Service Manuals, User Guides, Schematic Diagrams or docs for : Fisher P P-29 P-29
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THE FISHER
P hilhqrmonic
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WO L EADER IN HI G H FI D E L I T Y
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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
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 assistancetoward that objective, please write me personally.
equipment you have just acquired came into being-its appearance, lt
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 engineersand technical writers ri
r!
ri
has now opened, for you and your family, on virtually unlimited to create this instruction book for your guidance and enjoyment. il
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 president
and
FI SHER FIR STS -Milestones in t h e His t o ry o f Hig h F id e lit y Re p ro d u c t io n .
1937 F irs t h i g h - f i d e l i i y so u n d syste ms featur ing a 1955 Fir st cor r ec tl y equal i z ed,di r ec t tape- headm as - | 960 F i r s t r ev er ber ati on dev i c e,for u s e i n h i g h f i d e l t y
b e a m - p o w e r a mp l i fi e r, i n ve rse feedback, ter audio contr ol sand s el f- pow er ed eam pl i fi er .
pr equi pm ent- T he F i s her D y nam i c S p a c e x p a n d e r.
acoustic speaker compartments (infinite baffle 1956 Fir st to use Pow er M oni tor i n a hom e am pl i fi er . 1960 F i r s t s ter eo tuner w i th M i c r oT u n e .
and bass reflex) and magnetic cartfldges. 1960 F i r s t F l Vltuner w i th s i x l F s ta g e s .
1956 Fir st All- Tr ans i s tor i z edPr eam D l i fi er - Eoual i z er .
1937 F irst e x c l u s i ve l y h i g h fi d e l i ty T R F tuner , fea- 1960 F i r s t F M tuner w i th fi v e l i m i te rs .
t u rin g b r o a d - tu n i n g2 0 ,0 0 0 cycl e fi delity. 1956 Fir st dual dy nam i c l i m i ter s i n an F M tuner for
nom e use. 1960 F i r s t fr ont panel antenna s el e c t o r s w i t c h , 7 2 -
1937 F irs t t w o - u n i t h i g h {i d e l i ty syste m with sep- 300 ohm , Loc al - D i s tant pos i ti o n s .
a ra t e s D e a k e re n cl o su re . 1956 Fir st Per { o r m anc eM oni tor i n a hi gh qual i ty
amplifier for hom e us e. 1961 F i r s t M ul ti pl ex uni ts w i th ST E R E oB E A C o Na n d
1938 F irs t c o a x i a l sp e a ke r syste m. '1956 First FM-AlVl autom ati c s w i tc hi ng, m ono to s t e re o .
tuner with TWo meters. 1961 F i r s t c om pl ete r ec ei v er sw i th M u l t i p l e x .
1938 F irs t h i g h f i d el i ty tu n e r wl th a mp l ified AVC.
1956 Fir st com plete gr aphi c r es pons e c ur v e i ndi c a- 1961 F i r s t F M - Ster e0- M ul ti pl ex tune rs w i t h S TE R E 0
1939 F irst 3 - W a y Sp e a ke r i n a h i g h fi d e lity system . bass and tr ebl e.
tor for BEAIV].
1939 Firs t C e n t e r - o f-C h a n n e l u n i n g i n d icator .
T
1957 Fir st Golden C as c odeF M T uner . 1961 F i r s t l ouds peak er y s temw i th f ra me l e s sw o o l e r
s
1945 First P r e a m p li fi e r-E q u a l i ze r th se lective pho-
wi
c one, el i m i nati ng al l par as i ti c re s o n a n c e .
n o g r a p h e q u a l i za ti o n . 1957 Fir st M icr oRayT uni ng l ndi c ator .
1961 F i r s t i nter nal s w i tc hi ng s y s te m t o p e rmi t i m-
1948 F irst D y n a m i c R a n g e E xp a n d e rw i th feedback. 1958 Fir st Ster eophoni c adi o- Phonogr aphi th M ag-
R w m edj ate tape pl ay bac kw i th use o f a l l c o n t ro l s
1949 F irst F M - A|\ T un e r wi th va ri a b l e A F C.
4 netic Ster eo C ar tr i dge. and s w i tc hes .
1952 F irst 5 0 - W a t t , a l l -tri o d e a mp l i fi e r. 195S Fir st high- qual i ty Ster eoR em oteC ontr olSy s tem . 1952 F i r s t s i m pl i fi ed- oper ati on C o n t ro l- A mp l i i i e r,
1952 F irst s e l f - o o w e re dMa ste r A u d i o C o ntr ol. 1959 Fir st complete Ster eophoni c F M - AM R ec ei v er w i th i nfr equentl y us ed c ontr o l s b e h i n d t ro n t -
( FM- AMtune r , audi o c ontr ol ,4o- w att am pl i fi er ) . panel c ov er , y et i m m edi atel y a c c e s s i b l e .
1953 F irst s e l t - p o we re d ,e l e ctro n i c sh a rp- cut- offfil-
t e r s y s t e m f o r h i g h fi d e l i ty u se . 1959 Fir st high- c om pl i anc e us hi gh- effi c i enc y ee-
pl fr 1962 F i r s t l ouds peak er w i th eddy - c u rre n t -d a mp e d
piston spea k ers y s tem . v or c e c 0i l .
1953 F irst U n i v e r s alH o rn -T yp e p e a ke rE nclosur e
S for
1952 F i r s t bas s s peak er w i th c omb i n e d s e rra t e d -
a n y r o o m l o c a ti o n a n d a n y sp e a ke r. 1960 Fir st to use M i c r oR ayfor F M tuni ng and as a al um i num and {i ber c one.
1953 First F M - AMt u n e r w i th a C a sco d e Fr ont End. Recor dingAudi o Lev el Indi c ator . 1962 F i r s t F l \4 T uner Ki t w i th s eDa ra t e d ' A rs o n v a l
1954 Firs t l o w - c o s t el e ctro n i c Mi xe r-F a d er . 1960 Fir st com plete s ter eo F M 'AM r ec ei v er w i th 60- m eter for tuni ng and s epai a t e c a t h o d e ra y
1954 Firs t m o d e r a t e l y-p ri ce dp ro te ssi o n alFM Tuner
, watt power a m pl i fi er and new 7591output tubes . s ter eo br oadc as t i ndi c ator ( STE R E 0B E A M).
with TWo meters. 1960 Smithsonian Ins ti tuti on, W as hi ngton, D .C . 1962 F i r s t Ster eophoni c F M T une r w i t h TU N E -0 -
1955 F irst Pe a k P o we r In d i ca to r i n h i g h fidelity. accepts for i ts c ol l ec ti on Am er i c a's fi r s t c om - M AT IC M otor T uni ng.
1955 F irst M a s t e r A u d i o Co n tro l Ch a ssis with five- m er cially manufac tur ed hi gh fi del i ty r adi 0. 1962 F i r s t Super s oni cW i r el es s R emo t e C o n t ro l i n a
p o s i t i o n m i x i n g fa ci l i ti e s. phonogr aph, ade by Av er y F i s her i n 1937.
m hi gh fi del i ty c om ponent.
O1 9 6 2 FT sHER RADIo coRPoRAT IoN
,F
THE FISHERPHITHAR'NONIC
IV
MODET P-29
Stereophon ic Rqdio-Phonogroph
for the FISHER WS-l Wide Surround speakers. Twenty watts of music
ITIHE MAGNTFIcENcE old-world cabinet craftsmanship has been
of power, free of all audible distortion, are supplied by a dual-channel
I combined with the latest products of advanced electronic engineer- stereophonic power amplifier which reproduces a complex orchestral
ing to create the new FISHER Philharmonic -a musical instrument passage as easily as the delicate tones of an oboe, Two acoustically-
that meets the most exacting criteria. Each section in the Philharmonic balanced three-way speaker systemsrecreate the dynamics and spacious-
has been designed to meet the laboratory standards that distinguish all ness of the modern orchestra as only stereophonic sound reproduction
FISHER components. The unusually sensitive tuner can be used for makes possible.
AM and FM, and for multiplexed FM stereo reception when the Flawless circuitry, the use of costly, carefully selected materials,
optional plug-in adaptor is installed. Six controls enable you to select and unhurried manufacture - essential constituents'of quality which
any program source instantly and to adjust volume and tonal char- are too often lost in mass production - all of these will contribute to
acteristics to your taste. The renowned Garrard record changer and years of trouble-free operation and to your greater listening pleasure.
diamond stylus cartridge convey faithfully every musical nuance of These are the attributes which have, {or over twenty-five years, created
monophonic or stereophonic records. Special connections are provided the world-wide FISHER reDutation.
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
TABLE OF CONTENTS 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
PAGE
of the original live sounds. Thus, good stereophonic sound is high
fidelity in the truest sense of the term.
INSTATTING PHITHARMONIC
THE 4 This feeling of dimension is lost with monophonic (single channel)
reproduction, because our ears help determine the relative position of
THE CONTROTS 4 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.
ACCESSORTES Merely using two or more speakers on a single amplifier does not
solve the problem; it only spreads the single sound source without
ANTENNAS 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
REPLACING DIAI LAMPS
THE 9 recording, transmission and reception. This requires the use of two
separate sets of recording amplifiers, a means of keeping the channels
FORTHE TECHNICALTY.MINDED 9 apart during recording and radio broadcasting, and finally, two inde.
pendent amplifier and speaker systems in the home. In a stereo record,
TECHNICAT each wall of the groove contains a separate signal, and the stereo
SPECIFICATIONS t0 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 sessionsto the final playback in your home would
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result in an unnatural efiect. But enough separation is maintained so Remove the rubber bands used to secure the pickup arm and redord
that a definite {eeling of direction occurs as you listen to the repro- overarm.
duced sound. The result is a remarkably vivid illusion of great
d e p t h a n d s p a c io u sn e ss, ch a s is n o r m a lly o b ta ined on'l y at a l i ve
su The Antennqs
perlormance. 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
INSTALTINGTHE PHITHARMONIC i n al most al l cases w i thout the ai d o{ an external antenna.
The FM antenna is made o{ 300-ohm "twin lead", the same materia'l
f D L E A s E R E A Dth e se in str u ctio n s ca r e fu lly b e fo r e you begi n usi ng used for TV antenna lead-in wire, cut and wired esperrially {or use
I your Philharmonic. This booklet was prepared with you in mind,
as an F\'I antenna. You will find it srapled to the back of the cabiner.
to help you become familiar with the controls, Correct installation and It will give excellent results on both stereophonic and monophonic
an understanding of what each control does is important in obtaining FM broarlcasts, except possibly in extreme fringe areas. If you have
the fullest enjoyment from your FISHER Philharmontc. di ffi cul ty w i th FM recepti on, consul t "A N TE N N A S " on page 8 of
The Philharmonic operates on AC on!.y.Plugging it into a DC outlet thi s manual .
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 THE CONTROIS
in almost all areas of the United States; but if you are in any doubt
a b o u t y o u r p o w er so u r ce . we su g g e st yo u ca ll your l ocal uti l i ti es f\ n-rul N l rxr pA cEthere i s an i l l ustrati on of the dres s panel of y our
c o m p a n y t o m a k e su r e , \f Plilharmonic, with all markings and controls shown. The con-
I n t h e r a r e c ase th a t yo u h a ve S0 - cycleAC in your l ocati on, you trols have been set at the {actory to the positions shown so that you
will need a special adaptor pulley so that the Record Changer will can use y<:ur Philharmonic as soon as it is installed. We urge you,
revolve at the correct speed. Check rvith your F'ISHER dealer. 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
The Record Chonger your benefit. You will find it helpful to refer to Figure 2 as you read,
f)uring transit, the Record Changer is held firrnly to its mounting or, better still, to operate the controls themselves and become iamiliar
board by two flat-head screws - one in the left rear corner of the w i th them.
Changer baseplate, the other near the right {ront corner, just behind
the control levers. To prepare the Changer for use, these screws Tuni ng
should both be turned clockwise as far as they will go without using This control selects AM and FM stations you want to receive, The
force. When this is done, the Changer baseplate will "float" about a si ngl e knob operatesboth'the A M and FM secti onsoI the P hi l .harmoni c
half inch above the mounting board, and should bounce Ireely up tuner; w hi ch mode you recei ve depends upon the s etti ng of the
and down under hand pressure. The purpose of this shock mounting selector switch, which we will explain below.
is to prevent cabinet vibrations and jolts from causing the stylus to On the dial glass, you will find the FM markings above, and the AM
skip around the record grooves. 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-
i n;r exacl stati on frequenci es.
Power On-Off crnd Volume Control
This control combines the lunctions of power switching and volume.
,.in',
@: ; 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
"V/ 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
.A'-
j'V,t
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
a ;6 r';
'vr- 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
S position, although snrall variations to either side are to be expected
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