As makers of high quality stereo equipment for the home our greatest pleasure must — and does — come from the creation of equipment that reflects all the best that the electronic engineering and industrial design arts have to offer. But for some years there has been another source of pride and pleasure for us — the publication and distribution of over two million copies of THE FISHER HANDBOOK. In preparing this publication we have turned to many of the leading authorities in the field of stereo, and home decoration. Their collective wisdom has made it possible to create a publication without equal anywhere in the world. THE FISHER HANDBOOK has helped music lovers everywhere to learn in nontechnical terms what stereo is all about. More important it has given them a sense of judgment as to which equipment is best suited for their purposes, and as to how it can most effectively be installed in their homes.

This latest edition of THE FISHER HANDBOOK, like its predecessors, offers an open door to the wonderful world of music in the home, an investment in pleasure that will keep on giving, literally, for decades. "Who hears music, feels his solitude peopled at once."
Avery Fisher, Founder and President
Fisher Radio Corporation

IF A CROSS SECTION of serious music lovers were asked to list their requirements for a theoretically 'ideal' manufacturer of high-fidelity equipment, the chances are they would reply with a fairly accurate description of Fisher Radio Corporation.

They would undoubtedly want the head of the company to be a devoted music lover himself, preferably a trained musician, and most certainly an avid record collector. Avery Fisher is all threechamber music enthusiast, violinist, and owner of one of the country's major record collections as well as an usually rare and complete library of chamber music.

They would want the company to be deeply aware of every problem faced by the discriminating home music listener, of every major and minor trend in high fidelity, of even the slightest new development in audio engineering, and to have vast experience in translating this awareness into the finest equipment. Avery Fisher built his original high-quality radio and phonograph systems in 1937, as much for himself as for his handful of knowledgeable patrons, at a time when 'high fidelity' was strictly professional jargon and natural-sounding equipment designed specifically for the home desperately scarce. Since then, he and the Fisher Radio Corporation have been responsible for more engineering 'firsts' in high fidelity than the entire industry. (See complete list of Fisher Firsts on inside back cover.)

By Hans Fantel - Contributing Editor, - STEREO REVIEW

IT IS ALL TOO EASY, in discussing the principles of sound reproduction, to take it for granted — and therefore lose sight of — the first requirement for high fidelity; something to be faithful to. Sound, after all, is not only the end product of high fidelity, but the raw material as well. The central purpose of a hi-fi system can perhaps best be described as the accurate reproduction of that part of the infinitely various world of sound that is used for the creation of music.

Take, for example, the matter of tone color — also called timbre — which contributes so significantly to the texture of music. A cello and a trombone may both be playing the same musical note, but the listener can easily tell them apart. What accounts for this?

When the great German physicist H. L. F. Helmholtz first began to analyze sound some one hundred years ago, he discovered that what the listener hears from an instrument as a single musical note actually consists of many different tones. There is, first of all, the basic pitch perceived by the ear — called the fundamental. But in addition to this fundamental tone, the musical note embodies a whole series of additional tones, called overtones or harmonics. These are multiples of the fundamental frequency (i.e., twice, three times, or four or more times the frequency of the basic note). Not all of these overtones are equally strong, nor do they have the same phase (time relationship to the fundamental). Each musical instrument has its individual overtone pattern and it is this pattern that gives each instrument the characteristic tone color by which we identify it.

By C. G. McPROUD - Publisher, AUDIO - Fellow and former President of the Audio Engineering Society

IF you understand the basic concept of high fidelity, you are ready to take a look at the 'hardware' necessary to provide a working system, and that is where you have to start making decisions.

The three common sources of program material — radio, phonograph, and tape — all require different kinds of devices to implement their various functions, but every high fidelity system will have some form of amplifier and some form of loudspeaker.

The purpose of the amplifier is — simply enough — to amplify. All of our sources of program material provide signals which are not nearly strong enough to operate a loudspeaker. From a phonograph record, we get a signal of approximately 2/1000 of a volt via the cartridge, which is the device that translates the modulations of a tiny groove into an electrical signal. From the radio station we pick up a signal measured in millionths of a volt, and from a reel of tape the signal is likely to be just about a thousandth of a volt. Each of these signals must be boosted in strength to drive the loudspeaker. In addition, to provide properly balanced sound from the speakers, the proportion of bass and treble in the signal must in certain cases be changed according to a standardized formula; we call this process equalization. The common tone control is another form of 'equalizing' familiar to everyone.

In most cases, the loudspeaker is the only portion of a high fidelity system you will find separately enclosed in some form of 'furniture.' Acoustically, the cabinet or enclosure is a very important part of the loudspeaker system, and it is well recognized that a loudspeaker unit of the highest possible quality can have its performance completely spoiled by being placed in a poorly designed cabinet.

Almost any loudspeaker works fairly well in the midrange frequencies — say from an octave below middle C to three octaves above middle C. It is the extremes that become difficult to radiate into the air.

A loudspeaker must move a lot of air to perform properly at low frequencies, and consequently the woofer — that's the unit that handles the low tones when two or three separate units are employed — is usually fairly large and with a heavy cone structure; whereas in a unit designed for the midrange only, the cone will be smaller and lighter. For the very high tones, the tweeter unit used is sometimes of horn construction; or it may have a tiny and light radiating area, often in the form of a hemisphere.

Selecting a loudspeaker is a personal problem. Tastes differ among people — what one individual likes may not be acceptable to another. While it might seem that there could be a 'perfect' loudspeaker, we must admit that not even the finest products of different manufacturers sound alike: and since each manufacturer must theoretically be doing his best to achieve quality, the buyer has plenty of room for choice.

If you have elected to use radio programs as part of the source material for your high fidelity system, you will need a tuner. Everyone is familiar with a 'radio set' in one form or another. While it would be possible to connect an ordinary radio set to a high fidelity system, it is rarely done because the average set does not have an electrical output of sufficiently high quality to feed into a carefully planned system. Consequently we add a high fidelity tuner to our amplifier and loudspeaker, and we can then enjoy radio programs.

There are two basic types of radio broadcasting in use today: AM and FM, standing, respectively, for amplitude modulation and frequency modulation. Both have their uses, but FM offers somewhat higher quality, including a greater dynamic range, from pianissimo to fortissimo, and a wider frequency response, from the deepest bass to the highest overtones. In addition, FM is much less susceptible to atmospheric noise and 'man-made' static.

The tuner and the amplifier are today generally combined into one unit known as a receiver, which performs all the functions of both, yet requires only one cabinet and one power supply, resulting in considerable savings to the user. With modern solid-state design, less heat is generated and less cabinet space is required, but both units perform just as well as though they were separate.

This term is inclusive in that it encompasses a number of vastly differing devices. One is, of course, the mechanical unit which rotates the record, and this may be a turntable or a record changer. (The latter is now more often called an Automatic Turntable.) The device which actually contacts the record groove is called the Stylus, and it is an integral part of the Pickup or Cartridge. The cartridge is mounted on the Arm (or tone arm). It is the cartridge that converts the mechanical motion of the stylus tip into a minute electrical signal, which is then amplified by the preamplifier. The arm guides the cartridge across the record in an arc that provides optimum stylus-to-record contact.

In the realm of the record rotating device, one must look for low values of wow and flutter, which are the names given to slow and rapid variations in turntable speed; and one must look for a minimum of rumble. The early hi-fi enthusiast generally preferred the turntable to the record changer, but in recent years the automatic turntable has been so greatly improved that today there is little difference in most cases. The automatic has the advantage of being able to play several records in sequence without attention, while the manual turntable needs attention at the end of each record.

By Ralph Freas -
High Fidelity Columnist, AMERICAN HOME

PUTTING a component music system together
is almost as easy as adding an extension cord to a lamp. One unit is linked to another with signal-carrying or power-carrying cables. But there's a right and wrong way of doing it.

The first thing to do after unpacking your unit(s) is to put the warranty card in the mail. No, nothing's going to go wrong. The warranty card is simply a bit of free insurance. It assures you of free service — so use it.

Two Cardinal Rules
Now, to business. Where will you locate your amplifier or receiver controls? Let's establish a Rule of Two.
The first rule is: Ventilate Adequately. The second: Consider Convenience.

• Anmerkung: Für die alten Röhrengeräte - teilweise für die alten Transistorgeräte auch noch - muß die Belüftung stimmen und für den Bediener / Hörer die Bequemlichkeit.

Adequate ventilation did not precede Rule Number Two through any whim on my part. It's important. Heat is the greatest enemy of all electronic equipment. It causes the deterioration of tiny electronic parts and, while the lessening of sound quality is not a dramatic one, it speeds the aging process that ultimately leads to lower fidelity of your equipment.

And now, Rule Number Two. One of the virtues of component high fidelity is flexibility of arrangement. You'll get more pleasure from your music system if it's placed where it's easy to use. Locate controls where they can be operated without your having to squat, squint or do a handstand.

The Record Player
Locate the record-playing equipment — changer or turntable — as close as possible to the amplifier or receiver, for two reasons.

First, you can take advantage of the convenience receptacle on the back of the chassis; plug the record player info it.

Second, the leads from the turntable to the 'phono' inputs should be kept as short as possible. Extra-long leads are to be avoided; they can diminish signal strength and add to hum and noise.
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By GODDARD LlEBERSON President, Columbia Records, Inc.

A COUPLE I know with an insatiable appetite for being "in" on everything were once described as "always the first to be second." This also describes a large part of the record industry, and in this respect, I suppose, recording companies are no different from those in any other field in which there is a bonus for originality. Some changes and "firsts" are revolutionary, while others are, inevitably, only momentarily fancies, and certainly there is no particular virtue in being first with anything unless, at the same time, a concept is introduced which leads toward some basic value beyond the mere fact of innovation.

The introduction of the long-playing record did just this, and the ensuing changes were profound, not only for the record listener at home but, I believe, for our listening habits in general. Some of these changes were so radical that they can best be measured by the fact that most of us have forgotten what they were.

Let me remind you of a few. There were obvious ones. More music was put on a 12-inch record—up from four minutes a side to between twenty-five and thirty minutes. The price of the same piece of music was cut almost in half. Later, the further refinement of stereophony was developed. Then there was the much more subtle change in repertoire. In classical music there was the overnight disappearance of the single record, the "O sole mio" hit, the violin single of Humoresque by Dvorak, the piano solo of Paderewski's Minuet in G.

There are some who might say, with justice, that we are well rid of this cliche. On the other hand, there are those who felt that these single records were instrumental in leading a large public into the armchairs of the concert hall. I don't think that was the case, but it did have this significance for the classical performing artist: The disappearance of the "single" made it more difficult to be a 'hit" artist.

WHAT OF THE FUTURE? It may very well be that the phonograph record will be the only future of the composers. I say "may be," because a great deal will depend on what happens to so-called serious music vis-a-vis its public. As it now stands, it is becoming increasingly apparent that the composer wants less and less to depend upon an intermediary — that is, a performer, particularly the performer in the organized form of a large orchestra. Perhaps he has become disillusioned through the difficulties of having music performed by large organizations and is striving for a kind of self-sufficiency. At the same time, the composer seems more willing to abdicate some of his prerogatives and leave more of music creating to the performer, which is quite the opposite of the role played heretofore by the composer.

With the growth of either of these two factors, the only permanency that a composer may hope for must obviously come through recordings, either those of his own electronic music (in itself a recording) or, in the case of aleatory music, in the recordings of concerts of improvisation.

This is not my vision of the future, but for many it seems to be. For me, the word "record" still has its original meaning: more or less permanent availability of an aural event in time.

Condensed from an article in The Saturday Review

By Robert Angus -
Contributing Editor, HIGH FIDELITY

SHOULD you use a $75 cartridge with a $60 turntable? Will a pair of speakers that cost $150 sound right with a $250 amplifier? What about speakers priced at $500 each used with an amplifier costing half that amount? Isn't there any rule of thumb for the uninitiated?

There is, or to be more precise, there are - a few. To begin with, back in high fidelity's monophonic days, budgeting for a system was quite simple. Considering the three main building blocks - record player, amplifier, and speaker — you could assemble a well-balanced system by spending about equal amounts on each. The mono budget, in effect, could be figured as a simple ratio of 1:1:1.

Then came stereo, with the need for new and/or additional equipment - and the ratio was upset. Speakers cost no more than they had before, but suddenly you needed two of them. Stereo amplifiers did cost more than, but not twice as much as, mono units. And while cartridge prices went up slightly, turntable and record changer prices remained about the same. As dealers and the public got used to the idea of stereo, a modified version of the 1:1:1 ratio appeared - something like 1 (record player) : 1 1/2 (amplifier) : 2 (speakers). Until recently, this formula generally prevailed: that is, if you asked most owners of a high fidelity stereo system how they had apportioned their funds, chances are you'd learn that a little less than half of the total budget went for loudspeakers, the remainder divided between amplifier and different types of record-playing equipment.

By Charles A. Fisher

THERE are few things one can purchase that are capable of giving so much pleasure over a long period of time as a fine recording. It contains within its relatively delicate grooves the data that are brought to life as audible sound by your high fidelity system. As your collection grows it becomes the 'open sesame' to the vast and wonderful world of recorded music literature. Your records deserve, and will repay you for all the care you give them.

First, as to proper storage: All records should be stored vertically, never horizontally. Neat, vertical storage places all the weight on the record's edge, preventing warpage. In planning the storage shelves, it is best to have these of a depth of the average LP record cover (or approximately 12"). This will permit your records to overhang the front edge of the shelf, making it much easier to withdraw the desired record by grasping the top and bottom edges. (See Figure 1).

Multiple record albums may require greater depth and it is more practical to construct the shelves deep enough to accommodate the largest albums, measuring from front to back, and then inserting the proper size cleat at the bottom rear of those shelves used for single record albums (Figure 2) so that these will still overhang the front edge by the same amount as deeper albums. The less clearance above the top of the stored records, the less opportunity there will be for dust to settle in this area.

Dust and oil, which are ever present in the atmosphere and on normal skin, are the greatest enemies of record life. Conversely, clean recordings played with a good quality cartridge capable of proper operation at low stylus pressures will, for all practical purposes, last almost indefinitely.
Cleanliness, from the outset, is easy to acquire (for most records are sold in sealed plastic covers), and as easy to maintain.

After opening a new record album, remove the record, holding it by the edges, not the recorded grooves. Hold the album cover open and blow vigorously into its interior. This will remove residual dust that may have found its way into even a new record cover. If this is done periodically, even records stored without plastic sleeves will be spared the scratches that come from dust trapped in the covers. Never leave a record on the turntable after it has been played, but blow on both surfaces to remove dust and store it immediately in its album.

Moderately dusty records can be restored to clean condition by an easy, no-cost method. Simply hold the record in your left hand under a stream of cold running water. Meanwhile, run the fingers of your right hand gently through the stream of water, across the face of the record, to loosen any dust that may be adhering to the surface. Avoid excessive wetting of the label. This is easily accomplished by inclining the record toward the faucet and rotating the playing surface slowly under the faucet, with the label just beyond the reach of the water. (Figure 3). After washing, briskly shake off the excess water and remove the final drops by running a tissue lightly across the surface. (Figure 4).

RECORDS that are heavily soiled can be restored to clean condition by careful washing in a basin of detergent water, followed by a clear-water rinse as described above. In both cases, one should avoid oversoaking the label.

We do not recommend the use of record cloths because dust inevitably trapped in these materials convert them, in a sense, to an abrasive. If rubbing is necessary to remove adhering dust, it should be done only in the presence of a good lubricant. (Running water is a splendid lubricant, when used under the technique described earlier.)

In summary, for the preservation of your record library, you will quickly find that there is no substitute for consistent and simple care, utilizing the methods noted.

In the early days of music reproduction, a phonograph meant an awkward contraption with a brightly painted morning glory horn attached. It was a curiosity, quaint to look at, and not too far out of place in the front parlor with its Victorian furniture and flowered wallpaper. Today the front parlor no longer exists. It has been replaced by rooms which we use, not just when company comes, but every day — living room, family rooms, playrooms. The music system has become an integral part of the room scheme rather than a novelty resting in the corner on a draped table.
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Interior designers and homemakers introduce music in their homes in many ways. If they choose separate components, they can be incorporated into an existing piece of furniture such as a breakfront cabinet or commode. Since today's equipment is so well designed, it is frequently placed on open bookshelves or in wall units and arranged like accessories or objects of art. In fact, an intermingling of components and interesting pieces of art — sculpture, vases, pictures — can be an effective focal point.

Years ago, a professional hi-fi installation required the use of a separate tuner and amplifier in order to attain the highest quality of performance and flexibility. In many instances, a separate power amplifier and master audio control were considered essential. Today, the stereo receiver not only performs the functions of tuner and amplifier on one, beautifully integrated chassis, but outperforms the finest separate components.

Heart of this professional stereo installation is the Fisher 800-T, the world's finest AM-FM Stereo Receiver. Other components include a specially designed 2/4-track tape recorder, a 4-speed automatic turntable, and a pair of Fisher Speaker Systems. The quality of performance and flexibility of control in this relatively compact installation is as professional as it is possible to achieve, yet the beautiful styling of the components enhances the attractive decor of the room.
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ADDING COMPONENTS to a room may mean making a few changes in the existing furniture layout. Seating pieces may require rearranging to take full advantage of the optimum listening area, which means that part of the room where all the effects of stereophonic sound reproduction are heard best. Experiment on paper first by drawing a rough outline of the room. Then measure the major pieces of furniture and place them on the plan. (The best scale to use for this purpose is 1/4" to the foot.) Try several arrangements and then after you have found the one which looks best on paper, try it in the room. A little effort in trial and error will result in a room arrangement which is not only the best from a functional standpoint but esthetically satisfying as well.

This installation features the Fisher 250-T AM-FM Stereo Receiver with TUNE-O-MATIC® Pushbutton Memory Tuning—ideal for those who seek convenience, flexibility and fine performance. The 4-speed automatic turntable is in a separate enclosure. In this way, any possibility of acoustic interaction between speakers and turntable is eliminated.
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