I think they are all 18 cell, with either 300hz, 400hz, or 500hz cut-offs.
Altec data sheets list the throats, generally single or dual.
At one time I had an 1803 tar-filled with a dual throat, it was not a one-man lift.
Altec data sheets list the throats, generally single or dual.
At one time I had an 1803 tar-filled with a dual throat, it was not a one-man lift.
Scott L
I hear what you're sayin. I've 'DSP'd' the 515 to match the 416 in extension, but vice versa doesn't work! The mass loaded 416 can't match the 515 for midrange slam and clarity. On the topic of spacial cues, yes, the 416+onken was the first time I understood soundstage in the bass department...never thought that existed!
I hear what you're sayin. I've 'DSP'd' the 515 to match the 416 in extension, but vice versa doesn't work! The mass loaded 416 can't match the 515 for midrange slam and clarity. On the topic of spacial cues, yes, the 416+onken was the first time I understood soundstage in the bass department...never thought that existed!
My wood horns for my 802's arrived. Still lots of finish work to do on them, but a bulk of the precision work is already done.
Arteluthe Audio in Montreal.
http://www.arteluthe.com
Finished them. Sound awesome.
Compared to my 511b and 804b multicells, these have better imaging and smoother vocals, far less horn sound. Loses a bit of brightness and sheen that is sometimes entertaining, but fatiguing. Wood is the way to go folks. Pointing straight out, they produce a wall of sound, that the theatre horns couldnt do in my smaller (20x20) room.
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http://www.arteluthe.com
Finished them. Sound awesome.
Compared to my 511b and 804b multicells, these have better imaging and smoother vocals, far less horn sound. Loses a bit of brightness and sheen that is sometimes entertaining, but fatiguing. Wood is the way to go folks. Pointing straight out, they produce a wall of sound, that the theatre horns couldnt do in my smaller (20x20) room.
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Nice horns. I do the Yuichi 290S model, using CAD/CNC. (Plans/files available offline.)
I've also compared these favoruably to 511/811 and smaller multi cells. Have used 288 CD and also berylium Radians.
Andrew
I've also compared these favoruably to 511/811 and smaller multi cells. Have used 288 CD and also berylium Radians.
Andrew
Attachments
What's the efficiency difference compared to your bass horn? Do you have to pad down the 290s much? My A7's are almost the same.
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Can't recall the exact numbers, but I was using a quality L-pad initially, then a friend built a good crossover to take care of any major differences in gain.
Andrew, can you send me the cad files? I have 288g I want to these horns for! Can you do me a favour? I need to know the radius of each 15mm stack of baltic birch, 15mm/90mm thick = 6 layers.
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No one has quite duplcated the Vott sound, my A7's are from 1977 and sound as fresh & crisp as the day they were delivered. Being Australian I feel sorry for Altec and feel deeply about lost icons, the government should have kept the professional division standing as a tradition based on the grounds of the historical Westrex. With respect, the designs were carried onto JBL from Lansing who were the original Westrex roots from James and the very important John Hilliard. Big deal the original Vott series did not have time or make the THX blah blah blah from Anaheim to Oklahoma... fact remains the Icon (Vott) attached to the name of Altec Lansing deserves more than waterproof computer speakers. Capital records, Hollywood, Universal, Disney, MGM, Altec Lansings are just to name a few icons .... these are proud icons that belong proudly to the US. Only my death will part me from my A7/MR994's and I'm Australian. I believe thats a fair statement. Every country has it's icons so I say to the United States be proud.
Yes, Atlec is dead, and it's a shame the name didn't continue. But at least the guys at Great Plains Audio continue on the tradition. I wonder how much it would cost to buy the naming rights back, and continue the heritage? I think it would be a great business model.
Wow! Those are nice! Looks like a great alternative to the original Altec multicells or the LeCleac'h horns. There's something very special about the sound of a large-format compression driver on a well-designed horn.
Let me know if you guys have positive results on the 416 + 515 combination. Maybe not as special as A7/A5 shorthorn bass, but I'd guess a pair of these drivers might work well together. In principle, the floor image would add a phantom pair of 416's and 515's, which would further improve the dynamic range.
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Thanks. This is my latest project. 4 way.
Best I've heard.
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An externally hosted image should be here but it was not working when we last tested it.
The Brand of Altec Lansing and Vott is an American icon of great significance that was a massive contibution to the motion picture industry during wartime therefor should be rescued as a marketable product legacy with a simple THX and non THX product line made to order in component kit form. With respect to JBL the original Vott series and its common component's were a direct descendant from Western Electric--->ERPI--->Altec Lansing/Vott. We owe it to John Hilliard, John Blackie and James Lansing to keep them alive and branded correctly and be thankful to Bill Hanuschak for financial rescue of the tooling and making them avaliable through the Great Plains Audio. With 9100 McKinley ave up for sale at a very low price the thought of a low volume venture from there has crossed my mind. "In the footsteps of the past comes a product line of profound significance blah blah etc etc etc " This product line would include Axx series and its components. Two or three THX certified models such as the A10 would keep the product line fresh along with the legacies. I have a feeling there are many purists out there who are interested in Real Audio and not the expensive Rodeo Drive fashion speakers that are dumped a decade later. This seems obvious speaking from Australia not even an American. Time for a business plan ?
Looks like a 10 for the lower mid range ? Please elaborate on this design.
It's a show stopper !!
It's a show stopper !!
Beautiful and I bet awesome sounding. In my limited experience the bigger the horn the better the sound and sound stage.
Yes, it's a 10" RCF L10/750Y in a sealed and damped 1/2 cubic foot box attached to the front baffle. I have the 416 below it only going up to 500hz (the best for a 416 IMO) and the RFC going up to 1200hz to the same freq as the horn. It's all passive, single amp, 2 order xovers. The horn I'm using the stock Altec 1285n set at 1200hz, because it has the midband correction network. That said, I bypassed the grainy L pad on it with a 6 db attenuation network. The speaker is around 100-103 db efficient.
The goal of the system was to get each driver working in their optimal band. The 805b/288-8g multicell has stunning midrange, but sounds a bit metalic and horny from 300-1200, and after some forum suggestions, recommended running it higher, which removed most of this, while still maintaining the amazing midrange. The lower midrange, like male vocals, is far more natural and detailed in the 10" mid bass than either the 416 or the horn in the 500-1200hz range.
For the top end, the 805/288 starts to break up, and can only extend up to around 13hkz. It's not nice up there. This is where my crossover still needs a little work, as I havn't added a low pass on the horn, nore to I think I should yet. I've experimented with PPE foam squares in each cell (aka Earl Geddes) but it always sounds muffled.
The Beyma CP-21 slot tweeter has a 1uf paper oil cap 1st order, for now, and it does the job coming in at around 10-13khz. This tweeter I just got, so testing is limited, but it exceeded my expectations in quality. Its very detailed, almost ribbon like, and tonal character matched the horns very seamlessly.
All this is measured using REW with Umic. Still a work in progress but aleast I have everything flat! Next step is to eximine phase relationships, although it's pretty seamless right now between xover points.
+1
😀Tonally a bit different, so recommend rolling off the 416 above its mass corner same as was done with some Japan spec 604/416 studio monitors. Don't want to muck up the 515's 'sweetness' 😉.
GM
Even though I have a pair of 416 and 515, I never did go through with mounting them on the same baffle. I ended up doing a 10" sealed instead. The 515's I have are 8g and 16g, making a xover really tricky to match. I am curious though how it would have turned out. Maybe in the next few months I will buy a plywood sheet, cut out two holes, and test it. The efficiency would be a huge benefit bringing the system from around 100db to up near 103db. But not really a concern as my new KT88 monoblocks have no problem bringing it to concert levels. : )
On a side note, I heard the Beyma 15LX60v2 in small enclosures and they were VERY similar to my 416 onkens only half the size. Very detailed and extended bass. They were in a 2 way up to 1000hz. If someone is looking for a modern equivalent, these are very high performance.
http://www.canuckaudiomart.com/details/649189468-introducing-beyma-15lx60v2-in-canada/
On a side note, I heard the Beyma 15LX60v2 in small enclosures and they were VERY similar to my 416 onkens only half the size. Very detailed and extended bass. They were in a 2 way up to 1000hz. If someone is looking for a modern equivalent, these are very high performance.
http://www.canuckaudiomart.com/details/649189468-introducing-beyma-15lx60v2-in-canada/