KLH 5
Still have my pair of KLH 5's. My first real hi-fi speaker. Cabinets are messed up, so I'm rebuilding them. I always thought the extreme hi end lacking, so I added an Infinity emit with a very small cap. Chiseled a place for it into the baffle next to the KLH 5 tweeter and mirror imaged them. My only complaint was imaging with the two midrange right next to one another. The plan for re-build is line up everything vertically in a new cabinet.
Still have my pair of KLH 5's. My first real hi-fi speaker. Cabinets are messed up, so I'm rebuilding them. I always thought the extreme hi end lacking, so I added an Infinity emit with a very small cap. Chiseled a place for it into the baffle next to the KLH 5 tweeter and mirror imaged them. My only complaint was imaging with the two midrange right next to one another. The plan for re-build is line up everything vertically in a new cabinet.
Quad ESL57's, stacked or singles. First heard them at Radio People in Hong Kong in 1962, and the stacked versions are usually mo' bettah, although a little blurrier with more noticeable venetian-blind imaging artifacts.
A quartet of custom-spec Spendors heard at the BBC Research Lab in 1975, with a Studer professional tape deck playing a first-generation quadraphonic master of Last Night at the Proms, featuring Beethoven's 9th Symphony.
Christian Rintelen's "Blue Thunders", the fabulous EMT phonograph, and Christian as host and DJ for a unforgettable evening in Zurich. The Blue Thunder experience and some slightly modified Altec A5's with the 515 Alnico bass driver, 1505 horns and 288 compression drivers were the inspiration for the project I'm working on.
A quartet of custom-spec Spendors heard at the BBC Research Lab in 1975, with a Studer professional tape deck playing a first-generation quadraphonic master of Last Night at the Proms, featuring Beethoven's 9th Symphony.
Christian Rintelen's "Blue Thunders", the fabulous EMT phonograph, and Christian as host and DJ for a unforgettable evening in Zurich. The Blue Thunder experience and some slightly modified Altec A5's with the 515 Alnico bass driver, 1505 horns and 288 compression drivers were the inspiration for the project I'm working on.
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Wharfedale Super 10 RSDD. My dad had a pair of these in vented boxes driven by a B & O Beocord 2000 tape deck amplifier and a Dual turntable in 1966. I was nine at the time. It was top of the line in those days and was definitely the best system on the block. It had a gut wrenching 8w per channel but went pretty loud as I remember. Very efficient speakers. I was forbidden to use it but dad wasn't always home. The temptation was too great. The trick was to leave it exactly as it was before ie all faders and switches in exactly the same position cause he would know! I remember some years later that Dark Side sounded pretty good, especially with mates around to impress.
Just a quick question that others may know. The RSDD allegedly stood for "Roll Screen, Double Diaphragm" Did they really have a separate voice coil for the tweeter or was it just a whizzer cone?
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I also would say, as someone else here, that the Roger's Export is also a great speaker which I preferred to the BC1.
But the model that came before, which morphed into the Export later is something even more special in the sweeter, musical sense, Rogers BBC Studio Monitor. It sadly was uneconomical to produce the bass/mids due to unreliability of the manufacturing process, was replaced by a Dalesford unit after a management takeover (which saved the company) before Rogers developed another driver and called it the Export.
Hard to find them these days with the original drivers as when they went bad, they were replaced with Dalesfords, some as a precaution I'd guess, an 'upgrade'.
http://www.markhennessy.co.uk/rogers/others.htm
But the model that came before, which morphed into the Export later is something even more special in the sweeter, musical sense, Rogers BBC Studio Monitor. It sadly was uneconomical to produce the bass/mids due to unreliability of the manufacturing process, was replaced by a Dalesford unit after a management takeover (which saved the company) before Rogers developed another driver and called it the Export.
Hard to find them these days with the original drivers as when they went bad, they were replaced with Dalesfords, some as a precaution I'd guess, an 'upgrade'.
http://www.markhennessy.co.uk/rogers/others.htm
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Grundig Audiorama 700
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Of the ones currently in Cal's stable:
I would put the Altec A7's ahead of the 19's ahead of the 1233's. The A7's are big and bold and there's just something about what that box does to a woofer. It does everything wrong but sounds so good. The 19's have nicer tonal quality and really are meant for home use. The 1233 is an industrial unit and sounds it.
I'd put the Large Advents ahead of the Dynaco A25's. The bass of the Advents is so nice and there's only one fried egg tweeter in the world.
Are Missions vintage yet? (20+ years) If so, I put the 760i ahead of the larger 762i.
I would put the Altec A7's ahead of the 19's ahead of the 1233's. The A7's are big and bold and there's just something about what that box does to a woofer. It does everything wrong but sounds so good. The 19's have nicer tonal quality and really are meant for home use. The 1233 is an industrial unit and sounds it.
I'd put the Large Advents ahead of the Dynaco A25's. The bass of the Advents is so nice and there's only one fried egg tweeter in the world.
Are Missions vintage yet? (20+ years) If so, I put the 760i ahead of the larger 762i.
Another which comes to mind as a great speaker - relatively transparent, fast, punchy - was the Mordant Short 442:
Interesting design - the stand goes through the middle and holds the drivers via metal baffles bolted to the centre column whilst the case itself is isolated, floats on the stand (via neoprene like stuff). Downwardly ported between the stand columns, mid and bass fire in opposite directions to cancel movement.
Still, is mid-80s vintage? or is it classic? Vintage for me I guess is 60s and before but that's being pedantic on my part.
Interesting design - the stand goes through the middle and holds the drivers via metal baffles bolted to the centre column whilst the case itself is isolated, floats on the stand (via neoprene like stuff). Downwardly ported between the stand columns, mid and bass fire in opposite directions to cancel movement.
Still, is mid-80s vintage? or is it classic? Vintage for me I guess is 60s and before but that's being pedantic on my part.
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