What is stereo?

There are now two system of high fidelity, monophonic (monaural) and stereophonic. Monophonic is a system that starts from one microphone and is fed through a single high fidelity set. Stereophonic is a double system. Two separate microphones are placed at different sides of the orchestra and two different systems are used to keep the two signals or channels separated. Two separate speakers are used, placed on different sides of you room. Stereo is much like 3-D photography, two slightly different sound reach your ears giving you a new dimension in sound.

H.H. Scott '59

Fisher 514

 The new Fisher  Studio-Standard 514 Stereo/4-Channel Receiver
Every Fisher receiver is designed for people who love to play music; but the new Fisher Studio-Standard 514 goes a step further. It's designed for the active audiophiles who get their kikcs out of playing with the music, the people who can't even wait to get a new component out of the box and up on the shelf before trying it out.  These are people who listen with their hands as much as their ears, and while others are snapping their fingers and stamping their feet, they're flicking switches, pushing plugs, and twirling knobs.
If you are as concerned with what goes on inside the box as you are concerned with what comes out, if you're still shifting speakers and splicing wires long after the party's over, chances are you just won't be satisfied by anything less than the Fisher 514.
 We left out nothing.
Both to keep up our reputation of having the latest and teh most, and to make sure that you can listen to as much 4-channel as possible, the 514 has a new CD-4 discrete disc demodulator as well as an SQ matrix decoder. CD-4 has the potential for greater channel separation than SQ. This means that the musicians and studio people can do trickier stuff, and that listeners can wander around the room and still hear everything in its proper position.
SQ is a cinch to broadcast on FM while CD-4 is just about impossible right now; SQ is used on many more records than CD-4, and the decoding circuit doubles as a 4-channel synthesizer for stereo recordings. With the Fisher 514 you do not have to make the difficult choice between CD-4 and SQ; we give you both.
 In addition to all the knobs and buttons you'd expect to find on any receiver of this caliber, the 514 has a sophisticated and highly useful "joystick" balance control similar to the pan pot used in professional recording studios. The joystick is much simpler to use than the two or four knobs found on most other 4-channel receivers, yet it permits extremely precise adjustments of the acoustical field to suit music, personal preference, room acoustics, or seating arrangements.
An elaborate tone control and filter system, centering on studio-style slide potentiometers, provides further fine tuning of the audio environment.
As you might expect, there are separate bass and treble controls for front and rear, but Fisher has added a midrange presence control, with maximum effect at about 1,5 kHz. It's just about the most useful and potent control you could add to a component, and can dramatically highlight a vocal performance against an instrumental background.
Although primarily designed as the control center for an elaborate 4-channel sound system, the 514 uses an exotic Fisher-invented "strapping" technique to combine front and rear amplifiers for stereo use, with a significant increase inpower over what you would expect by just adding up the per-channel wattages.
 What's inside.
Fisher has spared no effort to utilize the latest high-technology devices and manufacturing techniques in the 514. the FM tuner section incorporates dual-gate MOS/FETs. Lumped selectivity circuitry, and a ladder-type ceramic filter to provide the highest possible signal-to-noise ratio, interference rejection, sensitivity, selectivity, and immunity to overload. A Phase Locked Loop multiplex decoder insures high separation and low distortion through temperature changes and extensive use.

It comes from a fine family.
In addition to the 514, we're very pround of our new Studio Standard models 414 and 314. they have a bit less power and not as many controls, but the music is every bit as good.
If, however, you're not ready for, or not sure about, the new CD-4 system, we strongly recommend you consider our 504X, 404X and 304X receivers. They're identical to the "14" series models, except that instead of having a built-in CD-4 demodulator, they have space for it, and sell for $100 less. Should you wish to add CD-4 later on, any of our serice stations can do the job, and the total cost of the "04X" series receiver plud decoder will not exceed the cost of the complete "14". Anybody's 4-channel receiver can be converted to CD-4 with an external add-on demodulator, but Fisher accepts an  internal circuit board - for simplicity, convenience, and reliability.
Total Power RMS (8 Ω, 20-20,000 Hz)
Stereo : 180 W
4-channel : 128 W
Total Harmonic Distortion:  0,5% (at rated power, 4 Ω)
IM Distortion [60 and 70,000 Hz 4 : 1]:  0,8% (at rated power, 4 Ω)
Damping Factor:  than less 30 (4-channel operation, 4 - 8 Ω)
Input Senitivity/Impedance:
Phono :  2,7 mV/47 k Ω
Aux :  200 mV/100 k Ω
Monitor :  200 mV/100 k Ω
Recorder Output:  350 mV (30 % FM modulation)
Hum and Noise (below rated RMS output, volume control at minimum):
Phono :  56 dB
Aux : 65 dB
Monitor : 65 dB
Frequency Response:
Phono :  30 - 15,000 Hz (RIAA equalized ±2 dB)
Aux, Monitor :  20 - 20,000 Hz
Max. Input Signal RMS (at 1% THD, 1 kHz):
Phono : 60 mV
Aux : 5 V
Monitor : 4,5 V
Dimensions (W x H x D): 23" x 6 ¾"  x 17" 

Weight:  43 lbs

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