Above the original Abbey Road Studio Monitors

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Left, EMI DLS 529, 1960 year.  Below left REDD.36 Studio Monitor, Peter Dix, 1957.  EMI 13 x 8 and GEC tweeters.  STD 373 gold amplifier, EL34.  West Solent class of Sir Francis Dent, 1920 manager of South Eastern & Chatham Railway.

 

 

 

 Above, 1963 year EMI 92390PB professional broadcast studio monitors. Below an elite EMI 13 x 8 is found in the DECCA Stereo Decola with Al-Ni-Co motor Celestion tweeters that were EMI in the older (1957-63) Aristocrat radiogram console.
The Leys School. 

EMI 105, cloth edge 14A, 14 x 9.


Clare College Cambridge.

Norman speaker, connected with Barony of Dutton, 1066 year - strange elite speakers.

T.C. Smout's books.

From the elite B&W P2 and Fane IonoFane plasma tweeter designed to better the lower-middle-class QUAD ESL57, electrostatic speaker.

EMI 901, broadcast monitor from 1964 BBC, ruler-flat frequency response between 100-15KHz and 15-20KHz Frequency Response.

Early Spendor BC1 with EMI round woofer.

Left EMI 92390FT PVC edge in an elite attic stash of treasured artifacts.













Right Mordaunt Short MS077 bookshelf with AlNiCo Goodmans 'green cone' tweeter, early EMI squawker, Goodmans woofer and point to point crossover.

BBC KMAL LS1/8 (passive) and (active) right with EMI woofer.  The Wharfedale Chevin type woofer is seen in both LS1/8 and the LS1/9 that has different paper edge tweeters.  The Chevin unit may be a replacement fitted in later years.





Left a unique picture of the first Monitor Audio MA3 with original 14A/770NXP, also in a bare metalcore.  The 1973 year Series II had a reintroduced 14 x 9...









...cast at Kent Engineering & Foundry (KEF) visibly with flash metal.  KEF squawker.

The Lost At Iolaire by V.R. Dr. Angus Morrison.

Broadcast core 92390PB.

French polished loudspeaker project.  The Realistic core in the link was made by the German Isophon in 1972 as part of the PSL series, the magnets had a wide Frequency Response but low output near 88dB.w.m. and may not be alnico V.
P.E. Isophon. 


More DECCA Decola Aristocrat.





  

EMI 92390BN, metal portion 40-13KHz top twin tweeter, 10w.














EMI 319A right.

Below, elite only 1967 year QUAD II Concordant, the EMI 630 for a tube rectifier and 650 for a Solid State rectifier.  Right, 1971 year QUAD II Concordant eliminates the grey capacitor can and in the space it leaves, groups the superb sound quality stud diodes with a charging cycle resistor and residual noise capacitor.

EMI 630, 5 watt.




EMI 650, 8 watt.

Turkish tea

Turkish tea 2

Marmalade













1967 OMAR SULTAN for the very first germanium transistor Leak Stereo 30.

1964 EMI EL 301



Benjamin EMI 529A









IMF Compact Mk.1 with fiberglass doped paper Peerless-1120 woofer, paper EMI squawker and tweeter.











Benjamin EMI 921 with 92390CL meant for folded horn use.





Scope EMI 812



SONY 1000

1968 EMI
E.L. 301.  EMI had named later models after earlier ones, making for some confusion today with vintage collectors.

Quadruple cone EMI 10 x 6, based on Baker's Selhurst.  Speech dome is seen on 92390HU-8 right below.








EMI 92390EH single layer cone with a stiffer smooth center.








EMI 92390CM, expensive laminated paper & alloy cone that optimized reproduced sound tones.

 92390HU-8, 13 x 8, 150 series.

Ear-splitting loud sound from EMI 150 is available but many fail to obtain it, even with valve amplifiers.  Perhaps the input quality and compatibility are off, vintage inputs benefit from tech matching to equipment, for voltage and resistance, some inputs unsuitable.

92390B.8.X. 10w, 20Hz-20KHz, angled tweeter, 3, 8 and 15 ohms, know-how taken up by



Leak Mini Sandwich and Bose in the 301, off-axis driver sound and using reflectors.  Elite only wasn't known by the general public, 15w type ceramic magnet.




1940s HMV (Plessey details) 31806 series basket but with a 1-inch voice coil of 15-watt power!  Below the 1942 year RCA amplifier.





















Elite only EMI LE.7, reworked with EMI 105 and network-free Celestion HF1300 as a 2-way.

Using the least power, not the widest Frequency Response, EMI 150 aimed at Single-Ended KT66, often used with push-pull ECL86, a poor man's equivalent.

 1950s HMV 46600 basket with filled and ground magnet holes, using every 31806 steel stamping.

The 1950s, not a true 92390 basket, a new 46600 steel stamping with no filled and ground magnet holes.


EMI DLS629
Using surplus 20 watt 711, the 629 aims at the 1967 year U.S. market Crown DC300 and usurps Acoustic Research AR2.  Good as AR2 is, EMI DLS629 is best.











Capitol EMI 13 x 8 for a unique and sophisticated valve amplifier.

#1

#2

Capitol EMI 10 x 6 for unusually complex 1950s amplifiers.






EMI 93870X with aluminum braid and voice coil wire making them very loud or efficient and large alnico makes excellent deep notes.

Benjamin EMI 62, ceramic version of 10 x 6 left above.  3D sound but only medium sensitivity near 87dB, 1w, 0.5 meters, for powerful Single-Ended.

 Norman speaker 10 x 6 with choke but unlike the Model 62 has a small efficient 10-watt ceramic magnet.

Above Marconi-EMI Standard Broadcast 45 core with small Norman Speaker magnet for Leak Stereo 20, slightly lackluster on YouTube because mid-1970s Tannoy speakers have much bigger, more powerful magnets for Solid State amplifiers and they need more power at low frequencies than the Stereo 20 has.  Using the Leak TL12 left sounds little better than the Stereo 20 above, even though it has far more deep note current, the far eastern loudspeaker isn't a 13 x 8 for big bass sound at low volume with feeble tube amplifiers.  92390PB was fitted in a very heavy folded horn cabinet, 15 watt version below was elite only, most people don't know such speakers exist.

Detail wiring on the EMI coaxial was done by Plessey from details in their speaker right that were so expensive, no reader would believe the price.  Plessey has made the elliptical unit in the KEF K1 Monitor
used by the BBC.  An American New York company had made a 1960s ceramic magnet version of the Plessey broadcast coaxial, its company history began by distributing Siemens hearing aids in the 1920s (the first EMI speaker, a 1933 HMV made by Siemens).  The company became Sonotone Corporation headed formerly by Hugo Leiber, a German by birth (1868).  Various Sonotone models resembling the British Plessey model left are seen on the site by Roger Russell.

  Tubes were made too but not all were from the United States, none from favored Hi-Fi sources.  Plessey type chokes are seen when the unique EMI cloth ones disappear.  Milled surface magnet on the black basket left has the same origin as 15w BBC broadcast, 13 x 8 core above, likely a visual cue to the difference in strength.  Right 92390GK8 Merciless speaker for a VOX guitar combo has a smooth finish magnet of the later vintage, 15 watts 350 below right.

Right black baskets are replacements for the Dangerous speakers, whilst smooth magnets belong to the Merciless speakers.  Left in musical instrument speakers the core soon wears out and the black basket 92390CCZ is seen left.  The appearance of the Merciless magnets resembles the Celestion units.  The magnets are probably weaker,
needing more power from Solid State
amplifiers.  Right the original 92390CCZ has a magnet very similar to the 92390PB 10 watts, is 15 ohm and has a milled surface.  Below 1930s British HMV speaker (made in Germany) that later became the EMI 13 x 8.  It was moving coil, 10 ohms at 800 Hz, the 4-ohm tap needed the extra tone control stage wiring seen.
 

Right EMI 300 but not the downmarket EL301, elite only, mostly cores in boatyard crafted cabinets.

Left Hi-Fi Whizzer cone version of early 1960s broadcast monitor 13 x 8 has heavier, varnish doped alloy center and more powerful voice coil former.  QUAD II was the likely matching amplifier but roll edge suggests a higher Damping Factor model like the Rogers Cadet.  EMI 92390BN, alloy portion, twin tweeter with round EMI 8 inch found in Belgium and IMF Compact 2 speakers. 

  Nantucket trousers were originally made of red sailcloth.  


  Above EMI speakers that French ... ...Audax/ Polydax differ from, maybe British Fane made one for Audax.

Left below Dynatron LS1608 and 319 core from the year 1969 uses the all-silicon Dynatron SRX90 receiver, very similar build to later REALISTIC STA-2000, that's likely better as with fewer Integrated Circuits and makes an excellent sonic match with 319.  Discrete circuitry long the boast of harman/kardon keeps faith with valve-like sound, effects helped by the double chassis and wooden cheeks are seen below.










In the Bernie Appel REALISTIC STA-2000 right, superior FM tuner sound stems from harman/kardon hk 930 devices, 'simple circuitry' (valve theory based) tuner board with chassis mount clamped smoothing cans.  The mains transformer style offers superior vintage sound.  The 'hot rectifier' seen was later swapped for a cold type.  EMI 350 in Hacker L.S.1000 cabinet right has a ceramic magnet tweeter, the 2.5-inch alnico seen lowest disconnected.














1960s Solid State British amplifier for a 350 right, here the Bryan 9000, differs from modern mass-market sets in its hand-wound mains transformer.  Below Australian EMI speakers using the Norman speaker a 10 x 6 with a small ferrite ceramic magnet and cloth edge like the first mid-1960s 14 x 9, the EMI 105.  The amplifier used was a Sansui AU-222, Damping Factor 20 for the cloth edge.  Simulated Tube sound with a strong 3D image and claimed 18 watts of power.













18 watts of power with the small ferrite ceramic magnet left.

Sansui AU-999 has 100dB S/N Ratio but only 0.4% T.H.D, a wide-band amplifier.

Left and below the PYE 5/8 a wide-band amplifier of the year 1958 with Output Transformer (at the bottom of the amplifier) unusually larger than the Mains Transformer, top right.  The Output Tube pair is EL90, a large Beam tube in a miniature glass envelope.  Like EL37 better known in the USA, EL90 runs hot and the failure rate of tubes is high, 5/8 is rare today for that reason.  New Zealand had a PYE factory and the 5/8 was known to Australia's elite.  This makes a likely match with EMI Norman.  Miniature tubes like EL84 had...


...appeared around the year 1955 with the even smaller, car radio EL95 valve.  The Sansui AU 222 is a rare 1969 Solid State stereo amplifier that replaced the Encel X1212 made by Sansui and designed by Philips of Holland in Europe.  The owner would later get a Sansui as Australia got closer to Japan after Britain joined the European Union in 1968.  (It's since been excluded, never recovering from losing the Empire).  For collectors EMI Norman is known to be a good match with the Sansui AU-222 but as a small amplifier has a simulated tube, low power sound. Large diameter loudspeakers are louder but the ten by six-inch elliptical has better dispersion.

Left Fisher 100 were used with EMI 13 x 8 but there are so many versions that it's unlikely EMI speakers were made as claimed in the Hayes Factory's third floor of the vinyl record pressing plant.  Fisher was then American owned and later bought out by OTTO-SANYO, near 1971 so that when many Americans talk about Fisher back in the day, they mean Sanyo made items, using US know-how.

Right, Sansui Q50 is the Japanese 1950s equivalent to the US-made Fisher 100.  The Sansui has cheaper transformers not housed in a tropicalized, potted can.  Nobody has much to say about Q50, its styling was adopted by Peter J. Walker for the QUAD 50, then the QUAD 303 but on the sound, it's not discussed.

 

 

 Above unique photo square baffle EMI 14A/1720, late 1960s, 300 model below, tweeters and squawkers not original attempt to prolong the EMI sound.

 

 

 

 

 

 

 

Left, Fane of the B&W P2 had taken overproduction of the BBC 13 x 8 in the late 1960s when high-end speakers had anisotropic motors and P2 beat the QUAD ESL57.  EMI speaker production facilities appear to have been lost with the 1966 year merger of a German company making them since the 1930s.  Below a rarely-seen BBC Fane tweeter also comes in a yellow-grey cone.

Right, the Fane tweeter for their BBC 13 x 8 is certainly one of the world's rarest, which was seen in an American Heathkit brochure only to be replaced in the production model with Goodman's tweeter.  It suggests the tweeter was only briefly made or limited stocks earmarked for the BBC in England that continued to have Fane 13 x 8 up until the 1980s.  It also raises questions over the mass-market speakers like the LS5/9 apparently used in BBC studios.  The Rogers LS3/5A was never a BBC monitor but some say otherwise.

Left, EMI speakers today in Japan have a cult following that believes them 'the perfect speaker', if the right matching amplifier can be found.  Here an EMI squawker is set up above a 'Class A' 13 x 8 mid woofer.  It might be pointed out that EMI equipment is much more difficult to get great sound from than the mass-market JBL Century or SONY SS-G series speakers, hard as they are.  Tubes were very difficult before computer-aided designs and had to work with a +/- 20% tolerance in components that even then often had to be tinkered with.  Vintage tube equipment can only really be serviced by experienced technicians and the Al-Ni-Co speakers had Single-Ended and Push-Pull types to beware of.

 

Right the French Empire's Audax 13 x 8 inch used with Merlaud amplifiers like the STT 1515 above and below that appears to be an OCL type like modern amplifiers better with speakers after the year 1976.  Very small voice coil former tubes, the French market less interested in electronics inside vintage Audio equipment, double mono construction of the RT-VC Viscount from which pots are wired to circuit boards but the rectifier diodes are riveted to the chassis.

 

Left, A80 and T80 from the Sansui SUPERCOMPO range of 1981 had followed the SONY TA-515 styling lead below and after slight circuit tweaks sounded like more expensive catalog items but suffered from lower power as with the 1978 year SONY TA-212. 

 Right SONY of the middle-class from 1978 year, always the most unreliable of all Japanese brands and most highly valued on sound quality.  Rebuilding such sets is attempted, particularly the upmarket V-FET and cutting-edge items, the design is good but the main semiconductors are not only poorly made but chips and cassette solenoids suffer from a deliberate built in obsolescence.

 

 

Left the SONY TA-212, a bottom of the range 1978 year amplifier styled upon the TA-313 and 515 above of the upmarket SS-G1 and SS-G5 speakers of the professional social classes.

The SONY TA-212 speakers are SONY SS-370 BL similar to SS-420 right but instead of 6.5 inch has two 8 inch, one driven, the passive radiator a paper speaker cone stapled to the baffle with a bottom note of 80Hz and a 2 inch tweeter using 12 watts per channel into 8Ω (stereo), F.R.: 20Hz to 20kHz, T.H.D. 3% and Damping Factor 20, speaker load impedance 8Ω to 16Ω.  TA-212 would suit Al-NiCo motor 8 or 15 ohm 2-way, EMI 13 x 8.  Right, the STR-212 receiver version of the TA-212 amplifier heat-sink...

  ...and iron are very small as were most Solid State Al-Ni-Co motor amplifier output stages.  The TA-313 and TA-515 share the same ceramic loudspeaker motor heat-sink output style but the woofer later a ferrous motor too, had been Al-Ni-Co as to be like the JBL Century L100 of 1974.

Left, early Al-Ni-Co woofer version of the SS-G5 for Damping Factor 30, TA-515 was later changed to the colder-toned ceramic woofer for the TA-636, Damping Factor 40 and many hook vintage speakers to other amplifiers that simply sound better.  Changes from Al-Ni-Co to Ceramic in late 1970s Japanese speakers appears to have been a know-how thing, no real sonic advantage in Al-Ni-Co if the wrong amplifier is hooked up, people have to try a few amplifiers for the best resulting tone.  Often it won't be easy to find your favorite but amplifiers for an Al-Ni-Co motor woofer with ceramic squawker and tweeter won't give best with a ceramic motor woofer.
 

Right, amateur mistakes in refurbishing 1970s vintage amplifiers, a 50 volt electrolytic in early circuit stages spoils the quality of reproduction.  Such attempts help tinkers get things working and are reliable in the short term but the best restoration is prohibitively expensive and very difficult even for experts.  Similar replacements in 1950s or 1960s tube equipment should be avoided.  Retired 1960s working television engineers are recommended for your vintage tube servicing but today many service techs will lack the necessary skills.

Right, in the United States SONY SS-37 with P.B.R. basket is later marketed as A.V. SS-330 both for a more powerful, 20 watt TA-212A amplifier, tone-polished for these ferrous magnet speakers with 3 watts minimum driving power but the European, Al-Ni-Co SS-370BL needs the TA-212 that SONY used with Al-Ni-Co SEAS blackcones and Al-Ni-Co motor SONY tweeters, Amazon sell tunable passive bass radiators rather than resort to a port tube.  The SS-330 adds a metal shield around the ceramic motor tweeter, cores mounted through the front for wide dispersion.  The Soviet Radiotehnika 'Live Box' S-30B Al-Ni-Co motor speaker is narrow beam dispersion.  SONY TA-1630 below was a wide-band: 20Hz-100KHz with Damping Factor of 40 (for EMI 300 speakers).

 

 

Below, the original Teledyne AR-8

Right, Harvey Mayer AT-30 came from a small workshop in Surrey Hills Victoria, Australia, sporting the same wide-band, 20Hz-100KHz F.R. as SONY TA-1630, both using locally built Interdyn brand, SEAS-cored speakers with surplus Al-Ni-Co motor blackcones. 

Left, Australian loudspeaker uses Seas drivers and a dead baffle that can be converted to a Live one using the photo below.  These Seas AlNiCo motor speakers suit certain types of amplifier and are best hooked to SONY amplifiers of the mid-1970s.  They're not going to work well with modern amplifiers so to avoid disappointment, best use older amplifiers, a 2-stage, early or mid-1970s.  They might better suit amplifiers with Output Transformers or hybrid silicon germanium pairs, decoupled with a capacitor.  The 3-stage silicon amplifier of the 1980s uses different speakers.

Right, in converting Australian Interdyn and Encel branded SEAS speakers to Live Baffle, screws are removed at the rear and heavy grille cloth cut as shown right and hidden within the outer border, note your original baffle material is then suspended on cloth adding a pleasing tone to the speaker as seen here.  Right is a 21-TV-GD twin cone with very lumpy F.R. of 40Hz-18KHz, highly dependent on the matching amplifier to get best results.  Lower notes fall within 50-60 c.p.s. and power is 7 watts nominal at 4-ohms.  SEAS 'Live Baffles' date from 1960s Norwegian fixed cloth grilles removable in South African designs and still of 1960s 'Live' type.

Right, the Harvey Mayer AT-30 inside build is capacitor decoupled like the British AMSTRAD Executive Series but presumably the smoothing capacitor is the ELYT located beside the bridge rectifier module and a single-rail 1000uF.  Very low smoothing values can't be assumed to affect hum or hiss as simple circuitry designs based on tube theory semiconductors might surprise the enthusiast, who'd need an audition for a final verdict.  Output devices suggest auto sound 'Class A' FET types.

Left, the SONY TA-1630 also shares its rectifier circuit board with the power output but is much higher powered.  The Australian Harvey Mayer is a wood over steel design that could give better First Watt sound and the old 1960s point to point soldered pots are seen in British tradition.  Circuit boards have old 1950s design very difficult to service, although a tech in Australia recently claimed to have restored one.  Just why a local shop made a British shoe-box version of the TA-1630 was likely due to supply issues  ;  Australia always difficult for audio enthusiasts and only really improved after Radio Shack entered the market as Tandy, making Realistic brand stereos at reasonable prices, US designer tricked out older Japanese products with Japanese market speakers, the best available.

Left, a Bang & Olufsen speaker design of Auxiliary Bass Radiator concept copied in the SONY SS-370 BL for the TA-212 amplifier.  The Peter J. Walker QUAD 303 was used with Celestion Ditton 15, a later version of the tube amplifier Ditton 120 for old QUAD II beam tube amplifiers.  SONY TA-212 was aimed at the upper peasantry and downmarket of the SONY SS-2030 speaker by SEAS of Norway as used with the formidable SONY HMK-77B music center.  The TA-212 was bought by the 1960s music buyer and the HMK-77B by the 1970s Disco music buyer.  313 or 515 amplifiers, the TA-F amplifiers of SONY SS-G7 and G9 speakers.

Right, Norway's Al-Ni-Co motor SEAS 'blackcones' (based on the vintage German SABA greencones) were used by SONY for their SS-370 BL but the enclosure is difficult to imitate and before that SONY had used  EMI  also very hard for amateurs to copy.  Bang & Olufsen long used SEAS and their ferrous motor tweeters today are not cheap, their KEF and Celestion based A.B.R. speakers above, have Rola units from the elite British Ditton 66, probably a surplus deal.  Blackcones are low power, 6 watt and likely a good sonic match for SONY TA-212 with its special 12 watt Al-Ni-Co motor output using a SONY Al-Ni-Co tweeter.

Left, an Eagle International speaker used by the British gentry for the later Silicon transistor output, LEAK Stereo 30 Plus amplifiers and Troughline tuners that were suitable for only city broadcasts as very insensitive, note 'thin wall' construction also noted of SEAS blackcones above that use a 'tuned cabinet' like a television set, designed to sing and thereby support the sound of the speaker cores, so not of the 'dead cabinet'   EMI  type drivers.  In England tuned cabinets are sometimes called 'rich' and are Hi-Fi but make the most of low input powers.  SONY SS-370 BL for the TA-212 amplifier are thin wall and loud with a lovely tone.

Left, Soviet Radiotechnika 'Live Box' S-30B Hi-Fi speakers are really elite versions of AMSTRAD or Yorx, heavily dependent on superb matching electronics and descended from Rigonda radiograms with germanium output devices.  Rectangular port and odd baffle are part of a 'tuned box' speaker using low power inputs.  Chrome dome tweeter and likely an Al-Ni-Co motor woofer, differ tonally from ferrous ring motors in the AMSTRAD above, cabinets designed to make a sound and embellish the tone of drivers like ancient, SEAS blackcones aren't preferred today in western Hi-Fi but in Russia and the former Soviet Union, they're still immensely valued and treasured.  Below, SONY STR-313 and inside a TA-313, for SONY SS-G1 speakers of the middle-class.  Unique power iron...

...cheap snap-in smoothing cans, a modular bridge rectifier, few supporting components and a zigzag yellow ribbon wire don't suggest the exceptional sound.  NAD 3020 and AMSTRAD Executive had only to beat SONY 212.

Left, the AMSTRAD TP 12D Skeleton Turntable still gives an impressive account of itself, fitted with an early Shure M75EJ Mk.II cartridge for an all time unbeatable sound.  Back in the day Shure were respected by all, the strobe type below offered a pitch adjust feature, but not the fishing line balance, of the SONY PS-2310 that Baron Sugar had aimed to equal, at the lowest possible price.

 

Left, AMSTRAD 1970s British brand designed to outperform Japanese imported SONY as bought by the lower peasantry, looked inferior but sounded good at a price anybody paid if they could.  Used British surplus parts, Integrated Circuits but with discrete outputs in the Executive Series left.  Needed own brand ... 'rich' loudspeakers similar to SEAS blackcones and gave a colored, thumping, brash sound similar to SONY HMK-77B system with Norwegian SEAS made SONY SS-2030 loudspeakers.

 

Right, in French markets, the Alan Sugar AMSTRAD, ASUKI and SOLAVOX brands were exported as HIFISOUND that might be useful in importing donor parts from regional auction sites.

 

 

Below a SONY TA-313 compared with a NAD 3020 right both from the same year.  The NAD used a 2-way Goodmans XB25 speaker, now very rare or the NAD One whereas the SONY had SS-G1 with bigger power iron and smoothing cans, NAD moved onto ribbon wires in later versions.

The green arrow above is the control amplifier stage and the SONY had a SANYO hybrid chip power output device.  The NAD had a low key red LED power meter to the twin lit meters of the TA-313, upmarket and superior to the buyers of NAD 3020. 

Right, genuine limited production late 1960s EMI 14A/1000 enclosure with black finished Rexine baffle and rear with spade terminal input screws.  The Omar speaker below, has offered a similar product in the early 1970s with larger diameter resonator, a bass reflex port seen plugged with cotton wool as helping bass definition.  The tweeter is a Peerless and aimed at Bang & Olufsen but the germanium QUAD 303 is a possible match.  

Left, Omar Winchester speakers named after a world famous, independent boarding school located in Hampshire, England and where  EMI  speakers would have been mentioned by former pupils.  The front baffle appears to be hardboard damped like elite EMI and with the reflex port tube stuffed with something.  Yoke Al-NiCo tweeter is by Peerless of Denmark, middle-range and mid-woofer are surplus EMI.  Peerless tweeter suggests use with Bang & Olufsen equipment thought best in the middle-class market.  At the time B&O buyers were only to use own brand equipment but were using Celestion Ditton 15 and Peerless drivers appeared in Marsden Hall Annexe speakers below, I.M.F. using Peerless with EMI in Transmission Line speakers.

Right, early Marsden Hall also boasted an EMI 14A/1000 mid/woofer with Goodmans knob-Al-Ni-Co cone tweeters.  It must be said that rare as vintage Wharfedale are on auction posts, the vintage EMI are rarer than hen's teeth, they are usually, the only one of their kind left standing.  The front baffle mounted speakers give wider dispersion over older rear baffle-mounted examples.  The 14/1000 was an elite item destined for upmarket equipment and the auction prices of mass-market brands like Marsden Hall, is so high that they're remaining unsold for long periods of time.  The middle-class QUAD 33/303 below is a minimum match with EMI 14A/1000 and this social class includes both retail business owners and university academics.  The QUAD 33 wasn't bought by the lower society from council estates.

Right, Marsden Hall MH300 with its EMI 14 x 9 was a flagship model that few could have known about, the treble units by Peerless and used by early IMF, as the HACKER brothers briefly in 1973.  Peerless were largely speakers from 1960s Bang & Olufsen, therefore middle-class and made in larger numbers than the upper-class EMI.  By 1975 below there were the Limited Edition 4522 and 3522 Symphony models and as the advert said...

... they'd been for a fortunate few, both with an EMI 14 x 9, 100 watts DIN or 50 watts.  The dimensions, H800 x W367 x D290 or H763 x W305 x D279 on a plinth of H51 x 255 x 215, both with an F.R. of 30Hz-20KHz, both sealed box.  People wonder how one was 50 watt in a slightly smaller box and constructors need to follow these size to power guidelines as all 14 x 9 units were 25 watt DIN but the later KEF remake for Monitor Audio only 87dB SPL, its cones heavily doped.  Tannoy Eaton need powerful Home Theater amplifiers for their 87dB but EMI 14 x 9 were hooked to EL34 tubes - horses for courses.

Left, Tannoy Eaton named after a boarding school in Berkshire, England isn't well liked as only 87dB SPL and as such, for very powerful Solid State, Silicon semiconductor amplifiers.  As a small speaker the idea at marketing might have been that it would suit the bedrooms of Eton College boys.

Right, the SONY TA-1066 below had followed the germanium TA-70 and not surprisingly has a simulated ge sound.  The circuit is tube theory based and makes a good match with Peerless and EMI speakers of the early 1970s.  The Output pair 2SC1061/2SA671 are Lo-D/ Hitachi and similar to harman/kardon...

...neither making their own devices at the time but more reliable than the later V-FET made by SONY, one of many reject quality late-1970s transistors.  The story goes that Texas Instruments TIP31C/TIP32C and TIP41C/TIP42C will work in the SONY TA-1066 substituting 2SC1061/2SA671.

Right, EMI moved on from the germanium 1515 below, to shopfitting and Disco equipment but was always of that long life, professional reliability kind.  The turntable is a BSR MP60 with mid-1960s X-TAL Sonotone 9TA for the 1515, carefully designed for the RIAA cut discs of the decade and not best with 1970/80s records.

...to a metal panel, back in the days when Disco amplifiers had only 30 or 50 watts due to the high sensitivity of 1960s speakers intended for tube amplifiers.  The Rexine covering is mentioned by British elite author George Orwell, writing in his wartime diary on 29 April 1942, reporting on his visit to the British House of Lords: "Everything had a somewhat mangy look. Red rexine cushions on the benches - I could swear they used to be red plush at one time."^[3]