https://www.audioheritage.org/html/history/lansing/lmco.htm
has the details of the of Western Electric's group of engineers forming the Altec Service Corporation.
Altec merged with Lansing in 1941, James split and formed Lansing Sound in 1946, then changed the name to JBL (James B. Lansing Sound, Incorporated) after Altec Lansing Corporation took issue Lansing’s new company name.
The stuff of movie business..
Art
has the details of the of Western Electric's group of engineers forming the Altec Service Corporation.
Altec merged with Lansing in 1941, James split and formed Lansing Sound in 1946, then changed the name to JBL (James B. Lansing Sound, Incorporated) after Altec Lansing Corporation took issue Lansing’s new company name.
The stuff of movie business..
Art
This was my basic config for a long time, with a large Al OOP horn and Beyma CP380M x-ed at 1k5. Really good system and worked well for home, small PA and bass guitar. When I got the Unitys, I used these as surrounds (2 pair).
Why the name change though? I wonder if it was racially motivated or biased. I would say Lansing has a more American ring to it than Martini... Kind of pathetic - if that was the logic and mindset.
The Ciares sound clearer to my ears. They don't have the Biradial Vertical Squash Geometry Technology (BVSGT) which I think attributes to a more direct presentation in the case of the Ciares. Something I like about the Yuichi horns is that they are very solid and thus non resonant. I have not seen a better example of this in a horn. I believe that minimizing resonances is the number one priority in speaker design, and that resonances are often more prevalent or present than one might assume. I may revisit a design like the Yuichi horns in the future. I am curious to try an Iwata 300 or 200 which seem to be a similar geometry to the Ciares. I have tried a few horns and the Ciare style wave guide is my favorite. A larger horn of the same geometry should permit a lower crossover point and greater sensitivity from the driver. Both of which are advantageous. I stated in a previous post that I don't like big horns. I do find that to be true often times, however if the horn is well designed, such as the Iwata 200, and also well damped so as not to resonate and produce standing waves, and doesn't color or contaminate the sound presentation in other ways, I presume there is nothing to fault. The Ciares enhance the presentation of sound which not all horns do in my experience.
Last edited:
Thanks for a comprehensive reply milezone!
I'm not surprised it sounds clearer as it is a more open design. Maybe throat exit angle of the Beyma CP755Nd also matches better with the Ciare horn?
Only downside is the higher cutoff frequency, usable from 800hz compared to 600hz for the Yuichi..
I agree, Iwata would be interesting to try! Are you considering the offerings from Autotech, or wooden Iwata's from ALG for instance?
Anyway this is a bit off topic as it is supposed to be about CD's 🙂
I'm not surprised it sounds clearer as it is a more open design. Maybe throat exit angle of the Beyma CP755Nd also matches better with the Ciare horn?
Only downside is the higher cutoff frequency, usable from 800hz compared to 600hz for the Yuichi..
I agree, Iwata would be interesting to try! Are you considering the offerings from Autotech, or wooden Iwata's from ALG for instance?
Anyway this is a bit off topic as it is supposed to be about CD's 🙂
I like the geometry of the Autotech Iwatas with no corners or hard edges. The prices are fair on those but the cost of shipping to the states is quite expensive. While the Autotechs don't look bad the gloss finish is a bit too luxurious looking for my taste. I would probably opt for a matte dark grey finish if I ever decide to purchase a pair. I prefer the look of wooden horns and the ALG Iwatas look quite nice albeit a bit different from the Autotech design. Some of those ALG speaker designs seem a bit quirky whereas I prefer more simple and straight forward geometry. The ALG Iwatas seem to be that though. Thanks for the suggestion.
So far for 2023 I am using this Compression Driver / Wave-Guide combination; JBL D2 2430H / PT95 90 X 50 degrees.
There is less sound bouncing off the walls and especially off the ceiling and floor.
Thanks DT
This is at 1 Volt amplifier output. Normal use is much lower than this.
There is less sound bouncing off the walls and especially off the ceiling and floor.
Thanks DT
This is at 1 Volt amplifier output. Normal use is much lower than this.
Last edited:
Looks good where did you get the waveguide. I'm using a 2431 and really like it crossed at 900hz.
Hello,
Both the drivers and waveguides came from reconingspeakers.com.
https://reconingspeakers.com/products-page/jbl-horn-lens-5006815-stx825/
Thanks DT
Both the drivers and waveguides came from reconingspeakers.com.
https://reconingspeakers.com/products-page/jbl-horn-lens-5006815-stx825/
Thanks DT
FaitalPro has a new Textreme driver that measures really well: https://audioxpress.com/article/test-bench-faital-pro-s-new-hf1460-pro-sound-compression-driver-1
Using a active crossover, I have been trying between 1.6 k and 2.0 k. The CD/WG is crossed over above a JBL2132 cone mid-range.
On Faitalpro CD:s could someone please explain what this (taken from their data sheet) actually means:
I have e-mailed them about this and other other questions without any response.
Exit Angle (5) | Combined Exit |
(5) The driver's exit coincides with the end of the phase plug, there is no adaptation throat. |
I have e-mailed them about this and other other questions without any response.
I was always wondering about that as well. But now I think I understand what they want to tell us. There is simply no conical part/throat after the phase plug. The "end" of the phase-plug is at the same length as the mounting plate. This way there is no definable exit angle.
Regards
Charles
Regards
Charles
Thanks! Nice confirmation, I was kinda interpreting it along the same lines.
Would be interesting to see if it makes these drivers more insensitive to horn entry angle matching.
Would be interesting to see if it makes these drivers more insensitive to horn entry angle matching.
Last edited:
Faital pro drivers with combined exit seem to be HF104, HF105, HF106 and HF107, is there others?
Mabat did some throat angle variation sims in ATH4 thread some years ago and differences weren't meaningful if I remember right.
More difference makes what the wavefront shape is at the driver exit. Flat is best assumption, but its probably something else for most drivers, at least on top octave. I'm not sure if anyone has measured and published wavefronts of any compression drivers.
Mabat did some throat angle variation sims in ATH4 thread some years ago and differences weren't meaningful if I remember right.
More difference makes what the wavefront shape is at the driver exit. Flat is best assumption, but its probably something else for most drivers, at least on top octave. I'm not sure if anyone has measured and published wavefronts of any compression drivers.