Fisher X-100 Installation guide

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[tnr rtsnrn X-]00 was designed to provide maximum circuit flexi-
I bitity with operational simplicity at moderate cost, while main-
taining the Laboratory Standards that distinguish all FISHER
components. This has been achieved on a single superbly engineered
chassis combining a stereophonic Preamplifier-Equalizer and Tone
Control circuit, a dual-channel 40-watt Power Amplifier, and a self
contained Power Supply. With the addition o{ two appropriate loud-
speakers, or speaker systems (such as the FISHER XP-l), the X-100
will perform as a stereophonic sound system of the highest quality.
The preamplifier section contains 14 input jacks to which may be
connected eyery type of monophonic or stereophonic cartridge, tape
recorder and tuner on the market, Located on the front panel are 16
controls and switches which permit the selection of any program
source for either monophonic or stereophonic operation, and the
adjustment of volume, balance, and tonal characteristics through every
nuance of the audio spectrum. Advanced electronic circuitry, and the
careful selection o{ parts, reduce hum, noise and distortion below the
threshold o{ audibility. The power amplifier section, equipped with
matched pairs o{ EL84's, has excellent overload characteristics and a
very short recovery time, resulting in performance that is superior to
amplifiers with a higher power rating. A switch-controlled Center
THE FISHER X.IOO
STEREOPHONIC
Mosfer Control Amplifier
Channel output jack is included to which a third amplifier and loud-
speaker may be connected to augment the stereophonic sound pattern.
Once you have operated the X-100, you will realize why FISHER
produets have achieved a world-wide reputation. The guality under-
Iining this reputation will assure you of years of trouble-free operation
and unsurpassed listening pleasure.
A NOTE ON STEREOPHONIC SOUND
[lnn onveropurur of stereophonic sound has brought us close to
I achieving "Concert Hall" realism in the home. This dual"channel
system ofiers a distinct advantage over monophonic (single-channel)
systems by virtue of two important audio characteristics: the dimen-
sions of d.irection and depth. These live sound qualities are for the
most part missing in monophonic systems because recordings are made
and reproduced over a single channel. This is somewhat analogous to
listening to music with one ear. Stereophonic recording techniques,
however, utilize two separate banks of microphones which are posi-
tioned at the le{t and right sections of the orchestra. In this arrange-
ment, the microphones receive the musical sounds in much the same
manner as the two ears of a listener. The sound picked up by each

TABLE OF CONTENTS
INSTATTING THE X.IOO
CONNECTING ASSOCIAIED COMPONENIS
HOW TO USE THE CONTROTS
A SHORT OPERATING GUIDE FOR IHE
.MAN IN A HURRY'
STEP-BY.STEP OPERATING GUIDE
FOR THE X.IOO
CUSTOM INSTATTATION
TECHNICAT SPECIFICATIONS
PAGE
2
4
7
I
l2
l4
l6
bank of microphones is then led to independent channels and recorded
oii'disks or tape, or transmitted over separate channels of a stereo-
phonic broadcast.
That is why two Eeparate sound channels are required to reproduce
a stereophoni; ,eco.ding or broadcast in the home. The stereo sound
output ;f a record player, tape recorder or tuner is Ied to two sepa'
rate amplifier "hannels, which in turn drive two separate speaker sys'
tems, Tirus,. instruments located on the left and right sides oI the
orchestra are heard predominantly in the left and right speakers,
respectively; while instruments located in the center appear to be
heard mid-way between the two speaker systems. The result is a start-
ling sense of presence realized only at a live orchestral performance'
INSTALIING THE X.TOO
TVflnxrxc: The FISHER X-IOO must not be operated before con'
W n""ting loudspeakers, or equivalent load resistors' to the Speaker
Terminals in each channel; otherwise, serious damage to the equip-
ment may result. II you have not yet completed your stereophonic
system, and are temporarily using only one channel of the X-100, use
iharrnel A and be sure to connect an equivalent load resistor to the
Speaker Terminals o{ the unused channel. See "speaker Connectioits'"
This unit may be installed in any convenient location receiving ade'
quate ventilation, This is important since excessive heat will shorten
tie life of any electronic instrument' Do not install the X'100 above
other heat-producing equipment or in a totally enclosed area' II you
install it in a cabinet, leave the back open and at least two inches
away from the wall. If the cabinet is made o{ wood, provide ventila'
tion grilles on top and leave at least 4 inches of space between the top
o{ the tubes and the cabinet, and' ar least 2 inches on each side.
Should you wish to install the X-100 in your own cabinet, directions
and diagrams are provided in the last section of this booklet. (Tw.o
FISHER cabinets are available lrom your FISHER dealer. These are
the Model MC-2, in metal, and the 10-U in rvalnut and mahogany.

Either will convert the X-100 into an attractive part of your room
decor.) Temporarily, place the unit in its approximate location to
permit an estimate of cable lengths to associated components.
Locolion of Loudspeqkers
To obtain optimum stereophonic performance from your FISHER
equipment, use two loudspeakers, or speaker systems, as nearly alike
as possible. Stereophonic sound utilizes the lelt and right speakers to
coincide with the music originating on the left and right sides of an
orchestra, respectively. To recreate the original orchestral placement
in your room, connect the speaker on your left (as viewed from the
listening area) to the Channel A speaker terminals, and the speaker
I on your right to the Channel B speaker terminals. Certain preeautions
should be observed in the final location o{ these speakers.
Where possible, speakers should be placed against a flat wall and
separated by a minirnum oI five feet. As a rule of thumb, the best
listening area will be at a distance about l1/z times as great as the
separation between the speakers. For example: if the speakers are six
feet apart, listening will be best in an area about nine feet from, and
opposite the two systems. Because of varying acoustical conditions,
however, the speakers may have to.be repositibned to achieve the best
stereophonic results.
FIGURE l. Reor ponel of X-IOO
If you place wall"type speaker systems in the room corners, undesir'
able efiects may be introduced. Try placing them, instead, on the same
wall, a short distance from the corners.
If you own two corner-type speaker systems, experiment by leaving
one in a corner and placing the other against a flat wall. Then com'
pare this arrangement with the original one.
In a long.narrow room, placing the speakers on the long wall may
bring better results than placing them on the short one.
Speoker Connections
Speaker terminal strips are provided for each channel to accommo-
date speakers, or speaker systems, having an approximate'impedance
of 4, 8, or 16 ohms. The connecting cable may be up to 100 Ieet in
length, and ordinary lamp cord can be used. Connect one lead of the
cable from the speaker on the left (as viewed from the listening
area) to terminal 4,8, or 16 of the Channel A terminal strip (depend-
ing on the impedance of the speaker ) and the other lead to the GND
terminal. Connect the speaker on your right to Channl B in the same
manner.
IMPORTANT: II you are temporarily using only one channel, make
connections to Channel A, and connect an B-to lO.ohm, I0-watt load
resistor to the speaker terminals Ior Channel B.

Connecting q Cenler Chqnnel
In large tooms, where it may be necessary to space loudspeakers
farther apart to cover a wider area, a'ohole" may develop in the center'
This apparent lack of sound in the center will become more noticeable
as the distance between the two speakers is increased. It is possible to
fill in this gap with the addition o{ a center channel amplifier and
loudspeaker.
Th; X-100 is equipped with a Center Channel output jack which is
connected to a divider network across the output stages of Channel A
and B. Equal portions of the audio output signal from each channel
are thus combined to form a center "phantom" channel' By connecting
an additional amplifier and loudspeaker to this output jack, and posi
tioning the speaker between the left and right speakers, the stereo"
phonic pattern o{ sound will be augmented.
The third amplifier need not be equipped with tone controls' since
these are provided hy the X'100, A volume control, or input level con-
trol, will be helpful, however, in order that the volume of the center
speaker may be adjusted to the necessary level. Connect a short length
oI shielded cable, of the low-capacitance type, {rom the CENTER
CHANNEL output jack on the rear panel o{ the X'100 to an input
o{ the center channel amplifier. The length of cable from the amplifier
to the center speaker can be considerably longer (up to 100 feet, or
more) depending on the type of amplifier used.
The center speaker can also be used in an adjoining room or some
other remote location. Although the output from this extension speaker
will be monophonic, it will contain the composite stereo signal.
CONNECTING ASSOCIATED COMPONENTS
la\x rnu REAR PANELS of the X-100 are 14 input jacks and 3 output
Llju"k. to which can be connected tuners, tape recorders, tape
decks,'and record players with ceramic and magnetic cartridges. (See
Rear Panel, Figure 1.) The Channel A jacks are located directly on
(T'
the rear panel, while the Channel B jacks are located on top of the
chassis just alove the rear panel. (See tube layout Ior the X-100
Figure 2.) Information {or connecting the various-types of components
urJ "ontuin"d in this section. At the conclusion of this section' a table
is provided, Iisting all inputs, their impedances,-and the components
that may be connected to them, in addition to those outlined here'
Auxiliory AC RecePtocles
The two auxiliary receptacles on the rear panel may be used as
power outlets for your associated components' The combined power
Lorr.ornption of these components may not exceed 350 watts' Power
to the receptacles is supplied only when the power to the X'100 is
turned on.
ci
4theAandBoutput
I A and B, MAG 2 input
MAGNETIC MONOPHONIC CARTR.IDGE: Connect fhe output cable
from the record player to the Channel A or B, MAG 2 i.nnut jack:
(or to MAG I i{ these jacks are occupied.)
MAGNETIC HIGH TEVEL CARTRIDGE: Make connections to the
Channel A and B, CER PHONO input jacks for the stereophonic
type. Use Channel A or B for the monophonic type.
IMPORTANT: Because the impedance of these cartridges may varv
with difierent manufacturets, a resistor may have to be strapped across
the output terminals to insure the correct impedance match. Tables I
and 2 will serve as a guide lor using magnetic low level and magnetic
high Ievel cartridges, respectively. Remember to strap a resistot across
each output oI a stereophonic cartridge'
CERAMIC STEREO CARTRIDGE: Connect the A and B output cables
from the record player to the Channel A and B, CER PHONO

Cortridqe Loodinq
,._-._-:- _-__, -:, l00K 82K 68K 56K 47K 39K 33K 27K 22K
rmpedonce requtted
Vqlue of resistor none
to be odded required 680K 220K l20K l00K 6gK 47K39K 27C
TABTE 2, Mclching high level mognetic cortridges to MAG I qnd
€ER PHONO inputs.
Tope Decks
A tape deck is the tape transport mechanism minus the preampli
fier and audio controls. To provide playback {or recorded tapes, it
input jacks. If these are occupied, you can use either AUX I or AUX
2 input jacks, but you will lose some bass response. (Thi5 loss can
be compensated somewhat with the Bass controls.)
CERAMIC MONOPHONIC CARTRIDGE: Connect the output cable
from the record player to the Channel A or B, CER PHONO input
jack. If these are occupied, use either AUX 1 or AUX 2 input jacks.
IfuIPORTANT.'Do not connect components to both the MAG 2 and
CER PHONO input jacks at the same time These jacks are electri-
cally parallelled and the input circuit will be overloaded.
Cortridqe loodinq
impedonie ,equirei 42K 39K 33K 27K 22K
Volue of resislor none
to be odded required 470K I50K 82K 47K
TABTE l. Motching low level mognetic cortridges to MAG 2 inputs.
must be connected to a control amplifier. These facilites are provided
by the X-100.
STEREOPHONIC TAPE DECK: Connect the A arrd B (le{t and right)
output cables from the tape deck to the Channel A and B, MAG 1
input jacks on the X-100.
MONOPHONIC TAPE DECK: Connect the output cable from the tape
deck to the Channel A or B, MAG I input jack.
Tope Recorders
A standard stereophonic or monophonic tape recorder (equipped
with its own preamplifier) may be used with the X.LN) in two ways.
First, it can be used to record the output of any component being
played through the X-100. Secondly, it can play through the X-100
previously recorded program material. Permanent connections between
the recorder and the X.100 can be made to carry out these functions.
RECORDING CONNECTIONS:
STEREOPHONIC RECORDER: Connect cables from the Channel A
and B, REC output jacks on the X-100 to the A and B (left and
right) recording input jacks on the recorder.
MONOPHONIC RECORDER: Connect a cable {rom the Channel A
or B, REC output jack on the X-100 to the recording input jack on
the recorder.
NOTE: Any program source connected to the Channel A or B input
jacks of the X-100 can be fed to either or both REC output jacks,
depending on the position of the Mode Selector switch.
PI.AYBACK CONNECTIONS:
STEREOPHONIC RECORDER: Connect cables from the Channel A
and B (left and right) output jacks on the recorder to the Channel
A and B, AUX 1 or AUX 2 input jacks on the X-100,
MONOPHONIC RECORDER: Connect a cable from the output jack
on the recorder to the Channel A or B, AUX I or AUX 2 input jack
on the X-100.

MONITORING CONNECTIONS:
NTTE:Theseconnectionsapplyonlytotaperecordersequipped
with separate recording and playback heads'
STEREOPHONIC RECORDER: Connect cables from the Channel A
""a S tl"ft and right) output jacks on the recorder to the Channel A
and B MON inPut jacks on tbe X-100'
MONOPHONIC RECORDER: Connect a cable from the output jack
oo-th"r".ord"rtotheChannelAorBMONinputjackontheX-100'
Spccexpcnder
There are two possible methods o{ connecting the FISHER- Dy-
no*" Spa""*panilir,.Model K'10. If your high fidelity svstem includcs
ui"p".""*a"t whicil is connected tothe tape monitor {acilities of the
*-lin \"". preceding section)' you should use the special jacks-on
ifr" *p'"f tie X-jffi'chassis for the connection ol the Spacexpander.
In this case, you will be able to add reverberation directly to your tape
recordings,.but yoo will not be able to add additional reverberation
a".i"g pi"vf*k.. I{ you wish to add reverberation during playbag!,
"orrn.""t'th" output c;bles from your tape recorder to a pair of AUX
itp"r. "" the X'tm. On the othlr hand, the Spacexpaniler should be
".irrn""t"d to the tape monitor lacilities if they are not being used ,ruitft " op" recorder since this will permit you to use the Tape Moni-
tor switch as a reverberation on-ofi switch'
CONNECTIONS WHEN USING A THREE-HEAD TAPE RECORDER:
l-Locate the special Spacexpaniler jacks on the top of the X-lO0r
"tr"..i., remove the shorting Lars and store them in a safe place for
possible future use.
2-Make the {ollowing connections:
a) CHANNEL A OUT jack on X-100 to CHANNEL A OUTPUT
jack on SPacexPander'
b) CHANNEL A IN jack on X-100 to CHANNEL A INPUT jack
on SpacexPaniler.
c) CHANNEL B OUT jack on X-100 to CHANNEL B OUTPUT
jack on SPacexPaniler'
d) CHANNEL B IN jack on x-100 to GHANNEL B INPUT jack
on SpacexPaniler,
CAIITION: The shorting bars must be inserted as shown in Figure
+-*fl"" *" Spacexpand,ir is not connected to the X'100' Otherwise'
the X-100 will be completely inoperative'
CONNECTIONS WHEN NOI USING A THREE-HEAD TAPE
RECORDER:
I-Channel A REC output jack on X'100 to CHANNEL A INPUT
jack on SPacexPaniler.
2-Channel A MON input jack on X-IN) to CHANNEL A OUTFUT
jack on SpacexPaniler.
3--Channel B REC output jack on X-I^O to CHA"I\NEL B INPUT
jack on SpacexPaniler.
4-Channel B MON input jack on X'lN to CHANNEL 3 OUTPUT
jack on S'pacexPaniler.
Tuners
The X-IN is equipped to accommodate various combinations oI
Tuner outputs. Th"s"- include monophonic FM, monophonic AM'
-"""pft""i'" FM'AM stereophonic FM'AM, and stereophonic FM'
Multiplex.
MONOPHONIC FM AND/OR AM: Connect an output cable Irom
the FM tuner to Channel A TUNER input jack, and a cable from the
AM Tuner to Channel B TUNER input jack'
STEREOPHONIC FM'AM: Connect a cable {rom the FM section oI
the Tuner to Channel A TUNER input jack, and a cable {rom the
AM section to the Channel B TUNER input jack'
NOT.E: The FM portion oI an FM-AM stereophonic broadcast-is
hea.d on Channel i (t"tt speaker), while the AM portion of the

v
broadcast is heard on Channel B (right speaker.) If you are using a
monophonic FM-AM Tuner, you must connect an additional AM or
FM Tuner to the X.100 to listen to FM-AM stereo broadcasts.
STEREOPHONIC FM-MUITIPIEX: To receive the FM-multiplex sig-
nal, your tuner must either be equipped with an adaptor, or must
already be an FM-multiplex receiver. Connect the adaptor and Tuner,
or the Tuner to the X-I0O as described in the operating instructions
for these units.
Ofher Progrcm Sources
If you wish to connect a short-wave tuner or the audio output from
your TV set to the X-100, we Channel A or B, AUX I or AUX 2
input jacks: WARNING: Consult with your serviceman before you
make connections from your TV set.
HOW TO UsE THE CONTROLS
I rren you HAvE nn.lnn all necessary connections, plug the power
-fLcable extending from the rear into a wall outlet supplying 105 to
120 volts AC only, at 50 to 60 cycles. (Where line voltage is lower or
highero a step-up or step-down transformer will be necessary,) Total
power consumption for this unit, not incluiling associateil conxponents,
is 160 watts. All operating controls are on the front.panel as illus-
tratet ol page B. An explanation of the function of each control is
provided in the following section. A simplified Step-By.Step Operating
Guide is furnished at the conclusion of this section. This Guide will
enable you to select any program source you wish to hear and to set
all necessary controls in a matter of seconds.
AC Ofi and ,Vldster Volume
The AC ofi switch supplies power to the X-100 and is combined
INPUT JACK IMPEDANCE TEVEL COMPONENTS TO CONNECT
MAG It
MAG 2*f
CER PHONO-t
AUX I
AUX 2
TUNER
MON
r 00K
42K
I OoK
560K
560K
560K
260K
H igh
High
H igh
low Tope Deck ((or low level
netic Corlridge, if MAG 2
cupied.)
low Mognetic Cortridge (low level.)
/v{edium Mognetic Corlridge (high level.)
Ceromic Cortridge,
High Tope Recorder (with common
ploybock ond recording heod.)
FM, AM, ond FM-AM Tuner.
Shorl-Wove Tuner,
TV sound oulpul.
Some os obove,
FM, AM ond FM-AM Tuner,
Tope Recorder (with seporote
ploybock ond recording heods.|
Other high level signol sources
(os in the AUX inpuls.l
Mog-
is oc-
*Do nol connect componenls lo lhe MAG 2 ond CER PHONO input
iocks ot lhe some time. These iocks ore eleclricolly porollelled ond
input circuil will be overlooded,
fThe impedonce of lhese iocks (MAG I ond MAG 2) con be chonged,
lo occommodole cortridges of difterent impedonces, by stropping o
resislor ocross the corlridge or the input iock. See Tobles 1 ond 2.
TABTE 3. Componenl Conneclions to lnput Jocks

f{*
A SHORT OPERATING GUIDE FOR ,THE MAN IN A HUR'RY,
MODET X-IOO
THE
,o.,
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FISHER r'o
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POWER
TOW LEV€L
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rouDNtSS
CONTOUR
n:r:'O"
STEP I
Sei oll swikhes ond con-
lrols os shown. Turn on
power by lurning /IIASTER
VOLU ME conlrol slightly
clockwise unlil it clicks.
Adiust lqier for volume.
STEP 3
Set i,lODE SE|,ECIOR to type of opero-
tion desired.
MONO PHONO to PloY monoPhonic rec-
ords wilh q slereo cortridge.
STEREO to listen to oll siereo Progrom
moteriol.
A for ony monophonic Progrom source
connecied to Chonnel A.
B for ony monophonic progrom source
connecled to Chqnnel B.
STEP 2
Sel INPUI SEIECTOR to progrom source
you wish to heor.
hnlO-t or MAG-2 to ploy records on
o ployer connecled to lhe MAG-I or
lv{AG-2 iocks.
TUNER to lislen to q rqdio broodcqsl.
AUX-| or AUX-2 to listen to ony olher
progrom source connected io rhe AUX
inputs.

@
with the Master volume contror. Turning this switch slightly clock-
wise until it clicks will supply power to the unit, as well ". to "rry
components connected to the Auxiliary AC receptacles, and light the
green jewel. The Master Volume control varies the ievel oi sourrd
simultaneously on both channels. Turning this control in a clockwise
direction increases the sound level at botl speaker systems.
lnput Selector Switch
This five-position switch is used to select any component connected
to the input jacks of the X-100. The positions irave tire following pur-
pose:
liAG I: Selects a tape deck (or a record player equipped with a low_
Ievel rnagnetic cartridge), connected to tle MAG I'input jacks.
MAG 2: This position selects a record player equipped with a low-
level magnetic cartridge, or a high level magnetic or ceramic car-
tridge, connected to the MAG Z or CER PHONO input jacks.
TUNER Use this position to select a tuner, or tuners, connected to
the TUN input jacks.
fUX,l3 In this position, you can select any component connected to
rhe AUX I input jacks, whether a t"pe .ecorder, o. ury other high
level component,
l_YI ?l Use this position to select any component connected to the
AUX 2 input jacks.
Tope Monitor Switch
The Tape Monitor switch (the third slide switch from the right) is
used in the ON position only to playback recorded -ut".l.i iro_ I
tape recorder equipped with separate recoriling ""a pnyil"l, i"oar,
or,to monitor this type of recorder while making a tape recording.
This switch must remain in the OFF position at ili othei timr, o,t "i-
wise the X-100 will be inoperative. (O-f course, if this type,f .""-aL
is connecred ro the AUX input jacks instead of the MdN input jacks,
the Tape Monitor switch should also be in the dr"tr' position.)
3
Equolizotion Swirch
The Equalization switch is efiective only when the Input Selector
switch is in either MAG I or MAG 2 position; that is, when you are
playing either records, or tape (from a tape deck). Its purpose is to
provide RIAA equalization on PHONO position, and NARTB equali_
zation on TAPE position. Set this switch to either pHONO or TApE
positiorr, depending upon which type of program source you are play.
ing. (This switch does zol provide equalization for tape'from aiaje
recorder, since this unit is connected to the AUX inputs.) To maintain
the two types of equalization, the Bass and Treble controls should, of
course, be in NORMAL position.
llode Selector
After you have selected a particular program source with the Input
Selector switch, the Mode Selector swiich must be set in accordance
with - the type of program source-whether monophonic or stereo:
phonic. Each position of this switch has the following funcrion:
MONO PHONO: Use this position to play monophonic records if
your record player is stereophonic. The monophonic signal from the
record will be fed to both channels and heard on b]oth .p"ak"r",
resulting in a superior monophonic efiect. In addition, *-if" uoJ
noise due to vertical stylus movement will be completeiy eliminated.
REVERSE: Use this position only if the stereo arrangement at the pro_
gram so'rce is reversed. The signal from channel A will be switched
tn Channel B, while the signal from Channel B will be switched to
Channel A.
STEREO: This is the normal listening position for a/l stereophonic
program sources, whether record, tape, or stereo broadcast. The sigrral
from Channel A will be heard on th; left speaker, and the signal fiom
Channel B will be heard on the right speake..
A: In,this position, the signal f.om any monophonic component con_
"9-"j+ t9 the input jacks in Channel A is fej to both cf,annels and
will be heard on both speakers to provide a superior monophonic
efiect. This may include a monophonic r""ord pluy"r, tape deck, etc.

tr
B: In this position, the signal {rom any m-onophonic component con-
,r""i"a to ih" Chunrr"I -B. i"p", jacks will also be heard on both
speakers.
Low Level Gontrols
In a fully clockwise position' these controls will permit t!: ^f"lt
signal level'{ro- urry "o-po"ents connected to the MAG 1' MAG 2'
uria Cnn PHONO input jacks to be fed to the amplifiers in Chan'
;;i A;"J B. Use t-he numerical markers around each control as
reference Points.
---B";;o.J the signals from the different program sources connected
,o *.-i-lW may"vary in strength, the sound level at the speakers may
vary in intensity as you turn the Input Selector switch {rom one pro-
;;;;";;"";'ttoih"r. This mav require the readjustment of the
inu.i". V"f"-" control each time a change is made' To minimize this
;;;iii"", it is advisable to equalize the signal level from vour associ-
ated components.
Most components are equipped with Level ,or Volume controls'
These have ih" *u-" I.rn"tio,t u. the Low Level controls' The signal
level from each component can be adjusted by ear'in the lollowing
manner:
I-Turn all Level controls on your components (including the Low
Level controls) lo nininxum.
2-Turn the Master Volume control on the X'100 ro maximum'
5-eJ:"" the Low level controls until the volume at the speakers
is as loud as you will ever wish to hear it'
2l.--Turn the Input Selector switch to each position in turn and
adjust the Level cintrols on the other components until the sound at
the speakers is approximately equal to that of the MAG positionr'
Bqlqnce €ontrol
This control. permits you to obtain equal -sound levels at both
speaker .y.t"^, - un important con-sideration {or achieving the opti'
ri"-- "".L"pftonic efiect.- (This is also advanta-geous {or monophonic
oferation ,ih"r" trno channels are used') With the Balance control
pointing to NORMAL, the volume at the left and right speakers
ii""iJi" irt" .am", theor"tically' Howevern an imbalance may occur
due to room acoustics, t"totJ "ftut""teristics' listener position' djfier'
ent speaker efficiencies "o lfti. imbalance can be.cortected easily by
il"il;;h; """i."i .r'giiiv io.'n"a uex'e or MAX-B to increase the
;;i;;; t"*t ut the left L right speaker' as -required' It should be
;tffi o,ri ,tu, thi. i; ;;;; oot"t"" conuol; -Iot' "t the level-ol
i"""J it increased on one speaker, it is decreased on the other' main'
taining the same overall sound output'
Ni;i7,-i; i, porribl" to cut ofi the 'ouod entirelv from the lelt or
titfti-tp*t"t system by advancing the Balance control to the extreme
MAX-B or MAX'A Position.
Bqss qnd Treble Conffols
These controls enable you to adjust the tonal qualities of sound to
yorr p"r.orrul listening',equiremlnts' The B.ass controls vary the
i"",n.irv "f the low ttiqo"""v bass tones'.while the Treble controls
v.ar"y';il i;;";;itv of the iigh i'"qo"""v treble. tones' Each set of con-
irot. -"ot.i.r" oi d.ral k,to"b* -oottt"d one behind the other' The
.-ult", tt ol., with the black bar markers, are the controls {or Chan-
;;il;rh" laige outer knobs, with the dots, control Channel B' Turn-
ir* Jif,"t mJl, witl turn the other, .thus permitting simultaneous
il;;;;;;r'i"t-il"rr-l--"rt"""els' However, i'f vou wish to adjust the
;;;; i"; each channel separatelv, hold one knob while turning the
other. To increase or deciease Lu" ot treble intensity' turn these
knobs toward MAX or MIN, as required'
-- ih" ,ro-b"red position. u'oo"d' each set of controls may be used
ur-r.I"""t.," points' To listen to program material exactly aE it
o.igirr","^ttrrrn a hroaJcasting ttudiq sei these.controls to NORMAL'
ihls is ..flat,, position, and is"equivalent to RIAA equalization,-when
you are listening to a record, or tape from a ta-pe deck' you will main-
iain the equalization established by the Eq-ualization switch by leav-
it g ttt"." controls in NORMAL position' It should be emphasized'
ho"*"u"r, that the Bass and Treble controls may be set to any position
dictated by personal listening preferences'
{
a
ro

loudness Gontour Swirch
As the over-all volume of sound is reduced, our hearing efficiency
drops ofi more rapidly at the extreme ends of the tonal spectrum
(deep bass and upper treble,) The Loudness Contour switch a;tomati_
cally compensates {or this natural hearing loss.
If you wish to listen at low volume, set the Loudness Contour switch
to ON. Compensation will be introduced to restore the highs and
Iows to a Ievel with your middle-frequency hearing sensitivity. This
compensation will increase or decrease automatically as the volume
is lowered or raised. In general, it is suggested thai this switch be
used only with the medium-low to low volume; otherwise, unrealistic
sound will result.
High Filrer Swlrch
Use the High Filter Switch in the ON position ro eliminate record
surface noise, distant AM or FM station interference, and other unde_
. sirable high frequency noises originating in your record player or
tape recorder. Keep this switch in OFF position at all other times.
low Filter Swirch
Use the Low Filter switch in the ON position to eliminate turntable
rumble, or other low frequency interference. Leave this switch in OFF
position at all other times.
e
Note: The Master Volume control on the X-I(N will still afiect the
over all volume at the left and right speakers, as well as at the center
speaker.
Bios Adiusr Control
This control, located on top oI the chassis, is not used during
normal operation. Its purpose is to maintain proper operating condi-
tions for the power ampl.ifier circuits, and is used only for servicing
adjustments. The adjustment procedure is described in the service
manual |or the X-L(M. Do not attempt to adjust this controln without
first consulting the seruice manual.
VOLTAGE SPIIflEN
AND PHASE INVRTET
@(c
ItztI
'7^
il
Center Ghcnnel Switch
If a center channel amplifier, and loudspeaker system, is connected
to thd X-100 (as described on page 4) ser this .*it"h to ON position
to feed a composite stereo signal to this amplifier. Remember ihat the
purpose of the center amplifier and loudspeaker is to eliminate the
"hole in the middle" efiect. It is only necessary, therefore, to increase
the volume level at the center speaker just enough to augment the
stereophonic sound pattern, Raising the center volume to a verv high
Ievel can diminish the stereophonic efiect. FIGURE 2. Tube loyour for X-lO0

G,(\ STEP.BY.STEP OPERATING
t2
. Oiher Required Conlrol Setting3 '
hI,IPORIANI: Tope Monitor Swilch musl
be in OFF Posilion ol sll times
excePt qs noled'
Required Conneciions To Associoled Components
FM Tuner connecled to Chonnel A TUNER input iock'
AM Tuner connecled lo Chonnel B TUNER input iock'
FM Tuner se€lion connecled to Ch' A TUNER input iock;
AM Tuner seclion connected lo Ch' B TUNER input iock'
Set lnpul
Seleclor
Switch To
Set Mode
Selector
Switch fo
Progrcm You Wish
fo Hear
TUNER ANOIE, lf You ore using on FM-AM
monophonic Tuner. sel Mode Selector
swiich lo either A or B, dePending on
Chonnel to which Tuner is connecled'
l. FM Broodcost
TUNER B
2. AM Broodcost
TUNER STEREO lf AM Tuner hos Bondwidth swiich,
use BROAD Posilion.
3. FM-AM Stereo
Broodcost
Multiplex Adoplor connected lo FM Tuner'
See inslruclions occomponying AdoPlor'
low Level Mognelic Corlridger moke conneclions lo MAG 2
input iocks (or MAG 1 iocks, if these ore noi occupied)
Xign ievei Mogneiic ond Ceromic Corlridge: moke conneclions
to CER PHONO input iocks' NOTE: do nol connecl
componenls to bolh MAG 2 ond CER PHONO iocks'
Some os obove, excePl use Chonnel A or B input iocks'
TUNER STEREO
4. FM-MulliPlex
Slereophonic
Broodcosl
MAG 2 or
MAG I
depending
on inPUls
used.
STEREO Set Equolizolion switch lo PHONO'
5. SlereoPhonic
Record
MAG 2 or
MAG I
depending
on inputs
used.
MONO
PHONO
Set Equolizotion swit€h lo PHONO'
NOTE: lf you ore using o monoPhonic
cortridge, sel Mode Seleclor swilch lo
A or B, dePending on chonnel used'
6. Monophonic Record

ff
GUIDE FOR X.IOO
Progrom You Wish
To Heor Required Conneclions To Associoted Componenls Set lnput
Selector
Switch To
Set Mode
Selector
Switch To
r Olher Required Control setiings .
I/IIPORIANIT Tope Monitor Swirch must
be in OFF position ot oll times
except os noled,
7. Tope from slereo
Tope Recorder
wilh Common ploybock
ond recording heods
Cobles from A ond B outpul iocks on Recorder to Ch. A ond B
AUX iocks. Recording Connections, Cobles from CH. A ond B
REC iocks on the X-100 lo the recording inputs on the Recorder.
AUX 'l or
AUX 2
or AUX 2
depending
on inputs
u sed.
STEREO
8. Tope from slereo
Tope Recorder
with Seporore ploybock
ond recording heods
Cobles from A ond B oulpul iocks on Recorder to Ch. A ond B
REC iocks on the X-100 to the recording inputs on the Recorder.
Tope
Monitor
Switch
sel to ON
STEREO set Tope Monitor switch to ON.
{lf you wish lo record, return this s*itch
ro OFF.)
9. Tope from slereo
Tope Deck Cobles from Tope Deck to Ch, A ond B
MAG I inpur iocks. MAG ISTEREO Sel Equolizolion switch to TAPE.
10. Tope from
monophonic
Tope Recorder
with Common ploybock
ond recording heod
Coble from oulput iock on Recorder lo Chqnnel A or B, AUX I
or AUX 2 input iock. Recording Connectionsr Coble from
recording iock of Recorder to CH, A or B REC iock
(some chonnel os obove.)
AUX I or
AUX 2
depending
on chonnel
used.
AorB
depending
on chonnel
u sed.
I l. Tope from
monophonic
Tope Recorder
with Sepordfe ploybock
ond recording heods
Coble from output iock on Recorder lo Chonnel A or B MON iock.
Recording Connections: Coble lrom recording iock to
Chonnel A or B REC iock (some chonnel os obove.)
Iope
Monilor
Syitch
set lo ON
AorB
depending
on chonnel
u sed.
Sel Tope Monitor switch to ON,
(lf you wish lo record, return lhis switch
lo OFF.)
I 2. Tope from
monophonic
Tope Deck
Coble from Tope Deck to Chonnel A or B
TAPE HEAD input iock. MAG I
AorB
depending
on chonnel
used.
Set Equolizolion swilch to TAPE.

R
t4
FIGURE 3. Top view of cuslom cobinet instollstion
q
CUSTOM INSTALLATION own custom cabinet. Directions and illustrations are provided in this
section,
--8"""o"" adequate ventilation is an absolute essential for trouble'free
operation, never install ttre X'100 in a totally enclosed space' on top
oi another amplifier, or too close to other heat'producing equjpment'
If it is installei in a cabinet, the back should remain open and not-le
flush with the wall. I{ the cabinet is equipped with ventilation grilles
on top, ao not block the passage oI air with books or other articles'
FRONT PANET
l'l-two spnct,ll- cusroM cABINETS' designed to accommodate the X'100,
I are aoailable from your FISHER dealer' These are the Model
Mt-i -"t"t cabinet, wiih vinyl covering, and the Model l0'U wood
cabinet, in walnut and mahogany. Both are attractively designed to
enhance your room decor. The X'100 may elso be mounted in your
l-

l/ev tu fl
".n L./t
+r. 4s'I
t ", itt(*
L
+
T-
The X.100 may be installed in two ways: with cleats, to raise it
above the shelf of the cabinet to provide ventilation through the per-
forated chassis cover; or, without cleats, in which case cut-outs must
be made in the cabinet shelf. The two types of installation follow:
lnstqllqtion with Cleors
l--Obtain a strip of wood 3/+ inches square and 22 inches long. Cut
this strip in half to form two ll-inch cieats.
2-Fasten the two cleats to the top of the mounting board with wood
screws in the position shown in Figure B. Then locate and drill Iour
Y+-inch holes through the mounting board and cleats as indicated.
!-Saw a cutout through the front panel of your cabinet (4a/z inches
by 143/+ inches) as shown in Figure 4. The bottom edge ofthe cutout
should be on a level with the top of the two cleats.
t5
EDGE OF FRONT PANEI
F-
I
I
I
I
-l I
I
I
I
ToP suRFAcE oF sHErF- i.-l
4-Remove the four plastic feet from the bottom coier of the X-tM
and insert the chassis through the lront of the panel cutout. Slide the
ll"tl; cab'/= 4 /"'- "(''"1= '
; FIGURE 4. Front pcnel cutout for mounting
chassis into the cabinet until the back of the control panel is tight
against the panel ofdlftbinet.
S-Insert-the n"{/tV, i}ch screw. supplied in rhe accessories bag
through the hole$jgjld bottom of rhe mounting board and fastei
the chassis into place.
lnslollqtion Without Cleots
I-Cutouts must be made in the mounting board beneath the ventila-
tion holes in the bottom ol the X-L(M, as shown in Figure J.
Z-Locate and drill four Yr-inch holes in the mounting board as shown
in Figure 3.
3-Saw a rectangular cutout through the front panel of the cabinet
(47/z inehes by 743/+ inches) as shown in Figuie 4. IMpORTANT:
Note that the bottom edge of the cutout is flush with the top of the
mounting board.

/A'
4[-Remove the four plastic feet from the X'100 and insert the chassis
*rrough the {ront of ihe panel cutout' Slide the chassis in all the way
until the back of the control panel fits tightly against the panel of
the cabinet.
s
S-Insert the lour l-inch screws
through the holes in the bottom
the chassis into Place.
RUIVIBIE FITTER:
SGRATCH FII.TER:
SUBSONIC FlLIERr
BASS CONIROTS:
TREBIE GONIROTS:
POWER REQUIREMENTS:
POWER CONSUMPTIONT
supplied with the accessories bag
of the mounting board and fasten
t6
MUSIC POWER OUTPUT:
HARMONIC DISIORTION:
FREQUENCY RESPONSE:
HUM AND NOISE:
CHANNEI. SEPARATION:
SENSITIVIIY:
TECHNICAT SPECIFICATIONS
40 watts both channel (IHFM Standard)
0.5/o at lZ watts (RMS.)
0.8/o at 20 (Music Power each channel)
-+- Idb from 20 to 20,000 cPs.
With uolume control at minimum: more
than 90 db below rated output.
High Lertel Inputs: (volume control at
maiimum) more than B0 db below rated
output (0.5 volt reference level.)
Loi Leuel Inputs: (RIAA; with volume
control at maximum) more than 66 db be-
low rated output (6 millivolts reference
level.)
Better than 50 db.
Low Leuel: PHONO MAGNETIC: 3'6
millivolts for rated outPut.
T lrPE: 2.2 millivolts {or rated
outPut.
PHONO CERAMIC: IB0 mil'
livolts lor rated output.
High Leael: TUNER: 220 millivolts for
rated outPut.
AUX 1: 220 millivolts Ior
rated otuPut.
AUX 2:220 millivolts for
rated outPut.
MONITOR: 500 millivolts lor
rated outPut.
Slope is more than 15 db per octave (-Sdb
at 45 cps.)
Cut-ofi slope is more than 12 db per octave
(-3 db at 5 KC.)
Steep Roll-ofi below 20 cPs.
Boost: 15 db Cut: 15 db at 50 cPs'
Boost 14 db Cut: 17 db at 10 KC.
105-120 volts AC,50-60 cycles.
160 watts.
NTAl -l oScx sa/v.ltzttt

a
t6
4[-Remove the four plastic leet from the X'100 at
through the lront of the panel cutout. Slide the cl
until the back of the control panel fits tightly a
the cabinet. The Mqn Behind the Product
AVERY FISIIEB
f oundet and, President;
Fisher Radio Cotpordtion
-flwENTy-FouR YEARs AGo, Avery Fisher introduced America's first high
I fidelity radio-phonograph. That instrument attained instant recognition, for it
opened a new era in the faithful reproduction of records and broadcasts. Some of its
features were so basic that they are used in all high fidelity equipment to this day. One
of these models is now in the permanent collection of the Smithsonian Institution as an
example of the earliest high fidelity instruments commercially available in this country.
The engineering achievements of Avery Fisher and the world-wide reputation of his
products have been the subject of descriptive and biographical articles in Fortune, Time,
Pageant, The New York Times, Lif e, Coronet, High Fidelity, Esquire, The Atlantic, and
other publications. Benefit concerts for the National Symphony Orchestra in Washing-
ton and the Philadelphia Orchestra, demonstrating recording techniques, and the great
advances in the art of music reproduction, used FISHER high fidelity instruments both
for recording and playback, to the enthralled audiences. FISHER equipment formed
the key part of the high fidelity demonstration at the American National Exposition in
Moscow, July 1959. FISHER FM and FM-AM tuners are the most widely used by
broadcast stations for monitoring and relay work, and by research organizations-
under conditions where absolute reliability and maximum sensitivity are a'must.'
The FISHER instrument you have just purchased was designed to give you many years
of pride and enjoyment. If you should desire information or assistance on the installa-
tion or performance of your FISHER, please write directly to Avery Fisher, President,
Fisher Radio Corporation, Long Island City. 1, New York.
MUSIC POWER OUTPUT:
HARNAONIC DISTORTION:
FREQUENCY RESPONSE:
HUM AND NOlSEr
CHANNET SEPARATION:
SENSITIVIIY:
TI
40 watts both channel (
0.57o at 17 watts (RMS
O.BVa at 20 (Music Por
-r ldb from 20 to 20,00
Witlt, aolume control
than 90 db below rateC
High Leuel Inputs:
maximum) more than
output (0.5 volt referer
Low Leuel Inputs: (I
control at maximum) r
low rated output (6
level.)
Better than 50 db.
Low Leael: PHONO
millivolts
TAPE: 2.
output.
PHONO I
NTAr -1 03CX
O1e51 FTSHER RAoro coRPoRAl