Left, a later 2-way box uses up the rare TwinAxiom 8 from an older buyer community needing a whizzer instead of a tweeter as suited to precious tube amplifier watts only able to drive one voice coil and no x-over.
Left, a TwinAxiom8 from a tuned 'organ pipe' cabinet and the reflector giving 360 degrees dispersion that sat on top. The magnet of the 8 is a very small ceramic unit meant to avoid stress to tube amplifiers like the Pioneer ER-420.
Right, Eagle... ...International horns were adopted by the British elite and had replaced the EMI 92390 tweeters damaged by using the wrong, lower market amplifiers.
Left, Ted Jordan's all but extinct Astec Single Driver in a tuned 'organ pipe' cabinet, the motor magnet large like DECCA Kelly London mid/woofers and not aimed at low power tubes. The thinking isn't shared anywhere but likely used a column of air in a folded rectangular pipe descending from the full-range driver. Jordan worked at Goodmans after a short spell at the British Empire elite military GEC, from where he'd been transferred in 1952 as not sufficiently gifted or academic, his ideas followed the GECsingle driver that he'd been so overwhelmed by he'd spent the rest of his life trying to recreate in kind. GEC resembled the James Bond Q, ideas department of the Pre-Suez British imperialist military war machine.
Left, An Eagle International HT15 horn tweeter and metal sealed box x-over (EMI used a plastic box to help sound quality) for TwinAxiom8 and Twin Axiom10, the latter used in England with Pioneer ER-420 below and Japanese military-sourced EL84, the 6BQ5 by Mitsubishi. Output Irons matter more than the Output Tube. The early white ring around the TwinAx8 Whizzer was never discussed. Trebax and WERC T12 are similar.
Left the Eagle International horn fitted to an EMI 319 13 x 8 that were sold as surplus in the early 1970s. In those far off days before computers and therefore easily found help on matching speaker drivers, the Eagle International tweeter allowed an older speaker to be used with contemporary equipment. Nobody from those times ever shared Goodmans TwinAxiom or EMI 13 x 8, outside their independent school or alma mater communities except for their use of the Eagle International horn fitted to great effect. Nothing is known about the Eagle tweeter's abilities when compared with EMI tweeters using superior inputs. It was used with lower market amplifiers, probably the 1975 QUAD 405, not the 405-2.
Right, British elite 92390BP push-pull (Class AB) speaker cabinet adapted for Eagle International horns by removing damaged coaxial cone tweeters. Relatively high Solid State power destroyed many tweeters of the tube age. Celestion 15 presence ring radiator HF1300 remains very fragile as EMI cone tweeters and are usually partially bypassed with a Foster super-tweeter on top of the speaker cabinet if using more powerful amplifiers, may not make the best but is easiest quick fix avoiding burnt out vintage tweeters. Below PIONEER ER-420.
HT15 has the same 18KHz top of the TwinAxiom but whizzers had been narrow dispersion and difficult to match with amplifiers, their response was at best 'lumpy' and at worst screeched and shouted. The CT 10/8 version has the Wharfedale 'E-Series' 16KHz top (18KHz with x-over brilliance knob boost) and 8-ohm for the EMI-style enclosed x-over network below.
Left, a 16-ohm CT-10 coupled to an EMI 13 x 8, 92390CC, apparently used in a folded rear horn that is likely and with a 'Class A' Sugden or 'Class B' Leak Stereo 30 that suited these for the Damping Factor. If the wrong Damping Factor amplifier is hooked up it won't sound very good. Below, the SA80N is Single-Ended Beam amplifier and the Output Irons are very small but the Mains iron looks to be hand-wound.
Right, Eagle SA80N was Single-Ended Beam tube amplifier. Eagle SA-100 is 6BM8 (ECL82) and SA-200 is EL84. Military tube codes are more rugged, better suited to guitar or organ use.
Right Eagle SA-200, Single-Ended EL84 Pentode, upgraded build below. These aren't for speakers rated by power but need their own 'Class A Single-Ended' loudspeakers of high efficiency.
Left, and below a British ELAC Single-Ended speaker for a pentode tube, no whizzer cone and single diaphragm, high output grey basket ELAC tweeters were added for extra sparkle. EMI had 13 x 8 Single-Ended speakers for the British KT66 Beam tube but Single-Ended amplifiers have speakers critically fashioned for their unique sound signature. Below an Al-Ni-Co motor is loud with 400mW or 0.4 watts at the input impedance and Eagle SA-200 with 4-ohm, 8-ohm and 15-ohm, not 16-ohm...
...or 3-ohm. Right, vintage ELAC are great speakers for Single-Ended tube amplifiers but have other versions for early push-pull and nobody really knows what the Japanese designers intended as the speakers for the various Eagle Single-End stereo amplifiers. The company was very strange, you know apparently of North Indian origin like Monitor Audio of Mo Iqbal in Teversham, near Cambridge, England, between the years 1972-97, and both bought by the 1970s British elite.
The London elite has shown interest in the Vincent SV-237MK for the Isophon Orchester 2000 as it's 250 watts into 4-ohms and this impedance needs quality power.
Right, Isophon Orchester 2000 coaxial.
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Right Mexican House Of The Flowers ruins by the mysterious Toltec Culture with acoustic buildings designed to amplify sounds without the need for public address electronics.
EMI 92390CC, 10 watt
elite bespoke market, 15 ohms, circa 1963. Below in the center, an aluminum braid indicates a high output speaker. Thick alloy center portion right below photo used in the EMI 92390PB fitted in the Broadcast 45 model. Left below photo a 'large bell' screened alnico suggests higher power than Single-Ended KT66 so may suit 'Class B' amplifiers tonally.
Below the alloy portion in the US market, 92390G is smaller than one in the 92390AG down the page. Detail differences between such elite speakers as the thickness of the center portion right remain a mystery.
Left EMI 92390G differs from the 46600 baskets in that it's stamped in a single piece of steel. An American market core used in the Capitol 936 console (US$6084 in today's money) with Electro-Voice T-20B treble horns - a smaller version of T-35 used in the later Patrician. Next, it appears in the 1960 year Scope EMI DLS 529, thought one of the best in audio history but differing in cabinet details with the later 529X and 529A.
Left Electro-Voice T-20B used in the flagship Continental model 936 with two swing-out speaker cabinets giving 7ft separation and claimed 'perfect sound' - what EMI called in its US brand Capitol - 'Full Dimensional Stereo Sound'. Low power 'Class B' outputs and 7ft separation was better than many smaller apartment consoles. Right stereo 'Class B' amplifier for the Capitol Model 936 that drives the above horns and Plessey cube AlNiCo EMI 13 x 8. The rectifier is the 5U4GB. EL84 output. 7025 is a military version of ECC83 and replacement needs a quality brand like Brimar.
Marconi Osram was reckoned to work longer. American
Tung-Sol was a rugged military type, better for portable equipment. Left crystal cartridges were used in the 1950s before today's moving coil and low output moving magnet, not to be confused with the vintage gramophone needle-moving magnet that had a step-up-transformer spoiling high frequencies. The DECCA ceramic...
...cartridges were Lo-Fi (20Hz-13KHz)and Electro-Voice used in the lower market. Mass-market 1970s Hi-Fi had moving coil and moving magnet cartridges. A DECCA Hi-Fi ceramic was used with Garrard 301 but is rare today. The EF86 tube varies a lot in sound, coloring tones in musical instrument amplifiers, it's disliked by some Hi-Fi enthusiasts. Below 1960s gold trim DECCA Decola Aristocrat.
A Single-Ended EL84 Tripletone right. The germanium transistor was much more
expensive than tubes and had special AlNiCo magnet speakers
as had early Silicon types of QUAD 303 in its first design up to Serial
No 11,500. The Single-Ended EL84 pentode right has a very similar power output to a 6BW6 beam tetrode and in 'Class A' both get very hot. Half-wave rectifiers may sound better with 'Class A' than the full-wave 5Z4G right.
Below the 4 ohm Peerless woofer from the STE-MA Hi-Fi Box 5 needs sympathetic amplification in Ge outputs as seen in the SABA TELEWATT TS-100A by Klein & Hummel that offers relatively low power around 20 watts from 2N2148 RCA devices and uses Todd transformers but were very heavy amplifiers unsuited to export shipping, most Japanese amplifiers suited 8 or 16-ohm.
Left Danish STE-MA Hi-Fi Box 5
with the SR90's Peerless squawker long used by Bang & Olufsen. Best with analog inputs, a reel to reel tape recorder or FM tuner.
Tidal MQA with Meridian MQA DAC might be compared. Resin board
crossover. Vintage Hi-Fi needs care in equipment, the woofer in STE left has a metal voice coil former and the brown paper of EMI can't take as much power. In mid-1970s England, Brahms Manufacturing & Development Co. from Rochester, Kent, made Buckingham, Balmoral, Queen Anne and Regency models with the Peerless AlNiCo cores.
Right a British HMV badged speaker with a 319 core but nothing on the internet to suggest a console. Circa mid-1960s from the time of US Benjamin-EMI. The cabinet is well finished but has an odd color and is likely from a bespoke elite only market. Below AM monitor sets based on the Mullard 3 with Frequency Response 200Hz-4KHz. Gramophone had a BSR Monarch UA8 with Electro-Voice 119 cartridge. A stereo model shown below used a stereo version of the Electro-Voice 119 not seen today but the 220 is listed. These had very mellow AM radios fondly remembered by owners, were 'Class A' output and reproduction from records were very impressive.
Left British R&A twin cone Hi-Fi 12-inch for EL84 and 6BW6 tube outputs. Very small center speech dome, a feature of 'Class A' loudspeakers, makes high frequency sounds instead of a tweeter. Lightweight, AlNiCo magnet, won't drain power from vintage amplifiers. BelowU-Bros 300 tube amplifier, modern 'Class A' with 12 watts, twice the power of the DECCA PX25 amplifier developed from British Royal Navy know-how and still uses its very loud 1940s Lo-Fi speakers.
Below a stereo 'Class A' from Audio Professor uses vintage speakers, often Lowther Voigt or Tannoy. American loudspeakers are engineered for US market, rugged, long-distance shipping tubes, not the more fragile British types. Bigger rooms for tube stereo equipment as speakers are better large for efficiency.
Below Sherwood 8000 receiver, 18 watts per channel RCA 7686 Beam power tube output, (British lower power 6BW6 and KT66 have a similar sound) last of their tube receivers. REALISTICSTA-235 is just downmarket from the STA-2000 and had T-100 speakers. FM Sensitivity is 2.0 Microvolts.STA-150 with 1.6 Microvolts for FM used the Optimus-9 speaker.
Above and below the separate Left and Right channel, slider volume knobs fashioned after British Radford HD250 of IMF fame, address ganged-knobs right with reduced volume in places along the resistive track. Alps volume pots in the Leak 3900. Left lower market British Harversonic Supersound 10 + 10 with separate volume controls using Motorola output devices, designed for EMI speakers the surplus store could get butelite speakers below are puzzling.
The Wilson Watt i Soviet Lomo . Right the Plessey cube AlNiCo HMV/EMI 13 x 8 with a lower market Goodmans squawker and tweeter uses a crossover that avoids coils or chokes. Vintage tube amplifiers don't give best with just any loudspeaker but need us to be aware of lower Damping Factor, the oldest 1940s amplifiers may need a single drive unit, they'll suddenly seem to come alive with the right match. The 1960s whizzer or other cones in 1950s speakers suit some amplifiers. AlNiCo motor speakers like these right only suit amplifiers with which they're loud and clear at low power.
Left, Swedish Sinus compact speakers used the 4-ohm 916 elliptical in the year 1961 for the Bang & Olufsen Grand Prix that was lower-middle-class and upper-mass-market. The full-range elliptical of those years was a console unit with baffle long enough to capture enough low-frequency tone, an alnico magnet core for double-ended ECL86 and not for modern amplifiers.
Right, the Sinus 916 is similar to Danish Peerless cores for Bang & Olufsen, a double-sided ribbon-ply baffle with single-sided ply box. Such elliptical cores are often partnered with Grundig's gold foil electrostatic tweeter with which they would give very good, room filling sound quality. But getting the best is difficult and in a wrong match, they'll sound very poor but are capable beyond realization. Below in 1961 these mass-market Sinus of Sweden strive to reproduce something similar to EMI. The B&o Grand Prix receiver's S-607 right below and ferrite ceramic motor 605 left below are mostly unknown today.
Left Scandyna was a Danish
speaker 24 x 21 x 11cm, by Peter Hasselriis who began in 1965 based on the EMI elliptical
but aimed at the 4-ohm impedance Bang & Olufsen systems considered
at one time the best at a price. The speakers were favored by elite
ladies. Although left or below resemble car
speakers, they're for tube sound amplifiers. Tiny woofer voice coil former diameter for low power efficiency and the Quam-style seam in the cone below, improves rigidity whilst midrange and tweeter are certainly based on in-car entertainment. Below a mantle shelf candle hints at witchcraft.
Above magical thinking is usual at elite levels, the elephants thought to attract wealth. Right, harman/kardon Citation One mass-market tube console from the mid-1960s aimed at Altec-Lansing Duplex 605A. Below Aston Martin was a Scottish elite car made by a tractor company as was Lamborghini. It had a very stiff clutch that surprised many and is best for the showoff.
Below, the sailing steam auxiliary powered yacht VALHALLA with a crew of 100. Its 150 horsepower engine
used coal to heat water for steam heating the ship and getting out of port to the sea breezes that powered sails. The owner suffered a number of cold weather maladies sailing south for warmer climes. Below, remarkable EMI 1515 of the Cambridge Univeristy student community for their EMI Sirocco loudspeaker, a germanium amplifier strangely simple for its year using a Selenium Rectifier, still working as new, fifty-six years later but the rectifier components upon failure, will burn the wooden top and panel to a blackened shell so must be replaced by a service tech using a calculated +/-100 ohm resistor and single diode.
Right and below, strangely bare bones EMI amplifier and SQ unit from the elite vinyl record playing community, Quadraphonic LP records priced some six times the ordinary. EMI were Limited Production, not available to any but distinguished owners as in VALHALLA, a place of the dead occupied by a few whom distinguished themselves in life, their EMI sound very curious.
Left, the later Monitor Audio MA7 version of the EMI Sirocco loudspeaker with a CD by Diana Krall suggesting the speaker belonged to a devotee of Jazz. Left and below, awesome hard dome and long excursion know-how with germanium tube theory Simple Circutry EMI 1515 when compared with Armstrong or Leak germanium amplifiers, a basic build for elite Cambridge University in England that wasn't available to anybody else, small amplifier with compact speakers likely sold to well-heeled students and graduates, Monitor Audio moved to Essex after its University serving role dried up upon the exhaustion of EMI components.
Below, comparing the AMSTRAD 8000 MkII version of the EMI 1515, again for students, the Stereo model of the Armstrong 226 receiver right is seldom seen, a time of widespread mono equipment. Tubes are EL86 and very low power although claiming to be 8 watts per channel, used curious EMI speakers with a whizzer and the 8000 or 1515 needed a tweeter and mid/woofer, using the wrong combination of matching loudspeaker and amplifier gives poor results but students buying Amstrad were to use the best sounding matching brand loudspeaker available from the Dealer not another make of speakers that seemed better to the buyer.
Right, Eagle... ...International horns were adopted by the British elite and had replaced the EMI 92390 tweeters damaged by using the wrong, lower market amplifiers. 
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...cartridges were Lo-Fi (20Hz-13KHz)and Electro-Voice used in the lower market. Mass-market 1970s Hi-Fi had moving coil and moving magnet cartridges. A DECCA Hi-Fi ceramic was used with Garrard 301 but is rare today. The EF86 tube varies a lot in sound, coloring tones in musical instrument amplifiers, it's disliked by some Hi-Fi enthusiasts. Below 1960s gold trim DECCA Decola Aristocrat.
A Single-Ended EL84 Tripletone right. The germanium transistor was much more
expensive than tubes and had special AlNiCo magnet speakers
as had early Silicon types of QUAD 303 in its first design up to Serial
No 11,500. The Single-Ended EL84 pentode right has a very similar power output to a 6BW6 beam tetrode and in 'Class A' both get very hot. Half-wave rectifiers may sound better with 'Class A' than the full-wave 5Z4G right.
Below Bogen AP2-50 with 7355 pentodes, uprated 6V6GT Beam tetrodes.
Right the Plessey cube AlNiCo HMV/EMI 13 x 8 with a lower market Goodmans squawker and tweeter uses a crossover that avoids coils or chokes. Vintage tube amplifiers don't give best with just any loudspeaker but need us to be aware of lower Damping Factor, the oldest 1940s amplifiers may need a single drive unit, they'll suddenly seem to come alive with the right match. The 1960s whizzer or other cones in 1950s speakers suit some amplifiers. AlNiCo motor speakers like these right only suit amplifiers with which they're loud and clear at low power.
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