Above, EMI 319, awesome products of their day, build quality suggests impressive results if only the best matching equipment were known and disappointed many using inferior sources and cabinetry. >>92390GK EMI 350, the EMI 13 x 8 and other models weren't available to most buyers but hobbyists of the early 1970s obtained a few surplus examples from electronics magazines and component catalogs.
.jpg)
.jpg)
The
community using Bogen MO-100A with 20 watt EMI 350 were the
professional studio recording fraternity, EMI speakers elite, their use
by hobbyists somewhat novel, getting good sound with EMI 319 more
likely, the 350 has a heavier cone, a third overall weaker in magnetic flux density of the gap,
designed to have deeper extended bass sounds, more powerful, demanding
too much from domestic amplifiers, it's using professional equipment but
on appearances, EMI 350 were attractive to buyers who just didn't
realize they couldn't hope to use them to any successful degree, and
weren't liked compared to 15 watt EMI 319.
The British 13 x 8 below was carried by the HMV company since the early 1930s, a Lo-Fi Siemens speaker until 1960 unknown to the general public as owned only by the higher social classes. The original paper edge seen was superseded by Waldo
Semon's synthetic rubber - 'plasticized PVC' first used in Klangfilm theater speakers.
KMAL, Expert, Marsden Hall.
Above, the very rare 92390PE, only made available to the mass-market since 1964 and as 'P' professional cores. High gloss finish a curious feature of elite only items, estates with a manor house, typical owners of EMI speakers. Left, Adolf Hitler's type 1932 year Siemens 13 x 8 with stray electromagnetic field copper shielding, the original EMI 13 x 8 loudspeaker.
Semon's synthetic rubber - 'plasticized PVC' first used in Klangfilm theater speakers.
KMAL, Expert, Marsden Hall.
Above, the very rare 92390PE, only made available to the mass-market since 1964 and as 'P' professional cores. High gloss finish a curious feature of elite only items, estates with a manor house, typical owners of EMI speakers. Left, Adolf Hitler's type 1932 year Siemens 13 x 8 with stray electromagnetic field copper shielding, the original EMI 13 x 8 loudspeaker.
The EMI 13 x 8 was very popular with the British aristocracy who'd agreed with some of Hitler's views, although it's seldom discussed why they'd liked Hitler's EMI speaker so much as to keep making it as long as the Empire lasted and even passing it onto FANE in the mid-1960s and Helme Audio in the early 1970s. The Duke of Edinburgh and others had German Nazi era influences and the Siemens 13 x 8 was widely described among the elite as Adolf Hitler's speaker although history on the internet doesn't support this. The EMI 13 x 8 and other Siemens based speakers used war surplus steel basket stampings and remain very mysterious items indeed.
>>EMI 92390DE, 3-ohm, (150TC series)
.>>EMI 92390FY, Black Basket (DANGEROUS SPEAKER
450 series), note small magnet in a very efficient 4-layer motor with
copper drive, aluminum in the 1950s AlNiCo versions. Damping Factor 5,
suits Audio Innovations 700.
.jpg)
>>EMI 92390FL, 8-ohms. Note the x-over is of the 'Network-Free' type seen in the Oaktron CA-12 with only an electrolytic capacitor and no inductive coil. X-overs are somewhat complex, radio techs might deduce the exact reasons for their build but don't count on it. The 'capacitor only' gives a very natural sound, later adopted by Radio Shack for hobbyist networks.
(1).jpg)
...and 4T with four Schaub Lorenz LPH65 (30-18). Keesonic, Below, Hacker. Left and above EMI 9206.
Haut-parleur, Lautsprecher, Zvučnik, Reproduktor, 扩音器, Højttaleren, luidspreker altoparlante emi.
.bmp)
Głośnik, Kaiutin, 拡声器, altoparlante, μεγάφωνο, Hangszóró.
Left in the reel to reel player we had an example of the upper market in a global social system. A class war is a difficult idea for many viewers, rarely is a rainbow seen nor the social classes found to be separate. The boatyard made speaker right above belongs to social classes of the reel to reel buying level.
Left 1960 Glyndebourne gramophone available to the purple social class as made by Thorn Electrical, who'd bought over Beam Echo. Speakers resemble EMI Broadcast 45 to this day hidden. EMI 350 high end folded horn cabinet, the model. Prototype. 92390PB has a white LSH85 electrostatic tweeter, 3.5-inch dia, later 3.125 ins, and no grey or white grille.
Left, a 1960s Sugden console, lower-middle-class and the brand Yorkshire based, used with FANE 13 x 8 for Pure 'Class A' and Damping Factor 16 at 10 watts, later with now extinct Helme Audio kits which had a Bextrene 13 x 8 cone few have seen, there being three versions. Below a nearly extinct Benford Horn based on the 'black basket' EMI 350.
Marconi-EMI Model 907 from the year 1938.
Anthony Eden
Right, upper-class early B&W DM.1, later the DM.100
Above 'Humph' born at Eton College, his father, George William Lyttelton a housemaster.[1]
Above 'Humph' born at Eton College, his father, George William Lyttelton a housemaster.[1]
Monitor Audio MA3 Mk.II
Above the Radford, STA-7 had a tube rectifier and suits the B&W DM.1 right above. Zmags Opera.
Milken Archive.
Left, the EMI 300T is a posh or 'traditional' version of the contemporary 300C and very similar on the inside with gloss black chains holding the batting in place, and rolled into a large mass. The cabinet is braced and delivers an unmatched 10Hz-20KHz for tube rectifier amplifiers like the Marantz Model 8B, and slightly less powerful 1950s Model 8 for warmer AlNiCo, the 8B for colder ceramic magnet sound. The need to hook speakers to the right tone of amplifier still holds in modern Audio systems.
EMI 300T, a pair at £1800. DLS 529 £580- £2200 a pair.
Apes Hill Club
<<1950s 9206 (British bespoke market equivalent of
DLS529 above not available to the ordinary chap). 92390V Plessey cube magnet 13 x 8 and open back 98890 tweeters have a compressed paper enclosure. Alnico woofers work with harman/kardon A 402 (on account of its being made for the JBL Century L100) so 1960s Marantz Model 8B and not 50s alnico speaker Model 8, 2 or 5.
EMI 300T, a pair at £1800. DLS 529 £580- £2200 a pair.
Apes Hill Club
<<1950s 9206 (British bespoke market equivalent of
DLS529 above not available to the ordinary chap). 92390V Plessey cube magnet 13 x 8 and open back 98890 tweeters have a compressed paper enclosure. Alnico woofers work with harman/kardon A 402 (on account of its being made for the JBL Century L100) so 1960s Marantz Model 8B and not 50s alnico speaker Model 8, 2 or 5.
>>EMI 9206 with grille removed, note baffle thickness for low frequency accuracy. Below a 1970s SONY TA-2650 43 watt per channel system upmarket of the 22 watt per channel ζ40 TA-1630 but with a ζ25 D.F. so better suited to Hi-Fi EMI speakers. 1630, 2650 and 3650 weren't V-FET, their Bipolar sound thought just as good by dealer opinion and downmarket of expensive V-FET amplifiers of which there are many, a Solid State simulated 'tube sound', and not unique in that respect, QUAD 303 and others aimed at such but after 1980 year the industry turned away from tubes, and the ζ factor matters if using 1960s vintage Hi-Fi or Lo-Fi speakers..jpg)
<<British Empire B.R.C. (British Radio Corporation) Ferguson (Thorn) SYSTEM 25 replies to SONY TA-2650 above, dated spare parts for an awesome simulated tube sound, 1960s Bipolar output devices, surprising internal build, almost Soviet, separate power and controller amplifier once aimed at a wooden radiogram crammed instead into a rack system, 3D sound from Goodmans XB25 speaker parts in a long baffle, astonished owners would never sell. 
Above EMI/HMV 556 control amplifiers for an EMI 600>> that with ζ30 dictates the maximum ζ with 1970s receivers for Hi-Fi EMI speakers, the 1984 year, Musical Fidelity A1 with ζ17 is an attractive 1980s option, ζ50 suits faster compliance speaker cones..png)
...like the EMI 550, pleated edge, and alloy portion.
Left BBC style self-damping box, boatyard, etc built hardboard on
plywood cabinet. EMI advertised in America as the 'Rolls Royce' of the
audio world, HMV in the 1950s was British elite and nothing is known of such items outside the aristocracy.
.jpg)
Right, a B&N brand small bookshelf speaker from the late 1960s comprises an EMI 14A/1000 mid/woofer and an Al-Ni-Co tweeter aimed at old fashioned 1950s tube amplifiers but B&N suits the early germanium transistor QUAD 303 up to Serial Nos 11500. The later 303 has a simulated germanium sound but as silicon based may be good enough for vintage Hi-Fi buffs. The Walker QUAD 303 had been the most awesome amplifier ever tested in a New York service center but was degraded in 1977 to favor QUAD 405 sales for the company buyout upon the founder's retirement.
Right, the HMV Stereo speakers from the electrostatic tweeter
system below have a curious construction as if containing electronics to drive
the field coil EMI 13 x 8 speakers, possibly early active speakers with an amplifier but from aristocratic living rooms and you know, a mystery to many enthusiasts.
Right, a curved electrostatic tweeter had been available to the British elite and the color seems to match an Acoustical version offered as a horn on a QUAD speaker aimed at the British...
...nobility. HMV had the nobility's patronage and Peter J. Walker had been making inroads before he settled in the lower-middle-class market.
Audio Services Dyna-Static, 30Hz-20KHz using curved foil Shackman electrostatic. Mess visit. Jutland video. HMS HAMPSHIRE.
.png)
Left, Siemens 'Dimple Top' differ from the older flat tops found in the 1957 DECCA Decola Aristocrat. The later envelope is an East German RFT with a large Getter ring.
EMI 901 right according to BBC texts were developed to become a new studio monitor in the year 1964 but are never seen in any publications thereafter. A mystery that carried on in various versions and isn't discussed.
Left, Carad Belgium. Below,
Jchefss rebuilt EMI STD.373.
When the 711 below right ran out of 10 x 6 squawkers, the Dutton 102 above 20 watts, 150,000...
...Maxwells ceramic magnet core is in some DLS 529X above. EMI 750 a revised 711 has a weaker magnet only 100,000 Maxwells for Solid State power. Left below a European HMV 711 likely from before the American Scope Dangerous Speakers.
Gulf Craft. DSS Ferretti Yachts
.jpg)
Below, RT-VC Viscount III Duo III speaker Class AB output stage with two stud diodes in the rectifier . .jpg)
<< 28"H. RT-VC Duo III, for the Viscount IV amplifier and based on EMI 711 below, with two tweeters for both the 20 watt Viscount IV and 30 watt kit version. Tweeters at the top are solid capacitor wired in Network-Free from ELAC of England specialist products, outsourced tweeter basket is likely of Hong-Kong origin. Squawker is carried in EMI 13 x 8's concentric mid-woofer alloy portion, a Merciless 750 Speaker, 92390GK8, 15 watt motor, brown paper voice coil former for fastest transient response. 711 use a separate squawker in a 3-way baffle as a marketing feature, 'old school' British Empire engineers at RT-VC, chose a long baffle not weakened by a squawker aperture so improving low frequency clarity, boasting 'Best Bass' in adverts.
.jpg)
Right plywood baffle of an EMI 711 showing the higher power tweeters. Left comical GLL Oxford, probably the last speaker's failure to bring the lower man to an inclusive musical experience. Thereafter the higher society largely lost interest and quite rightly so. 
Arthur E. Falkus was a Fane founding partner, Fane 13 x 8 and tweeter AF speakers right lost in the mists of time. Keletron KN800 and KN1100 have a Falkus 13 x 8. Left 'Monolithic' QUAD II. Stereo has two small QUAD II mains transformer versions power AM, FM tuners and 22 controllers set but are often overloaded.
.jpg)
In the 1970s EMI had Lockwood Audio sell several flat-pack cabinet kits, the L.E.4 right one of the ready-made examples. The sad thing about anything made for the lower man is the effect of price on some aspect of performance. Vintage audio mixed with modern equipment stems from an assumption that it's all alike and all sounds good to somebody.Sir Dhunjibhoy Bomanji
Sir Orme Garton Sargent
Sir David Ormsby-Gore
QUAD II is very popular today, particularly in Solid State rectifier versions. The 1982 year Concordant was by Doug Dunlop. The 1960s, elite only one left had been owned by horse racing people, its details published in the 1970 Hi-Fi News and Record Review magazine for fellow listeners of the EMI Merciless Speakers. The AcroSound made REALISTIC 210 below had a Solid State rectifier in 1962 and retains separate ECC82, unlike the Scottish Concordant modification that controversially used space compromised vacuum tube, ECC 83 to increase power to...
...22 watts, bettering the RCA Orthophonic. Increased power allows speakers to be further apart. QUAD II isn't much liked by the elite, using the LEAK TL12 instead but the 1950s QUAD II has a very low, 0.02% THD and was used first with Stentorian speakers when Harvard University Law graduate, 'Bud' Fried planned his I.M.F. Hi-Fi Company to import the first American, QUAD ESL57 electrostatic speakers in the 1960s. Right the stereo pair QUAD II differs from the mono sets as nearer tolerance of stereo speaker pairs sold at the time. QUAD electrostatic ESL57 gave within 40Hz-18KHz when sold in specially matched stereo amplifier/ speaker pairs, mono QUAD II reckoned too difficult to make a stereo pair from. 
Above, the rebuilt 22-watt Concordant QUAD II and left Goodmans Axiette it used as a ceramic magnet single-point source, the two brands often seen together in larger middle-class city houses. Affluent late 1960s Goodmans Mezzo speakers snapped on a unit where sound is reflected up from the flat surface beneath destroying sound quality, vibrations from the speakers reach the record player causing a howl but these very different days from the present when few people had stereo, never mind 'separates' like these, largely a time of Music Centres or mono radiogram equipment until the mid-1970s..jpg)
.jpg)
Left, use of Goodmans Mezzo with SONY TA-5650 V-FET, the Mezzo ferrous Low Frequency woofer motor is similar to SONY Carbocon SS-5050 woofers but the Mezzo x-over has none of the 5050's small iron core inductors. SONY SS-5050 sound balance has been likened to Billy Woodman's ATC speakers of Goodmans heritage.
Left what may have been a 'matched pair' of 92390EA cores, left and right stereo channels ideally have identical electronics, function, and form but even modern mass-market speakers and amplifiers vary in abilities. By playing one and then the other speaker on each stereo channel, often one appears better.
Left last Lo-Fi 13 x 8 sold in London, pricey elite buyers, below a Bentley 3.5 litre. Dragon Assoc.
Right, although the 14A/770C is excluded from the Merciless speaker advert, it's part of the mid-1960s 14A series, the 950 being the 14A/600. To say nothing is known of these would be untrue, they're 105, 205, and 215, early versions have a choke on the chassis leg and they were used with Radford STA-25 valve amplifiers below, an affordable upper-middle-class favorite.
EMI 215 right had appeared in 1967 and was the 14 x 9 version of the fiberglass mix cone 13 x 8 of B&W, Bowers & Wilkins of England, the 92390DJ of the DM.3. The 215 enclosure boasted of its ability to reproduce bass to 20Hz. Today not many speakers offer below
35Hz but in those far off days before sub-woofers, followers of Hi-Fi could pay high prices for amplifiers able to give 20Hz at low power and minimal distortion. Mostly lower frequencies are poor quality in affordable amplifiers and this made the 80Hz of the BBC LS3/5A attractive to buyers of the lower society. Another problem of superb speakers for low frequencies is the room acoustics and inputs to make the most of speakers like the EMI. The Radford STA-25 above is today very pricey and rare.
Right, although the 14A/770C is excluded from the Merciless speaker advert, it's part of the mid-1960s 14A series, the 950 being the 14A/600. To say nothing is known of these would be untrue, they're 105, 205, and 215, early versions have a choke on the chassis leg and they were used with Radford STA-25 valve amplifiers below, an affordable upper-middle-class favorite.
EMI 215 right had appeared in 1967 and was the 14 x 9 version of the fiberglass mix cone 13 x 8 of B&W, Bowers & Wilkins of England, the 92390DJ of the DM.3. The 215 enclosure boasted of its ability to reproduce bass to 20Hz. Today not many speakers offer below
35Hz but in those far off days before sub-woofers, followers of Hi-Fi could pay high prices for amplifiers able to give 20Hz at low power and minimal distortion. Mostly lower frequencies are poor quality in affordable amplifiers and this made the 80Hz of the BBC LS3/5A attractive to buyers of the lower society. Another problem of superb speakers for low frequencies is the room acoustics and inputs to make the most of speakers like the EMI. The Radford STA-25 above is today very pricey and rare.
... for a tube rectifier, later 650 for a Solid State rectifier, (red cap in choke). Lo-Fi means up to 13KHz for high-quality amplifiers of the 1940s. Left with a deep bass not mounted in gramophones, build quality tells much about capabilities, partnered with Single-Ended KT66 amplifiers below, that fetch £1000+ today at auctions as built to last a lifetime, elite vintage gets regularly refurbished. The Lo-Fi is a low Damping Factor amplifier needing the stiff pleated speaker surround. Whether 'Class A' or 'Class B', needs some trial and error.
Right BBC style self-damping speaker enclosure by 'Heathkit of England', part of the U.S. company - uses EMI 550 below and two cube form alnico 3.5-inch tweeters (like the DLS529) but with Single-Ended amplifiers like the 'Class A' Dynatron above, supplied to Buckingham Palace. Below an actual 550 as 92390CR, one of the rarest EMI 13 x 8 and only found in 4 or 5-ohm impedance. 574G valve. Right bass-reflex slit. 
Left and above, HARVERSONIC SUPER SOUND 10 + 10 Amplifier Kit with 5-ohm EMI 92390CR capability, mouse click images.
2N3614 PNP TO3 Germanium output 60V 15A 77W in the SUPERSOUND. Left, 92390CR, 5-ohm 550 13 x 8 and with no alloy center in a Lo-Fi version below still with 15-watt magnet, 10-watt coil and doped acoustic center for less pricey amplifiers and equipment. No choosing of straws for buyers of surplus 13 x 8 and vintage bargains.
Early EMI drivers from before the 1967 Merciless Speakers offer hope of something special but speakers like the cobbled-together Mordaunt Short MS-400 below are for lesser equipment. Just don't judge EMI from a mass-market perspective, they were for British elite buyers with deep pockets.
Right not on YouTube to date, five or more Mordaunt Short MS-400 appear, this the first issue 'brown baffle' with early 13 x 8 bass. Note the wonderful, Lockwood Audio black tinted baffle, washed from around the driver apertures to limit reflections. A cobbled-together resin board x-over isn't for elite EMI sound, only profit-led thinking, quickly getting rid of unsold drivers. IMF dropped the KEF T-15 aluminum dome tweeter seen in the rare split baffle STUDIO as the BBC found it colored and the later Rogers LS3/5A, with its KEF drive units isn't a genuine BBC monitor either but
a purple social class mass market speaker, good as working well with affordable amplifiers. The next MS-400 is the 'black baffle' left with a round 12 inch EMI bass unit. An enthusiast could rebuild the x-overs to a BBC reference using the Klipsch x-over as a model. People who restore, must not paint the baffle, just leave the finish. Very difficult to improve such a surface, intended to absorb sound reflections. Painting may well look and sell better but intended sound needs it left original. As to what amplifier best suits the KEF T-15, any purple mass-market Solid State amplifier that suits a Rogers LS3/5A is easy to find.
Right the record player part of the Concert Grand French Provincial console, American mass-market reply to the British elite's DECCA Decola Aristocrat. A 'Phantom' control electronically mimics the EMI speakers in the upmarket DECCA. The search tune sensitivity hails from days before PLL tuning but really caters to 'knob twiddlers'. Below Export American market EMI 556 Stereoscope Control Center, for 557 and 600 power amplifiers. Too many knobs and an oscilloscope, home constructors using instead magic-eye tubes. EMI speakers of today weren't available to the mass-market but only upper-class bespoke dealers.
British export EMI Stereoscope 555 right says 'Made in England' but from a Hungarian design of the 1959 year, perhaps obscure Habsburg and Ottoman royal lineage in UK influences valued by an elite. The video set right offers +/-0.5dB, 30Hz-15KHz, 20 + 20 watts American (nearer 10 watts British power). Below chrome trim and black trim above are seen with many EMI and HMV detail differences.
2N3614 PNP TO3 Germanium output 60V 15A 77W in the SUPERSOUND. Left, 92390CR, 5-ohm 550 13 x 8 and with no alloy center in a Lo-Fi version below still with 15-watt magnet, 10-watt coil and doped acoustic center for less pricey amplifiers and equipment. No choosing of straws for buyers of surplus 13 x 8 and vintage bargains.
Early EMI drivers from before the 1967 Merciless Speakers offer hope of something special but speakers like the cobbled-together Mordaunt Short MS-400 below are for lesser equipment. Just don't judge EMI from a mass-market perspective, they were for British elite buyers with deep pockets.
a purple social class mass market speaker, good as working well with affordable amplifiers. The next MS-400 is the 'black baffle' left with a round 12 inch EMI bass unit. An enthusiast could rebuild the x-overs to a BBC reference using the Klipsch x-over as a model. People who restore, must not paint the baffle, just leave the finish. Very difficult to improve such a surface, intended to absorb sound reflections. Painting may well look and sell better but intended sound needs it left original. As to what amplifier best suits the KEF T-15, any purple mass-market Solid State amplifier that suits a Rogers LS3/5A is easy to find.
British export EMI Stereoscope 555 right says 'Made in England' but from a Hungarian design of the 1959 year, perhaps obscure Habsburg and Ottoman royal lineage in UK influences valued by an elite. The video set right offers +/-0.5dB, 30Hz-15KHz, 20 + 20 watts American (nearer 10 watts British power). Below chrome trim and black trim above are seen with many EMI and HMV detail differences.
Of this color the ace of clubs announces great spiritual satisfaction and a period of prosperity, a very good omen in every sphere of life bringing down negative power of the spades. Hidden meanings were a particularly British elite thing not liked by others. EMI 'Club' 16 x 11 loudspeakers were probably named after the playing card, a cryptic Kubrick film below attempts to explain elite secrecy. EMI equipment itself secret only emerged in the days of internet auction sites.
Left an elite magnetic badge from the steel basket weave 'Dangerous Speakers' of the early 1960s, often missing in auctions. Some of the steel grilles are copper color or gold. The red felt edge and grille cloth show remarkable workmanship for superior buyers.
Marantz, McIntosh, H.S. MARTIN 352A, MC GOHAN, MG-25B, WA-312. MCS, National Horizon 20, 20A,
Above photo credit B5234t, Left a Chinese cabinet mounted stereo in a posh townhouse with tall narrow EMI speakers ahead of their time as today the favored modern design. Western Electric, Altec Lansing, AudioVision SF, Ampex, ELAC Audio, Dynaudio, YG Acoustics, Bel Canto Black Pear Audio, Nordost, Fairchild, GOODELL (St Paul MA) ATB-3, NSA-20, Eico, EMI, Heathkit, Leak, Brook, Quad, VOM, Radio Craftsmen, Acrosound, Interelectronics, RCA, Sota, Audio Research, AMC, H.H. Scott, E.H. Scott Radio, Fisher, Harman Kardon, Pilot, GENERAL ELECTRIC AS4A, Grommes 100BA, 215BA, 216BA, 50PG, 51PG, 50PG2, 55C, 55PG, 60PG, LJ-2, Dynaco, Maas-Rowe, Daven, Bogen Presto, Thorens, Telefunken, Yamaha, Shure, Univox, Gretsch, Fender, Allen, AKG, Crown, B&O, Sherwood, Nakamichi, Tascam, Edison, Denon, Contex, Kenwood, Luxman, Counterpoint, Allen, Viking, Gray Research, Empire, Dual, Rek-O-Kut, Mitsubishi, United States Audio, Grado, ESL, Ortophon, Uher, KLH Model 16, Krell.
Berlant, Concord, Conrad-Johnson, Teac, Sony, Pioneer, Tandberg, Electro-Voice, Revox, DBX, Sansui, Spiral Groove, Onkyo, JVC, Panasonic, Howell FilmOSound, Univox, Webster, Hammond, Garrard, Hammarlund, Collins, Hallicrafters, Drake, Conley, Lincoln, Meisner,
Speakers
(cores cabinets and horns) Wilson Audio, Jensen, JBL, Altec Lansing,
Western Electric, Stephens Trusonic, Tannoy, Electro-Voice, University,
RCA, General Electric, Ampex, Acoustic Research AR, Heathkit, Klipsch,
Telefunken, McIntosh, ADS, B&W, Alon, Mission, Quad, Decca, Dukane,
Dukane & EV Ionovac, Rola (Celestion), Magnavox, Eminence, C.T.S.,
Utah, Quam, Pioneer, Sansui, Bose, Allied, Knight, Infinity, Advent,
Hammond, Leslie, Vox, Fender, Allen, Fisher, Nabarro, NAB 2 (Tory MP)>>>
EMI 92390 13 x 8 suit low powers and differing Damping Factor amplifiers. The 319 sounds good with 1970s vintage but the 450 needs 1960s. 1990s amplifiers of Damping Factor 60 are for polypropylene cones and won't give the best results with 319 or 350.
Above photo credit B5234t, Left a Chinese cabinet mounted stereo in a posh townhouse with tall narrow EMI speakers ahead of their time as today the favored modern design. Western Electric, Altec Lansing, AudioVision SF, Ampex, ELAC Audio, Dynaudio, YG Acoustics, Bel Canto Black Pear Audio, Nordost, Fairchild, GOODELL (St Paul MA) ATB-3, NSA-20, Eico, EMI, Heathkit, Leak, Brook, Quad, VOM, Radio Craftsmen, Acrosound, Interelectronics, RCA, Sota, Audio Research, AMC, H.H. Scott, E.H. Scott Radio, Fisher, Harman Kardon, Pilot, GENERAL ELECTRIC AS4A, Grommes 100BA, 215BA, 216BA, 50PG, 51PG, 50PG2, 55C, 55PG, 60PG, LJ-2, Dynaco, Maas-Rowe, Daven, Bogen Presto, Thorens, Telefunken, Yamaha, Shure, Univox, Gretsch, Fender, Allen, AKG, Crown, B&O, Sherwood, Nakamichi, Tascam, Edison, Denon, Contex, Kenwood, Luxman, Counterpoint, Allen, Viking, Gray Research, Empire, Dual, Rek-O-Kut, Mitsubishi, United States Audio, Grado, ESL, Ortophon, Uher, KLH Model 16, Krell.
Berlant, Concord, Conrad-Johnson, Teac, Sony, Pioneer, Tandberg, Electro-Voice, Revox, DBX, Sansui, Spiral Groove, Onkyo, JVC, Panasonic, Howell FilmOSound, Univox, Webster, Hammond, Garrard, Hammarlund, Collins, Hallicrafters, Drake, Conley, Lincoln, Meisner, 
Speakers
(cores cabinets and horns) Wilson Audio, Jensen, JBL, Altec Lansing,
Western Electric, Stephens Trusonic, Tannoy, Electro-Voice, University,
RCA, General Electric, Ampex, Acoustic Research AR, Heathkit, Klipsch,
Telefunken, McIntosh, ADS, B&W, Alon, Mission, Quad, Decca, Dukane,
Dukane & EV Ionovac, Rola (Celestion), Magnavox, Eminence, C.T.S.,
Utah, Quam, Pioneer, Sansui, Bose, Allied, Knight, Infinity, Advent,
Hammond, Leslie, Vox, Fender, Allen, Fisher, Nabarro, NAB 2 (Tory MP)>>>EMI 92390 13 x 8 suit low powers and differing Damping Factor amplifiers. The 319 sounds good with 1970s vintage but the 450 needs 1960s. 1990s amplifiers of Damping Factor 60 are for polypropylene cones and won't give the best results with 319 or 350.
Left, a ported-reflex Carad speaker from Belgium with DECCA Kelly Ribbon Horn, very early 1960s with Lockwood style cabinet. Flared aperture cutout is copied to Revox and the 1978 Technics SB-X5. Carad were elite Audio amplifiers, first tubes later Solid State, little known by the mass-market. Belgium was imperialist, occupied by Germany in 1940 and had strong interest in EMI speakers after WWII, Siemens, made the early EMI 13 x 8, the factory had a long influence in the country. Adolf Hitler was widely believed to own a Siemens 13 x 8 that's hard to support today with internet pictures but they remain the most mysterious looking in the Hi-Fi world, a British swastika of Rudyard Kipling also strange.
.jpg){kind=link}
.jpg){kind=link}
.png){kind=link}
.jpg){kind=link}
.jpg){kind=link}
.jpg){kind=link}
.jpg){kind=link}
.png){kind=link}
.jpg){kind=link}
.png){kind=link}
.jpg){kind=link}
