Hi!
Someone came to see me a while ago bringing with them their pair of Worden Lowther speakers and unfortunately I did not retain their contact details. However the Worden was a very interesting and effective corner design. Has anyone got a photo?
The Worden was probably around 18 inches to 20" square and 2ft to 2ft6 tall and a very interesting design. The top was an enclosure open on 2 or 3 sides with a Lowther PM2C facing downwards. This allowed the rear of the cone to radiate omnidirectionally. The box below was divided diagnonally with a thin dividing strut dividing the sound from the front of the PM2C. The back half was a ported box whilst the other half was a triangular horn flairing out at the bottom.
The sound was slightly idiosyncratic but remarkably good for the size and took advantage of the excess treble of the PM2C, utilising only half and equalising that half with a horn to for the lower midrange.
It was an intriguing design which certainly brought music to life.
Best wishes and Season's Greetings,
David P
Someone came to see me a while ago bringing with them their pair of Worden Lowther speakers and unfortunately I did not retain their contact details. However the Worden was a very interesting and effective corner design. Has anyone got a photo?
The Worden was probably around 18 inches to 20" square and 2ft to 2ft6 tall and a very interesting design. The top was an enclosure open on 2 or 3 sides with a Lowther PM2C facing downwards. This allowed the rear of the cone to radiate omnidirectionally. The box below was divided diagnonally with a thin dividing strut dividing the sound from the front of the PM2C. The back half was a ported box whilst the other half was a triangular horn flairing out at the bottom.
The sound was slightly idiosyncratic but remarkably good for the size and took advantage of the excess treble of the PM2C, utilising only half and equalising that half with a horn to for the lower midrange.
It was an intriguing design which certainly brought music to life.
Best wishes and Season's Greetings,
David P
Ahh yes the legendary Wilfred H Worden....errr...... who....?!
Sorry, I Googled and got the above (a famous boy pianist? - perhaps)
I am considering making the Big Fun Horn if I can get the plans.
Sorry, I Googled and got the above (a famous boy pianist? - perhaps)
I am considering making the Big Fun Horn if I can get the plans.
An externally hosted image should be here but it was not working when we last tested it.
Wilfred Worden used to place small ads with pictures, in the back of The Gramophone through the '50s and '60s. The Gramophone has an online Archival Section, it should be possible to find them there.
In 1969 he had a range of speakers, the biggest being about 6-7 ft high, a front and rear loaded horn with PM6 or PM7 drivers, chosen according to the future owners request.
The smallest was a bookshelf speakers with Richard-Allan drive units. It had some unusual loading system for the driver.
His first product, though, in the 1950s, was an articulated pick up arm, made of wood.
In 1969 he was also looking at releasing an amplifier, and was developing a metal version of his pick up arm. I do not know if anything came of this, I was out of touch with the audio field for some years after this.
In 1969 he had a range of speakers, the biggest being about 6-7 ft high, a front and rear loaded horn with PM6 or PM7 drivers, chosen according to the future owners request.
The smallest was a bookshelf speakers with Richard-Allan drive units. It had some unusual loading system for the driver.
His first product, though, in the 1950s, was an articulated pick up arm, made of wood.
In 1969 he was also looking at releasing an amplifier, and was developing a metal version of his pick up arm. I do not know if anything came of this, I was out of touch with the audio field for some years after this.
Hi!
It would be wonderful to see the big design.
I found a photo the other day of the speaker which I saw:
The unit fires downwards half into a chamber at the back and half forwards down a triangular section as shown with the wings coming forward to develop the horn at the front and an exponential profile at the back. Certainly an intriguing and original arrangement.
Best wishes
David P
This week some friends in Surrey had a pair of Wordens of the 5ft high variety and kindly let me have them.
Worden's continue to fascinate - he was a nuts designer who had a fetish for reversing the unit into the cabinet rather than facing outward.
The larger speakers were apparently made with Wharfedale 10s in mind but mine were modified for a pair of Lowthers. Thes face forward into a divider-reflector - upwards into a helmholtz resonator with a slit vent on top. The lower direction faces into a horn facing downwards to the floor. The sound from the reverse of the unit is reflected on each side by the 45 degree reflectors from the corner whilst at top and bottom the sound is reflected by the concave shape of the horns. This means that the sound from the reverse of the speaker reflected from the exterior of the horn is in phase with that coming through the horn at floor level. The cuvature of the double horn shape to bottom and top means that the sound is projected forward and focussed at the centre of the speaker, the speaker producing a sweet spot vertical height of armchair listening position, whilst radiating laterally evenly.
Top treble relies on lateral transmission sideways from the reverse of the cone. With Lowthers and other twin cone speakers, there may be an element of transmission through the outer cone and a phaseplug may be helpful in sideways treble dispersion, particularly potentially a long cylindrical one.
Not having a spare pair of Lowther drive units to hand currently I've put in a pair of Audio Nirvana Super 8s and they sound very natural. OK - the Lowther TP1 of course sounds better - but the Worden's sound good and give music a lot of space.
Apparently they were advertised in the HiFi press in 1963.
Best wishes
David P
Worden's continue to fascinate - he was a nuts designer who had a fetish for reversing the unit into the cabinet rather than facing outward.
The larger speakers were apparently made with Wharfedale 10s in mind but mine were modified for a pair of Lowthers. Thes face forward into a divider-reflector - upwards into a helmholtz resonator with a slit vent on top. The lower direction faces into a horn facing downwards to the floor. The sound from the reverse of the unit is reflected on each side by the 45 degree reflectors from the corner whilst at top and bottom the sound is reflected by the concave shape of the horns. This means that the sound from the reverse of the speaker reflected from the exterior of the horn is in phase with that coming through the horn at floor level. The cuvature of the double horn shape to bottom and top means that the sound is projected forward and focussed at the centre of the speaker, the speaker producing a sweet spot vertical height of armchair listening position, whilst radiating laterally evenly.
Top treble relies on lateral transmission sideways from the reverse of the cone. With Lowthers and other twin cone speakers, there may be an element of transmission through the outer cone and a phaseplug may be helpful in sideways treble dispersion, particularly potentially a long cylindrical one.
Not having a spare pair of Lowther drive units to hand currently I've put in a pair of Audio Nirvana Super 8s and they sound very natural. OK - the Lowther TP1 of course sounds better - but the Worden's sound good and give music a lot of space.
Apparently they were advertised in the HiFi press in 1963.
Best wishes
David P
Attachments
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First listening proved good but coloured. This was noticed on a woman's voice, suggesting wavelengths of around 4ft and around 2ft - 2ft 6 being the distance from speaker to top of the cabinet, the upper chamber seemed to be likely to be the culprit.
With experience of the Lowther TP1 London/Imperator and placing acoustic absorption in the chamber at the start of the horn, I've placed some absorption, about 9 inches square on the upper reflector and going into the upper chamber. This stops reflections from the closed upper chamber reflecting back and coming out through the speaker.
The wide magnet of the Audio Nirvana prevents treble coming directly out and ensures that treble emerges sideways, towards the reflectors at sides and top and bottom, as intended.
The resulting sound is truly excellent. The cabinet cloth is the standard 60s acoustic cloth but with a muslin behind. Removal of the muslin has taken a layer of obscuration away from the treble. Being spoiled by listening TP1s I'm critical and whether a speaker annoys me is a severe test. The Worden's are not merely not annoying, but a true pleasure.
If anyone has the privilege to acquire a Worden Panosona, most certainly they won't disappoint.
Best wishes
David P
With experience of the Lowther TP1 London/Imperator and placing acoustic absorption in the chamber at the start of the horn, I've placed some absorption, about 9 inches square on the upper reflector and going into the upper chamber. This stops reflections from the closed upper chamber reflecting back and coming out through the speaker.
The wide magnet of the Audio Nirvana prevents treble coming directly out and ensures that treble emerges sideways, towards the reflectors at sides and top and bottom, as intended.
The resulting sound is truly excellent. The cabinet cloth is the standard 60s acoustic cloth but with a muslin behind. Removal of the muslin has taken a layer of obscuration away from the treble. Being spoiled by listening TP1s I'm critical and whether a speaker annoys me is a severe test. The Worden's are not merely not annoying, but a true pleasure.
If anyone has the privilege to acquire a Worden Panosona, most certainly they won't disappoint.
Best wishes
David P
Interesting Speaker.
Can you please supply some more pictures and some dimensions. I may try to build a pair. I'm guessing that the cabinets are open on the bottom. A picture of the slit vent on the top would be most useful.
Many thanks for sharing your experience with these unique speakers.
Edward
Can you please supply some more pictures and some dimensions. I may try to build a pair. I'm guessing that the cabinets are open on the bottom. A picture of the slit vent on the top would be most useful.
Many thanks for sharing your experience with these unique speakers.
Edward
I'm attaching the original 1963 advert which the chap who sold them to me found in the vintage literature.
Initial use of an Audio Nirvana Super 8 was a little soft in the top treble whilst a Lowther DX4 was a shade agressive. It will be interesting to try a PM6 but noting the original advert's recommendation of a modified driver and familiar with the different working principles of the various Lowther phase plugs I applied a modification to the A-N Super 8 which transforms its use for these speakers.
They are certainly an interesting design and their musicality approaches that of the Lowther TP1.
Best wishes
David P
Initial use of an Audio Nirvana Super 8 was a little soft in the top treble whilst a Lowther DX4 was a shade agressive. It will be interesting to try a PM6 but noting the original advert's recommendation of a modified driver and familiar with the different working principles of the various Lowther phase plugs I applied a modification to the A-N Super 8 which transforms its use for these speakers.
They are certainly an interesting design and their musicality approaches that of the Lowther TP1.
Best wishes
David P
Attachments
David,
I have another question about the cabinets.
What is in the triangular area behind the curved baffles? Are they simply open resonant chambers on the top and bottom, or are there additional baffles to make a folded horn?
More pictures and details about these unique speakers would be appreciated.
Thanks.
I have another question about the cabinets.
What is in the triangular area behind the curved baffles? Are they simply open resonant chambers on the top and bottom, or are there additional baffles to make a folded horn?
More pictures and details about these unique speakers would be appreciated.
Thanks.
The speaker unit fires inwards towards a four faced pyramid - two faces butting the sides which are at 90 degees, and two sides reflecting up and down. Up goes into a compression chamber - which needs damping with acoustic material on the reflector and on the sides for around 9 inches to a foot in my experience so far, whilst down expands as a horn probably with a cutoff rate of around 150hz or so. I have put a triangle of metal underneath to reflect treble there forward.
The sound on classical music is superb, although somewhat constipated on full orchestra although this might be an effect of compression on music through teh radio. On baroque music with harpsichord continuo the Lowther DX4 is better than the Audio Nirvana. Possibly a DX3 might be good. I'm using old bullet phase plug rather than the pepper pot. The longer old PM7 one might be better. With the Audio Nirvana I have glued a top of a plastic water bottle on the phaseplug to reflect top treble sideways, as this is the source of the top treble emanating sideways to be relected by the panels at each side and the focussing reflectors top and bottom.
The wide dispersion that the design achieves eliminates that tight sweet spot of many fullrange speakers and the sound is very open - it achieves elements of why we might like front horns, back horns and open baffle.
Best wishes
David P
The sound on classical music is superb, although somewhat constipated on full orchestra although this might be an effect of compression on music through teh radio. On baroque music with harpsichord continuo the Lowther DX4 is better than the Audio Nirvana. Possibly a DX3 might be good. I'm using old bullet phase plug rather than the pepper pot. The longer old PM7 one might be better. With the Audio Nirvana I have glued a top of a plastic water bottle on the phaseplug to reflect top treble sideways, as this is the source of the top treble emanating sideways to be relected by the panels at each side and the focussing reflectors top and bottom.
The wide dispersion that the design achieves eliminates that tight sweet spot of many fullrange speakers and the sound is very open - it achieves elements of why we might like front horns, back horns and open baffle.
Best wishes
David P
Edward, i found a few more detailed pictures in my meanderings, thought you might want to take a look. My interest was in the design as well, but it is much to complicated for my taste.
Mac
Lowther axiettes worden panasona speaker cabinets
David, you are absolutely right, those are not the same model that you own. Furthermore I searched the known universe for any information on the model you own, and found Zilch/Nada! I sincerely believe you may very well have a pair of one-of-speakers, that are very rare, and therefore could be valuable as well! "Speakers of that nature are often only found in Audio Museums." Congratulations on ownership and providing some of us Oldtimers a reminder of just how wonderful things could be 50 years ago!!
Mac
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They will be even more interesting having determined the best drive unit to use! Audio Nirvana with top of drinks bottle in front for sideways treble dispersion is great . . . and will try Lowther PM6C but DX3 might be great too. On Lowthers the debate will be the roll-back surround to the whizzer or straight cone.
What is interesting about these speakers is that they are essentially only 7 panels of wood plus framing and so very easy to manufacture. For opera and all sorts of classical music they are extremely natural and with wide dispersion.
Best wishes
David P
What is interesting about these speakers is that they are essentially only 7 panels of wood plus framing and so very easy to manufacture. For opera and all sorts of classical music they are extremely natural and with wide dispersion.
Best wishes
David P
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