1941 Philharmonic Futura K-1!!!!!!!!!

[TheRed1]

The tuner is mounted in the normal orientation for that model - look at the article again, you can see the push buttons at the top.

Are we looking at the same site, Sam? This is the one I was referring to:

http://www.radiomuseum.org/r/general_el_jfm90.html

 

[Sam Cogley]

Are we looking at the same site, Sam? This is the one I was referring to:

http://www.radiomuseum.org/r/general_el_jfm90.html

I was talking about the Consumer Reports article with the K-1 photo.

Sorry about the confusion. The GE tuner is upside-down from the intended GE orientation, but it's normal for the Philharmonic K-1.

 

[TheRed1]

The GE tuner is upside-down from the intended GE orientation, but it's normal for the Philharmonic K-1.

That was my conclusion. I don't see any screw holes that would indicate the dial bezel or the mounting brackets were ever in any other position on the K-1.

About the knobs: up close they have a really interesting two-tone swirl/grain pattern with two different browns like milk chocolate and dark chocolate. They match the GE's push-buttons pretty closely but not exactly. It's almost as if they were trying to match them to the tones of the wood in the control panel. You're right that they do sort of match some of the knobs Fisher used in the late 50s like the ones on my TA-500 - at least in their overall style.

 

[RogerKulp]

Congratulations!

What an excellent find!!!

I'm sure we are all jealous. Well, at least I am.

I sure am!:drool::drool::drool::drool:
I'm sure the radio on that thing is incredible.During the war,Avery made radios for the OSS.

Receivers were also important but their ability to pick up signals was more a function of the transmitter output than the selectivity of the receiver. A more powerful base station transmitter could be used as size and weight were not a consideration. The important criteria, then for the clandestine set, was the output of the transmitter. In the European theatre, agents were at most 100 miles from an operating base station.

Usually in England or perhaps North Africa or Italy. However, in the Pacific Theatre the agent might be a thousand or more miles from a base station. Such was the case with the Coast Watchers, scattered on various islands. They used a set described a portable but that 16 porters were required to carry all the equipment!!!

To meet the criteria for use in Europe, the SSTR 1 set had a one tube transmitter with an output of 8-15 watts and a range of 300 to 1000 miles. The transmitter covered 3.0 - 14.0 MC in three bands and was capable of only CW transmission. The companion receiver was a five tube superhetrodyne set capable of receiving voice, tone and CW with a frequency range of 2.7 - 17 MC in two bands.

In addition to the main power supply, this set could be powered by batteries, a hand cranked generator, and wood burning thermocouples. Again, power supplies were as varied as the conditions of their use. There was even a windmill power supply that was used to re-charge storage batteries.

The transmitter was 4" x 3" x 9 1/2", the receiver was also the same size and the power supply was 6" x 3 1/2" x 9 1/2" depending on which power supply was used. The complete set had a weight of between 20 to 44 lbs, again depending on which power supply was used. The transmitter was based on a 6L6 tube. The crystal socket was a multi-holed socket and would accept several variations of crystals. The tank coil was actually three separate coils, one covering 3 - 5 MC, one covering 5 - 8 MC and the last covering 8 - 14 MC. Transmitter output was fed to a series of resistors and a lamp for tuning or directly to the antenna in the operate position. In recent years several of these transmitters have turned up but the receivers are hard to find and I am told the power supplies are impossible to find. Like others, I too am looking for the receiver and power supply.

As is always the case with military equipment, as soon as one item is fielded, it's replacement is already off the drawing board and about to enter production. The replacement for the SSTR-1 would become known as the SSTR-5. As of this writing there are only three of these complete sets known to exist. In attempting to track down the developmental history of this set, I got nothing. The Signal Corps, the CIA, the NSA and the National Archives could supply no information on these sets. The only fact that seems to be definite is that they were made by the Philharmonic Radio Company.

I wonder how many more are out there.The New England/Mid-Atlantic area seems to be a real hotbed of Fisher consoles.Wonder if I'll ever see one out here.:tears::tears:

 

[RogerKulp]

Unfortunately, this one was updated sometime after WWII with an FM receiver using the modern frequencies. The original "Manuel" phonograph (probably Garrard) was also replaced in the early 50s with an unknown transcription-type turntable with a Pickering 190 tone arm and an S-120M cartridge. There is also a very rough, DIY-looking hole cut into the back of the cabinet for the tone arm counter-balance. Jeez, Arthur sure was in a hurry to try out those new micro-groove records, wasn't he? The replacement FM tuner job looks much more professional. I'm thinking somebody from Avery's new company (Fisher Radio, I think he's calling it) was nice enough to make a house call when the US Govt. decided to move the FM band.

You would have thought he might have gotten an arm that actually fit inside there,though,even if it was a dual arm setup for 78s and Lps.That hole with the 190 sticking out the back is a big minus,and a big distraction.Am I right when I say a Garrard RC121 would fit in there?It would have been a more obvious choice for playing LPs.


I thought Webster-Rauland only made commercial and professional equipment,not consumer electronics.I guess this was just before all production of consumer electronics was shut down for the war.I would love to see an old Philharmonic Radio catalog,if there were any,to see what other styles they had,and what the rest of the line was.

That build sheet is a treasure,you'd almost expect it to be signed by Avery
himself.

 

[TheRed1]

K-1 Chassis:

I removed the K-1 chassis today for a closer look. It's a two-part chassis with the power supply and power amp on one and the AM tuner and control amp on the other. It's the same basic formula as the earlier '37 Futura as well as many of the very early Fisher chassis. In fact, it shares a lot of design elements with the earliest Fishers from immediately after WWII - especially the famous Fisher SA-1. The control layout is very similar.

Surprisingly, I counted 12 tubes which is one more than I expected to find. They surely would have counted the eye tube in their advertised tube counts, right? I mean, more tubes is always better - at least it looks better in the ad copy. What goes on here?

The original 1937 Futura - the one in the Smithsonian - has 11 tubes: (1)5Z3, (2)6V6G's, (2)6SK7's, (4)6J5's, (1)6U5 and (1)6H6. I believe it was in 1938 that Philharmonic added a higher-powered model called the Linear Standard. It had 14 tubes including 6L6 outputs. The 1939 Futura had 11 tubes with 6V6 outputs - it was probably the same as or very similar to the '37. The Jan. 1940 issue of Consumer Reports (which rates the two Philharmonic models #1 & #2 in the very limited "High-Fidelity Combinations" category) describes the Futura as having: "11 tubes including the tuning eye." The Linear Standard is described as having: "14 tubes including the tuning eye."

In Dec. 1940 the New York Times ran an ad for the Cromwell which is presumably a Futura, like mine. It reads as follows:

A specialized instrument for those who want life-like tone from records and radio. 24 high fidelity features, including TWO speakers, professional tone controls and ONE OUNCE, jewel-point pickup. Illustrated: THE CROMWELL, 20-tube FM-AM automatic combination, $335. Other models $250 to 425. Brochure on request.

The 20 tubes would, of course, include the 9 tubes in the GE JFM-90. That leaves the 11 tubes I expected to find in the K-1 chassis. It looks like that ad was referring an earlier 11-tube version of the Futura chassis. The redesigned Victor Brociner K-1 Futura must have come out in 1941 and it certainly appears to have 12 tubes.

Here's what I found: (1)5U4G, (2)7C5's, (1)7N7, (3)7A7's, (2)7A4's, (1)7B8, (1)7E6 and (1)6E5 eye tube.

Note the Hazeltine License which corroborates the Victor Brociner information mentioned earlier about the K-1's design process.

 

[buglegirl]

Hiya,

Looks like the target audience at the time was E. H Scott owners and Capehart Panamuse owners.

Wondering how much of the circuitry is actually with help from GE considering all the loctals and other GE bits ??

Nice score and its in the best place it could be.

Frannie

 

[marloubow]

Carter...
Those photos are amazing!!! What are you shooting with?
The depth of field, lighting and sharpness is impressive.

martin

 

[Saint Johnny]

I spy, "Radio Condenser Co-Camden, NJ"
Related to RCA no doubt?

 

[buglegirl]

Well,

Campbell's which makes "Condensed" soup is still based in Camden .. coincidence ??

Slaps self .. stop ..

Seriously I saw that also.

Found this and more

http://labor-relations-board.vlex.com/vid/radio-condenser-congress-organizations-39955874

http://www.dvrbs.com/people/CamdenPeople-StanleyGeda.htm

I see lots of lawsuits and other activity but not a lot of actual info about what the above fine company was about.

Frannie

 

[larryderouin]

Martin; His Hassleblad broke, so he got out the Kodak Brownie and the Flash Bulbs that look like they are filled with Steel wool. Wet the end of the bulb with your tongue, and hope it doesn't go off in your hand.

jk. Whatever He's using, it's a hell of a lot better than my Kodak Digital.

Agreed! The photo's are Fantastic. Did anyone else notice those 22500oHm resistors on the tuner. Ohmite's???? Look new.



Larry

 

[TheRed1]

Looks like the target audience at the time was E. H Scott owners and Capehart Panamuse owners.

Yes, it seems clear that was part of Avery Fisher's plan. But I think he was also trying to increase the number or potential customers by trying to attract more budget-conscious music lovers with a good products at competitive prices. Philharmonics were selling for about half the price of the equivalent Capehart. '41 Philharmonics ran from $287.50 up to $1537 whereas the K-Series Capeharts ran from $525 to $2500.

Wondering how much of the circuitry is actually with help from GE considering all the loctals and other GE bits ??

According Victor Brociner, who was one of the three original partners in Philharmonic Radio and in charge of engineering; the basic design of the original 1937 Furtura TRF receiver started with a historic Western Electric design. He wasn't able to recall the exact model but remembered a similar circuit published in the J. W. Miller Co. catalog. Mr. Brociner read an article in Electronics magazine about this circuit written by William N. Weeden. Philharmonic consulted with Mr. Weeden in the development of their wide-band TRF receiver.

The K-1, as mentioned before, was evidently a complete redesign initiated by Mr. Brociner sometime before 1941. The design was a collaboration between Brociner an the Hazeltine Labs. He didn't mention GE in connection with the radios Philharmonic built.

 

[buglegirl]

Hiya,

Yes, it seems clear that was part of Avery Fisher's plan. But I think he was also trying to increase the number or potential customers by trying to attract more budget-conscious music lovers with a good products at competitive prices.

Well he succeeded by the middle 50's if you think about it.

Then had a nice 15 year or so run at the top before the Asian Invasion ..

I was just running with the FM tuner part and the GE connection. Poorly thought out correlation on my part. The K-1 and Amp do appear to be of a totally different design. Interesting about the Loctals though.

Frannie

 

[TheRed1]

As promised earlier, here's a link to the Blog of the Gal I bought the Philharmonic from. She said she was going to put up the photo the three of us (Tiffany, Kristie and myself) standing behind the Futura in her garage and she was as good as her word. Really nice folks. With the popularity of all the shows devoted to "Junk" resellers, coupled with their infectious sense of fun, down-to-earth Midwestern charm and friendliness; I bet you Tiffany and Kristie will end up with their own TV show one of these days. I'd watch it!

http://doinglifebeingtiff.com/

Actually, I've all ready been watching it - looking through Flown The Coup's YouTube videos trying to spot the Philharmonic in the background. No luck so far.

RE: The camera comments: Fujifilm S6000 (only 6 MP). I do actually have a Brownie but it's more of a conversation piece and dust collector. I always use a tripod and I like to f-stop it all the way down with minimum ISO equivalent and long exposures - no flash. With the Philharmonic I paid a lot of attention to lighting to bring out the details. I also made a lot of use of the camera's Super-Macro setting which allowed me to really stick the lens right up in there with the console dust and peanut shells. Liberal use of Photoshop 4 and my ancient eMac's native Preview editing program can usually produce something halfway decent. I did manage to knock the tripod over today but fortunately the lens hood seems to have taken the brunt of the impact.

I have about 40 decent looking close-ups of the circuitry some of which I think are rather striking. I hope I can find a schematic for the K-1 so I can see what going on under there.

 

[marloubow]

carter...
Your approach at proper exposure and lighting was excellent.
My hats off to you!
Great job and great photos!

Martin
As to your photoshop augmentations...It still looks like, what its suppose look like. :thmbsp:

 

[Arkay]

WOW! :drool:

What a great rare find, and a well-deserved acqisition, given the long drive you made to get it. It waited five days to find the RIGHT owner, and it's great to think that this thing will now be preserved and given the care it deserves, plus shared with interested others around the world via the Internet, instead of being ignominiously stripped and converted into ... a bar! That would have been a sad loss, indeed!

Thanks for taking time to share this story and all those great pics; it's fascinating to see this up-close. CONGRATULATIONS on the find/acquisition! :thmbsp:

 

[TheRed1]

Rek-O-Kut Turntable, Pickering Arm and Cartridges, GE Phono Preamp

I was able to ID all the turntable related items using only pages 144, 147 & 148 in the 1951 Radio Shack catalog. Assuming Arthur was shopping at Radio Shack, he spent a total of $108.13 in 1951 dollars. That would be almost $1000 in today's dollars. These weren't top-of-the-line components (especially the GE preamp) but they were pretty decent for their day.

Rek-O-Kut LP-12 Transcription Turntable ($39.95)

Pickering 190 Tone Arm ($24) Pickering D-120M & S-120M Cartridges ($24.90 & $9.90)

GE Phono Preamp UPX-003 ($9.38)

Speaker Enclosure:

Here are some photos of the speaker enclosure showing the original Jensen A-12 field coil woofer and the tweeter which I have not been able to identify. The tweeter is attached with different screws (flat head vs. pan head) than the A-12 so it is possible it was a later addition. Could the code 0701 translate to July 1951? Or is it '41? In addition to Jensen, I know Avery Fisher was partial to Altec-Lansing speakers. Is this a later Altec-Lansing? I've seen references to PM speakers in old A-L catalogs but never anything as small as a 6". When I looked up PM6 I got a lot of hits for Lowther's PM6 but this speaker is clearly marked as being made in the USA.

 

[TheRed1]

I heard back from my contact at the Smithsonian today. I asked for and received permission to post photos of their 1937 Philharmonic Futura for comparison with my 1941 Philharmonic Futura K-1. Unfortunately, the Smithsonian's Philharmonic is not currently on display and unlikely to be so anytime soon.

The biggest difference is the location of the PP output tubes. On the '37 Futura they are located on the main chassis with the tuner. My '41 Futura K-1's 7C5 output tubes and the 7N7 (driver/phase inverter?) tube are on the power supply chassis. The use of primarily loctal tubes on my '41 Futura also seems to have raised a few eyebrows. I have no clue why Philharmonic chose to do so.

My 1941 Philharmonic Futura K-1 Chassis:

The Smithsonian's 1937 Philharmonic Futura Chassis:

(Photo courtesy Smithsonian Museum of American History)

(Photo courtesy Smithsonian Museum of American History)

(Photo courtesy Smithsonian Museum of American History)

1937 Philharmonic Futura - Face:

Note below, in small print at the bottom of the dial face: "FISHER RADIO CORPORATION - N. Y." Which, I believe, indicates that this in not the original dial scale and may have been added to strengthen the link between Philharmonic Radio Co. and Fisher Radio Corp.

Victor Brociner, one of Avery Fisher's partners and co-founder of Philharmonic Radio, took exception to Fisher's claim that the '37 Philharmonic Futura was a "Fisher" radio. He wrote several letters to the Smithsonian to point out that this was a Philharmonic radio and not a Fisher. I have a hunch that Avery Fisher and Victor Brociner did not part on very good terms when the original Philharmonic partnership broke up during WWII.

That very murky period in Philharmonic/Fisher history probably has as much to do with the likely bad blood between Philharmonic's partners as with the secrecy surrounding Philharmonic's wartime projects. I really doubt that Avery Fisher sold his interest in Philharmonic willingly or happily. I suspect he lost control of the company as Philharmonic was forced to increase capitalization in order to finance their rapid wartime expansion.

(Photo courtesy Smithsonian Museum of American History)

(Accession document courtesy Smithsonian Museum of American History)

Garrard RC10:

This is the changer that accompanied the '37 Philharmonic Futura. There is also good evidence that the earliest Philharmonics used a Garrard RC6. I don't know if Garrard model numbers were issued numerically in chronological order. You'd think that the RC6 was an earlier model.

(Photo courtesy Smithsonian Museum of American History)

Regarding the original turntable for my 1941 Philharmonic: it eventually dawned on me that it was very unlikely that mine came with a manual Garrard. I had assumed it would be Garrard since all of the earlier Philharmonics offered them. The reason Garrard probably wasn't supplying Philharmonic at that point became fairly obvious once I considered that they were a British company based in the town of Swindon, England. It seems almost certain that they would have been engaged in the manufacture of war material for some time prior to 1941. I can find next to nothing on the Webster-Rauland turntables that may have supplanted Garrard during WWII.

 

[buglegirl]

Hiya,

Interesting and awesome on the Smithsonian providing the pictures.

So anyone have any idea of actual production run quantities on these prewar "Fishers" ??

Frannie

 

[TheRed1]

So anyone have any idea of actual production run quantities on these prewar "Fishers" ??

I have been told that around 600 Philharmonics were produced from 1937 to 1941. Not all of those would have been complete radio-phonographs, though. Philharmonic also sold their chassis separately for custom installation. I'd be very surprised if there weren't at least a few more survivors out there somewhere.

Avery Fisher apparently kept a comprehensive list of all of Philharmonic's customers and would drop by and visit when he was in the neighborhood. After the war when he formed Fisher Radio Corp., he notified them that his new company could continue to look after their high-end audio needs with the same high levels of quality and service they had come to know at Philharmonic. Not surprising considering he purchased Philharmonic's parts inventory and took most of Philharmonic's key employees over with him to Fisher. American Type Founders, the Elizabeth, NJ based conglomerate that ended up controlling Philharmonic (as well as the Recordograph Company), doesn't appear to have bought any more than just the Philharmonic name and maybe a couple of building leases.