Scientist of the Day - Avery Fisher

Fisher tuner of 1958 with 10 vacuum tubes, sold at auction, 2017 (Wikimedia commons)

Avery Fisher, an American designer and audio engineer, died Feb. 26, 1994, at the age of 87. Born in Brooklyn into a family of Russian Jews, his upbringing was notable for the constant presence of music, both recorded and live (everyone in the family played an instrument). which probably played a role in his later career. He received a degree in engineering from NYU, and then worked as a book designer in New York for almost 10 years. He always said that book design was his first love, but he did not enjoy the bosses he had at his publishing house, and in1937, he quit to become his own boss, manufacturing high- fidelity sound equipment.

Avery Fisher with an early amplifier and speaker, undated photograph (www.findagrave.com)

There was no high fidelity anything in 1937, so Fisher had the field to himself. He formed a company, Philharmonic Radio, and at first he designed his own circuits, which one could do back then, when electronics was not very complicated. He had apparently been building sound equipment for friends for years, and his amplifiers were far better than anything you could buy. Every circuit had at least one vacuum tube at its heart, and some of his tuners had 10 vacuum tubes or more (first image). The quality of the tubes made all the difference, and the really good tubes were expensive, so Fisher’s equipment was quite pricey.

One of the first high-fidelity tuners sold by Avery Fisher under the brand Philharmonic Radio, 1937, now in the National Museum of American History, Smithsonian Institution (americanhistory.si.edu)

During the War, Fisher was diverted into military work, and he sold his company. In 1945, he started another, Fisher Radio, and resumed building amplifiers, tuners, record changers, and speakers. They were marketed under the uppity but compelling name: "The Fisher." In terms of quality and sound reproduction, they had no competition until the 1960s. When transistors came in, Fisher made the switch, but it is the vacuum-tube models that are highly sought after by audiophiles. One of his earliest models is in the National Museum of American History at the Smithsonian, and others sell regularly for high prices at auction even today (third image).

Front panel of a Fisher 500 tuner, 1959, with the name “The Fisher” flanked by Fisher logos of a dove carrying a semi-quaver.

In the process of building the world’s finest consumer audio equipment, Fisher discovered the golden rule of high-end marketing; when you sell things that rich people want, you get rich yourself. Fisher made millions, and he decided to return some of his wealth for the greater good. Accordingly, after he sold Fisher Radio to Emerson in 1969, he gave over 10 million dollars to the New York Philharmonic. The Philharmonic, in turn, named their new performance facility in Lincoln Center, the Avery Fisher Hall, after their benefactor. Avery also established the Avery Fisher Artist Prize, and the Avery Fisher Center for Music & Media at NYU.

Avery Fisher Hall, Lincoln Center, New York City, now renamed (Wikimedia commons)

Unfortunately for fans of Avery Fisher, the Philharmonic decided early into the 20th century to rename the music hall, with naming rights going to the highest bidder in a fund-raising campaign. So the Avery Fisher Hall, in 2015, became the D** G** Hall. We prefer not to use its full name, as our small contribution to discouraging future sellouts like this one. At least Avery Fisher loved classical music and thought he was making a contribution to the culture of New York with his 10-million-dollar gift. And initially, he didn’t even want his name on any building, and had to be persuaded that this was appropriate. Fisher was by all accounts a modest gentleman who loved music and wanted it to sound as good as possible, whether heard live, over the airwaves, or on records, and he devoted his life to that end. He deserves to have his name somewhere, besides his tombstone.

The Fisher logo in neon (findagrave.com)

To end on a up-note, I have always liked Fisher’s logo, which appeared on all his equipment, usually in pairs, flanking “The Fisher.” I am guessing he designed it himself, since he loved design more than anything. We show a version in neon (sixth image), and you can also make it out on the front panel of our first and fourth image.

William B. Ashworth, Jr., Consultant for the History of Science, Linda Hall Library and Associate Professor emeritus, Department of History, University of Missouri-Kansas City. Comments or corrections are welcome; please direct to ashworthw@umkc.edu.