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The AR-88LF versions, which were only built in Montreal, found their way to airports, civilian and military, ship-to-shore coastal stations around Canada and for general communications.Although Canada did export AR-88LFs to Great Britain, many remained behind for wartime use.Additional receivers were produced at RCA facilities in Bloomington, Indiana and Montreal, Quebec, Canada.Use of Majestic Radio and Television Company as a contractor during WWII production is possible, although this company is usually mistakenly identified as the Grigsby-Grunow Company (bankrupt in 1934.) - Most of the early AR-88 production was sent to Great Britain or Russia (and to a lesser extent China and France) during WWII through Lend-Lease and this accounts for the scarcity of the early versions of the receiver in the USA.While it may have seemed like "AR-88s were everywhere" the actual production numbers did not exceed 25,000 units (total WWII production of AR-88D, AR-88F, AR-88LF and CR-91 receivers.) The AR-88 was used for several purposes by Great Britain during WWII.This is a photo of the Portsdown Tunnel communications center that handled wartime communications.of America's radio station KPH during the late forties, through the fifties and even into the sixties.
The CR-88 receivers were the workhorses for Radiomarine Corp.
This was due to the provisions in the Lend-Lease Act which stated that materiel had to be either returned or destroyed.
In just one incident, a load of AR-88 receivers was "dumped" into an abandoned well by USA forces after the war ended.
In 1945, RCA replaced the AR-88 with the CR-88 which placed the Crystal Phasing control on the front panel and reduced the size of the RF Gain and AF Gain control knobs so all three controls would fit just below the tuning dial.
The CR-88A replaced the AR-88F in the diversity receivers.
The finalized AR-88 was a 14 tube superheterodyne that covered .54 to 32MC in six tuning ranges, featuring incredible sensitivity (even up to 10 meters), excellent stability and high fidelity audio along with mechanical and electronic reliability that couldn't be found in any other receivers of the day. Fowler while George Blaker handled the mechanical design.