the ofi the {ront panel. The bulbs are held in leads to Speaker B. Set this switch to REvERsE place by spring clips and may be removed positiou.. with the fingers or pried loose, i{ aecessary, wittr a screwdriver. Replace rvith a new lamp, tube locotion snd functions . . . available {rom your FISHER dealer as Part No. 150082-3. A tube loeation diagram appears on the model label oI tbe Premiere, located on the rear of the cabinet.lbe tube fuactions oI the ol your service . . . t' receiver chassisare as follows: It is the constant desire of Fisher Radio Corporation to have your FISHER give you its (ECCBJ/ FM SECT|oN:Vl-Cascode RF Stage best possible performance. Toward that objec- Oscillator (ECC85/ 6AQB); V2-IIixer and tive, we solicit your correspondence on any IF Amplifier (6AU6) v5- 6AQB) ; V3, V4- ; special problems that may arise. A{ter you (6AU6); Limiter and IF Amplifier V6-trIicro- have had an opportunity to familiarize your- Ray Tuning Indicator (EIIBd/6FG6). l self with THE FISHER, rve would appreciate lc i'r.'t your letting us knory how it is meeting your AM SECTION:V7-Tuned RF Amplifier 16BJ6); requirements. V8-lIixer, Oscillator and IF Amplifier (ECH8I/6AJ8) ; Y9- IF Amplifier and Demod' ulator (EBF89) ; Vl0-llicroRay Tuning Indi- your fisher deqler . . . cator (E}I84,/6FG6), Be sure to consultyour FISHER Dealer POWERSUPPTY: V1l-Rectifier for Amplifiers promptly if any situation arisesthat indicates (G234/5AR4) ; Vl2-Rectilier for Tuners a possibledefect. Your FISHER Deaierstands G.A0/6V4). ready to assistyou at any time. t4 Porl No. N765.104 E2,alFRll -9 -"-.--_*-..€.....'? O H ,q | '!d€o . o h d E-rg d.q trrt +tn{ O E! I d d+: d {srt t 5'd J4 dr{+ tr . o trr Ad o d < g .q o k o gg o{J o +Cr{og o +do.ChOh!! .q O t H R.rr o .r{ dJ4'P+ f{ O O {r+O o o o . ts o d q{ E .Cdd ol E! 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