That's amazing. I didn't know anything like that existed...must be pretty rare. So is there any indication those were made by Altec? They look like a last ditch attempt to compete. The JBL looks so much more refined and timeless, and the Altec looks like a product of the early 80's. I would love to hear them side by side. I have a feeling the JBl would wipe the floor with its 2231, 2121,2420, and 2405 (and thats coming from a huge Altec fan!)
In case the ebay description dissappears:
The 9862 studio monitor speaker system was produced in the early eighties for sale exclusively to the Japanese market. It was a four way system using the 950-8A ring radiator tweeter, a 902 type driver on a special horn for the upper midrange, a 414 twelve inch driver for the lower midrange, and a subwoofer using a specially designed 416. The number of units built was very limited. The 416 woofer used all standard parts except for the cone, which was about 25 grams heavier than the stock cone. This allowed the driver to have the same low frequency performance as a standard 416, but in a much smaller enclosure with a sacrifice of about 3 dB in efficiency. A standard 416-8B/C in a nine cubic foot vented enclosure tuned around 40 Hertz has an F3 of about 40 Hertz with minimal ripple. A 416 built with the "heavy" 35239 cone has the same 40 Hertz F3 in a five cubic foot vented enclosure tuned to 30 Hertz.
For those wanting to retain the excellent mid and upper range behavior of the standard 416, but with 40 Hertz performance in a much smaller enclosure, a 416 built with the 35239 cone is the answer. These cones are original factory parts and are over thirty years old. I was the Senior Design Engineer of Acoustics for Altec Lansing in the 1980's at the Oklahoma City facility and these cones are from my personal collection. This auction is for one pair of cones.
The 9862 studio monitor speaker system was produced in the early eighties for sale exclusively to the Japanese market. It was a four way system using the 950-8A ring radiator tweeter, a 902 type driver on a special horn for the upper midrange, a 414 twelve inch driver for the lower midrange, and a subwoofer using a specially designed 416. The number of units built was very limited. The 416 woofer used all standard parts except for the cone, which was about 25 grams heavier than the stock cone. This allowed the driver to have the same low frequency performance as a standard 416, but in a much smaller enclosure with a sacrifice of about 3 dB in efficiency. A standard 416-8B/C in a nine cubic foot vented enclosure tuned around 40 Hertz has an F3 of about 40 Hertz with minimal ripple. A 416 built with the "heavy" 35239 cone has the same 40 Hertz F3 in a five cubic foot vented enclosure tuned to 30 Hertz.
For those wanting to retain the excellent mid and upper range behavior of the standard 416, but with 40 Hertz performance in a much smaller enclosure, a 416 built with the 35239 cone is the answer. These cones are original factory parts and are over thirty years old. I was the Senior Design Engineer of Acoustics for Altec Lansing in the 1980's at the Oklahoma City facility and these cones are from my personal collection. This auction is for one pair of cones.
...although adding 25 grams to a 416 cone does not keep the performance. That often loses the speed and detail of a light cone driver from my experience.
Sorry for warming up this thread again but my current questions just fit in here...
I have some YL compression drivers around doing nothing and wanted to give them a chance. It's D-18000 tweeters and 3500G mid drivers.
I do have Onken cabinets and the idea was to put GPA Alnico 416s in the Onkens and build a 3 way system with the YL. Main question is what horn to use with the 3500G. An Iwata 600? A wood 805B? Crossover frequencies somewhere at 800 and 8000?
Distance between speakers would be around 2 meters (6.56 ft) center-center and listening distance 3,5 meters (11.5ft).
I have some YL compression drivers around doing nothing and wanted to give them a chance. It's D-18000 tweeters and 3500G mid drivers.
I do have Onken cabinets and the idea was to put GPA Alnico 416s in the Onkens and build a 3 way system with the YL. Main question is what horn to use with the 3500G. An Iwata 600? A wood 805B? Crossover frequencies somewhere at 800 and 8000?
Distance between speakers would be around 2 meters (6.56 ft) center-center and listening distance 3,5 meters (11.5ft).
I like the Iwata 600, that's a good choice. Not to sure about the 805, I think a 1005 would be a better choice. To go truly deluxe, the 1505. 😀
Thanks for coming in, Pano. Would you mind elaborarting a bit what makes the 1005 a better choice than the 805? Both certainly look cooler than the Iwata which doesn't matter that much.
I'm looking for BIG sound, big dynamics, soundstage, that stuff. The bell intro of AC/DC's Hells Bells needs to shake my spine, not necessarily because of physical sound wave energy but because it triggers something in my brain - maybe that makes sense 😉
I'm looking for BIG sound, big dynamics, soundstage, that stuff. The bell intro of AC/DC's Hells Bells needs to shake my spine, not necessarily because of physical sound wave energy but because it triggers something in my brain - maybe that makes sense 😉
My experience with the various multi-cell is that more is always better. The 8 cell isn't bad, but the 10 cell just sounds better, more realistic, deeper. The 15 cell is in a class by itself.
Cal Weldon owns a pair of the 1803 horns. I've seen them but never gotten the chance to hear them. I think you'd want to be outside or in an arena. 🙂 The 1005 seems a good compromise for most domestic spaces.
Cal Weldon owns a pair of the 1803 horns. I've seen them but never gotten the chance to hear them. I think you'd want to be outside or in an arena. 🙂 The 1005 seems a good compromise for most domestic spaces.
+1, what's counterintuitive is that all else equal, the smaller the room, the wider the directivity control required, ergo the larger the horn/WG needs to be in both planes to keep first reflections to at least the side [preferably behind] the listening position.
GM
GM
Ok, got it. Thanks guys. Is there something I could gain from using huge multicells instead of a releatively compact Iwata 600?
Unfortunately I have never heard any of them. I know Tractrix horns, Iwatas and the Altec 511. The only ones I never what to do with was the 511.
Unfortunately I have never heard any of them. I know Tractrix horns, Iwatas and the Altec 511. The only ones I never what to do with was the 511.
Again, it's about keeping early reflections from the listening position, so a smaller horn ideally requires sitting closer and/or adding damping to the floor, walls as required.
Sound wise, the larger the horn the more 'full' its LF portion, hence more life-like; a multicell has a flatter power response over a wider BW than a typical single cell 'rising on axis' horn, so as one moves off axis it flattens out, then develops a 'hole in the middle' once you can no longer see its throat, hence the need to find the best overall compromise of toe-in.
This is essential then for the Tractrix, 511 [not familiar with Iwata] plus the 511 needs some serious CD horn EQ to flatten it out to 15-20 kHz and ideally some other tweaks to make it ~HIFI enough for today's ultra wide BW digital recordings.
GM
Sound wise, the larger the horn the more 'full' its LF portion, hence more life-like; a multicell has a flatter power response over a wider BW than a typical single cell 'rising on axis' horn, so as one moves off axis it flattens out, then develops a 'hole in the middle' once you can no longer see its throat, hence the need to find the best overall compromise of toe-in.
This is essential then for the Tractrix, 511 [not familiar with Iwata] plus the 511 needs some serious CD horn EQ to flatten it out to 15-20 kHz and ideally some other tweaks to make it ~HIFI enough for today's ultra wide BW digital recordings.
GM
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