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The Fisher 400 pe tuburi (lampi) Stereo tube receiver - Descriere
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Vand The Fisher 400 -receiver pe tuburi, alimentare pe 110 Volti!
Original din US, nereparat niciodata, in perfecta stare de conservare si functionare, sunet fara brum, fasait sau alte zgomote din potentiometre, etc. Pozele sunt originale. Nu trimit in tara datorita greutatii si riscului cazaturilor. Se face proba la domiciliul meu. Compatibil 4,8, 16 ohmi.
|Year: 1966–1968||Type: Radio - or past WW2 tuner|
|Valves / Tubes||20: EC900 EC92 6BA6 EF94 EM84a ECC83 7868|
|Principle||Super-Heterodyne (Super in general)|
|Tuned circuits||11 FM circuit(s)|
|Wave bands||FM Radio only|
|Power type and voltage||Alternating Current supply (AC) / 220 Volt|
|Loudspeaker||- This model requires external speaker(s).|
|from Radiomuseum.org||Model: 400 - Fisher Radio; New York NY|
|Shape||Chassis only or for «building in»|
|Dimensions (WHD)||445 x 146 x 380 mm / 17.5 x 5.7 x 15 inch|
|Notes||Röhren teilweise mehrfach vorhanden.
HiFi-Stereo-Tuner-Verstärker. Ausgangsleistung 2× 25 W (Sinus); Nußbaum-Gehäuse gegen Mehrpreis (120,- DM).
Vertrieb über ELAC.
|Net weight (2.2 lb = 1 kg)||14 kg / 30 lb 13.4 oz (30.837 lb)|
|Price in first year of sale||1,790.00 DM|
When considering the origins of High-Fidelity, the names Avery Fisher, Herman H. Scott, Rudy Bozak, Frank McIntosh, James Lansing, Jim Stephens, Paul Klipsch, Saul Marantz, David Hafler, and a few others come to mind. Of those people the single most prominent figure responsible for its success is Avery Fisher.
Fisher was born in the Yorkville section of Manhattan into a family to whom music was an important part of recreational life. His father, Charles Fisher, a real estate specialist, owned one of the nation's biggest collections of acoustic horn gramophones. The boy Avery was allowed to study the violin as early as he wanted to, which was pretty early. As Fisher grew so did his proficiency of the violin, often participating as a first or second fiddle, at a nearby chamber music concert hall with visiting companies. Despite this musically bent upbringing, when he went to NYU he majored in biology, then went an entirely different direction for his first profession, a book and typographical designer at Dodd, Mead and Company, book publishers. Avery became very good at this, designing many successful books, although his desire for music and the ability to electronically reproduce it as accurately as possible got the best of him. After years of tinkering around with audio circuits in his free time Avery successfully developed audio equipment capable of outperforming the professional equipment standards of the day. By 1937 his profession (book designing) and avocation (high fidelity) exchanged places and he founded one of the first audio companies devoted to developing high-grade components for home use, Philharmonic Radio Corporation (PRC).
At PRC Avery produced components of uncommonly high quality and his company was quite successful from the get go. However, with the onset of WWII the entire consumer audio and radio industries came to a halt virtually overnight. Like so many other companies PRC shifted its production to that of electronic mechanisms for war. At this time Avery sold his company to a big corporation, although he continued to direct it through the duration of hostilities.
Despite the many horrors the war brought to the world, one of the positive things it contributed was the technical knowledge gained from six years of wartime laboratory research. In 1945, after the war ended, Avery refocused his attention back to music. Armed with his newfound expertise, and a handpicked design team of the brightest engineers of Europe, he incorporated his 2nd company, the Fisher Radio Corporation.
Out of a small shop in New York City Avery Fisher peddled custom made High-Fidelity equipment long before most people knew what that phrase meant. He revolutionized audio circuitry inventing much of the technology that we widely use today. As word of mouth grew so did Fishers fame, eventually his equipment became known as the Rolls Royce of the audio industry. He compiled a long list of noble clientele, including heads of state, celebrities, and accomplished musicians. Throughout the 40’s,50’s and 60’s if one wanted the finest in audio, there was no question who made it, Fisher.
The Fisher 400 Stereophonic FM Receiver was released the same year as the 500c,1964. Fisher feared the $390.00 projected selling price of 500C would scare away a large portion of potential customers, so he designed the slightly lower powered 400 and sold it for $330.00. $330.00 was still a lot of money in the early 60’s, although the performance to dollar ratio of the 400 was the best to be found in that era.
Just a year prior to the release of the 400 & 500c, Fisher showed the world true hi-fidelity reproduction was possible in an all-inclusive component with the 500B receiver. Building upon the strengths of that receiver, Fisher tweaked the design, taking advantage of a, then, relatively new output tube, the 7868. By using the 7868 tubes in a push-pull configuration, he reduced the power output by only 4 watts, although this allowed him to use slightly smaller transformers, which is how he was able to shave off most of the extra cost.
Sonically the 400 & 500C are pretty close, each having their own strengths and weaknesses, although the 400, with its 7868 output section, is favored by many for its ability to present music with a degree of naturalness and effortlessness superior to the 7591 designs. Overall the sonic quality of the 400 is very hard to beat. Like the other classic Fisher receivers its sound is warm and extremely musical. Bass is punchy yet polite, highs and mids are cleanly depicted with amazing detail. It is rated at 30 watts per channel; although that is a very conservative rating, it puts out plenty of real-world juice. Other features and functions of the 400 include:
Nuvistor-Golden Synchrode front-end
A FM breakthrough and an important reason for the 400’s phenomenal FM performance. The Nuvistor-Golden Synchrode affords very high sensitivity, a wide overload margin, and better rejection of spurious and image signals than other designs. Low-noise Nuvistor triodes, used for both mixer and oscillator, provide a higher degree of mechanical and electrical stability, and a better signal-to- noise ratio. The signal is then amplified by four wide-band IF stages and is converted to an audio signal by a wide-band ratio detector that utilizes two balanced germanium diodes. The high amplification of these IF stages, combined with the progressive action of three limiters (including the ratio detector), assures a maximum degree of freedom from noise and interference.
The Preamplifier Section
offers a full complement of audio controls, including separate friction-lock bass and treble controls, high sharp-cutoff filters, loudness contour, plus a front-panel headphone jack. There are a total of 4 inputs: two phono inputs, a tape-head input, and an Aux input allow you to handle any source component, modern or vintage. The Phono Preamp section uses one 12AX7 tube per channel for about 20dB of amplification.
Power Amp Section
utilizing four Novar-type 7868 beampower pentodes in push-pull configuration for a full 65 watts of Music Power (IHFM standard) at extremely low distortion, with outstanding transient response and stability. At normal listening levels the distortion is virtually nonmeasurable. It is inaudible at all levels. Advanced circuitry is combined with superior, oversize output transformers to make this performance possible. A derived 'third' power output is provided in addition to the left and right speaker connections, for either center-channel use or an extension speaker.
Superior Output Transformers
The 400 utilizes high grade output transformers with grain-oriented, laminated steel cores. As the heart of the amplifier it is of highest priority to not skimp here, as most manufacturers did.
The Loudness Contour switch provides compensation for the decreased bass sensitivity of the human ear at low volume levels. Scientific tests by Fletcher and Munson have established certain average amounts of bass that should be added to the musical signal at low volumes. When the Loudness Contour switch is turned ON, this compensation is automatically added to the signal and automatically varied, according to the setting of the Volume control.
And Much More!
IHFM usable sensitivity: 1.8 microvolts. Selectivity: (alternate channel) 60 dB. Signal-to-noise ratio and hum: 70 dB. IF rejection at 100 MHz: 85 dB. Spurious response rejection: 90 dB. Image rejection: 57 dB. Capture ratio: 2.5 dB. FM Harmonic distortion at 100% mod: 0.5%. Calibration accuracy: 0.2% FM Channel separation (stereo): 35 dB.
Music power: (IHFM at 1 kHz and 0.5% third harmonic distortion, 65 Watts total RNIS power at 1 kHz and 0.8% THD). One channel driven 30 Watts; both channels • driven 50 Watts. Intermodulation distortion: (60/7,000 Hz, 4:1); at 30 Watts, each channel 0.8%; at 50 Watts, both channels 0.8%. Frequency response: overall 25-25,000 Hz. ± 1 dB; power amplifier section 10-40,000 Hz. ± 0 dB — 2 dB. Hum and noise: below RMS rated output 80 dB. Channel separation: at 1,000 Hz, 50 dB. Bass controls: variation at 50 Hz, 22 dB. Treble controls: at 10,000 Hz. 22 dB. Fixed subsonic filter: 12 dB/octave below 18 Hz. High filter: — 3 dB at 5 kHz 12 dB/octave above 6 kHz. Input sensitivity: (for rated output) Phono Low 4.4 rnV; Phono High 14 mV; Tape head 2.8 mV; Auxiliary 280 my. Tape monitor: switch on 1.15 V; Selector at Aux-Tape 440 mV.