<<The 15th Earl of Lindsay had a curious 1960s 2-dr Rolls Royce, a short, Young-Mulliner Silver Shadow (as seen below) with matte gunmetal color today seen in German versions, the Earl, a British Empire era soldier, paint in the 1960s went dull, improved in later, ostentatious, 1970s Corniche revisions, these very different, a longer bulky version after the year 1974, the Earl's car very conservative, an early model used to commute between Lochty Farm railroad and his seat at Lahill Estate, a Lochty Colliery steam locomotive was ex-W.D. from Longmoor, Hampshire closed in 1969, he'd dressed in a double-buttoned Engine Driver's suit to improve his apparent height.
Left US Military Klipsch KM4, based on domestic KG3.5, similar stamped steel baskets but only available in drab black like 'the tin lizzie', another military machine. Discontinued 1997, launched 1994 used overseas near US military bases. 94dB/1w/1m mainly for rock music. Right 430 watt BIC America, US only, generally occupies rural places like South Carolina, aimed at Heavy Metal, powered by amplifiers like NAD 319 - awesome new, less so later. Below from the SONY STR-313 styling dept REALISTIC STA-2250 was beautiful and impressive but some develop a problem power supply. Below left photo carbaronline, FL
Left, a 4.9L Ford-Mercury Grand Marquis taillight resembles the 1975 British Jaguar XJS, a year the earlier Ford land yacht was launched. Ford's buyout of Jaguar Cars in 1989 led to second generation 'XJS rear styling'. With the 4.6L Ford-Lincoln Town Car and Panther platform they're today among the most popular used cars in the US. Grand Marquis are named after a steam locomotive bought in 1962 by 15th Earl of Lindsay below, who'd pointed out in a quiet way, there was such an American car named after it, but made famous from the resignation of an eccentric British Tory politician, during the Severn Valley Railroad dispute in England.
Right, earlier photo of the 15th Earl, no Sanpaku condition in either eye. Was the world 'out to get him?' In the early 1970s, the nobleman had a formidable, military style, wearing brown driving gloves and matching 'Grandpa-style' aviator pilot cap, whilst driving the extra long, red color, Rolls Royce Silver Shadow in his idyllic Lahill seat, surrounded by grazing racehorses in a valley. The Lochty railroad was on the now disused Fife Central Line to LargoBeath Colliery and stopped at Montrave Foxhunting estate of 3rd and 4th Bt. Gilmours, contemporary military figures, it then terminated at Lochty Farm owned by Farming Stalwart, John Cameron. Photo credit: Person Page>>
Right, the 27th and 28th Earls of Crawford (in color) at one of their coal mines just before the outbreak of World War II, color processing had been initially for the rich as too expensive for more ordinary souls, here looking on in amazement, even the brickwork of their Pit Baths appearing as if in grayscale.
Right, a shaft similar to the 1900s pit at Largobeath closed by the year 1913 from flooding, here seen some way down and below more flooding followed in Fife Coal Company's Rothes, where at Thornton Railroad Junction, a young Farmer, John Cameron used to sit at the footplate of an L.N.E.R Class A4. Photo below NCB
Left, in Britain the peasantry had a stereo fashioned after the Radio Shack STA-2250 below, the same sloping buttons of the US market offer they'd dreamed of owning or seeing. A&R Cambridge later adopted the low priced styling to appeal to bad taste buyers.
Above grey Phase Linear styling from Bob Carver's 700 cult following. The idea that SONY custom manufactured for Radio Shack had pleased many.
Left sound quality depends on amplifiers matching speaker build style. A voice coil former is a copper drive for deep notes, aluminum wire is loudest. Formers are longer or shorter, made of paper, metal or types of plastic, affecting tone. Roll edge cones left to move an inch back and forth, Lowther Voigt only 1MM.
Left EMI 92390FS was a 711 used with right below a 1960s Tannoy choke for a 150 watt RMS per channel Crown 300below, which powered the EMI DLS 629. 1n 1970 Bob Carver set up Phase Linear with Steve Johnston to make a 700 model based on the Crown and known to the London elite, who'd used it since with 25 watts, 150K line magnet EMI 13 x 8. 700 fell off sharply below 30Hz lacking the grip of big Krell (Another US Solid State power amplifier) but is appreciated for roundness and an unexpected sense of rhythm. The British elite say 700 lacks tube bloom - the most astonishing realism in human voices possible with EMI but improves on Crown 300A that is very warm. Poor bass control of tubes, reduced dynamics, muddling, and other maladies are resolved using various equipment and patches.
BelowBob Carver's bipolar Phase Linear 700 MkII before his 400 power MOSFET.
Left 4650 were lowest powered of SONY's '1960s V-FET revival', a sale of obsolete spare parts know-how. In 'tube sound' power output is key. REALISTIC STA-120 has feeble, tinny quality despite a boastful catalog power-rating and needs special speakers. The V-FET left has a bigger mains transformer. Catalog brand match for speakers lets us know what to expect. In the US market, SONY speakers were different from other places, usually bigger for large rooms. It's not easy to find old vintage SONY speakers but since they're mass-market,
it will appear in time. The STA-120B and 120C abandon germanium and
Output Transformers so use different versions of the Optimus 1 speaker. Right the Yamaha NS-20 bass unit had a 1960s British Patent 1.289.858 and began life as low-frequency cores for electric guitar speakers, powered by tubes. In Japan, they were employed as bipolar Hi-Fi speakers and later made in Argentina for Goodmans of England. The British Hi-Fi elite hadn't taken to the design, finding it funny but it was eagerly adopted in Japan and in particular for the reproduction of Yamaha pianos.
Left British Pat 1.289.858,
Yamaha's ear speaker of which Goodmans delayed in making three versions, Planax 1, 2 and 3, thin speakers, more
compact than QUAD electrostatic with amplifiers running 4-8 ohms, the
truly difficult load, expensive amplifiers, impedance often below 2 ohms
and in the late 1970s NAD 3020 boasted such a rare ability, the mid-80s
brought Pioneer's mass-market solution below. So the lower market didn't take to either the Yamaha Ear speaker or their British elite's EMI elliptical speakers if they didn't hook up the ideal amplifier from bespoke dealers.
Right NS-250. The 4-8 ohm speaker load was a way of suggesting to the buyer that expensive equipment was needed for good quality. In the mid-1980s Pioneer followed the poor man's NAD 3020 with the SA-540 above to SA-1040 but after that broke the mold and abandoned the concept. Their 2-ohm output, however, continues to win friends of difficult load speakers.
Left the final Goodmans Planax 3 of 1973 when the company was still respected. British industry was largely destroyed thereafter by industrial action and lost a very competitive edge it had acquired. Below the Goodmans RB range would have worked with 5 watts minimum of RMS power but were likely produced outside of the British mainland during some of the worst years of UK labor relations. The RB Range aimed to tempt a newly affluent British working class with something fitting the small, two up, two down, council estate semi front room depicted.
...
Right Goodmans Axiom 101 were middle class in the 1940s and 50s than in the 1960s, markets in the United States and to a lesser extent Canada, opened up, mainly Knight's custom and the Axiom 80, then 201 then 301 twin cone loudspeakers. Triaxiom is collected in both ceramic ferrite magnet and AlNiCo by enthusiasts of tube amplifiers bearing the obsolete EL37. More elaborate Art Deco style boxes are seen in the United States using Jensen and University. Many 1960s Goodmans boxes are much plainer than 1960s American brands. Below some 1940s middle class, batting appears to include net curtains and cushions placed around the square port from days of postwar austerity, many materials rationed in England.
Left the strange WER Co speakers were very loud and lower middle class, soldiering on into the early 1970s as a throwback to 1950s QUAD II of Damping Factor 11 for their orange cloth edge. Nobody added any batting to these. Goodmans were middle class in the 1960s and before. WERC is a pricey vintage bought by followers of vintage tube equipment. Addition of batting to Goodmans Axiom 101 left above suggests lots of time spent reading High Fidelity magazines and pottering about with effects, largely due to dissatisfaction with the lowest frequency notes. QUAD II is a very sought after vintage amplifier today and speakers it uses best, probably encourage some trial and error. <<WERC HF1012 are a 10" diameter (chassis) twin voice coil loudspeaker originally for column speech arrays, today favored by electric guitar players. Dual coil: 3.75 Ohms both coils in parallel, 7.5 Ohms one coil driven, 15 Ohms both coils in series. Wrms continuous 12 Watts. Larger diameter coaxial horn Hi-Fi WER is preferred. Public address speakers need careful matching on amplifiers to suit recorded music.
Below, a twin cone version of the HF1012 that nobody knew about. Rectilinear port as shown left, has been identified by a '9' at one time, likely a kit sold. Twin cone Whizzers were a feature of the 1960s, for low Damping Factor amplifiers that couldn't sound good with a separate middle range speaker and x-over. The Goodmans Axiette by Ted Jordan later came in single and Twin Cone versions.
Another QUAD II speaker worth looking at is Goodmans Axiette, left in a long former version. In the 1960s USmass market, British Wharfedale woofer cores of a style retained in the Dovedale woofer down the page were exported to the US for home builder cabinets made by hired carpenters. Square ports have precise dimensions based on engineering theory but are thought obsolete. Modern designs with internet calculators help constructors.Utah and Olson had some square port cores by 1970.
Below Goodmans Twin Axiette aimed at the QUAD II and Leak TL-12 amplifiers.
Left, a rare picture of the upper-class DECCA 'Stereo Decola' from the year 1964 with separate speakers and the grille removed. The cabinet takes the speakers or lets them be separated. A lower row of three tweeters with smaller speech domes than those above bounce treble off a polished wooden floor. A belief in Japan that low and high frequencies are lacking in poor dispersion is from a carpeted floor, not listening in front with an EL34 of Dutch original Siemens brand by Philips in the amplifier. The British Mullard EL34 version is a guitar tube. The EMI 13 x 8, 1950s 92390F, 46600 baskets have a slit of calculated dimensions, the plywood baffles unpainted. Only this model had a Garrard 301 (others were Collaro) with a DECCA arm.
Above Concert Grand 1ST800F French Provincial was a 1959 US mass-market version of the British elite's DECCA Decola Aristocrat and from the French motto: Liberté, égalité, fraternitéAmericans believed many of their cars equal to British Rolls Royce but the 1ST800F has far more tubes than the DECCA original and used horn treble units like the Klipsch, based on the elite British design from Vitavox.1ST800F 'Phantom' control electronically mimics the EMI speakers in the DECCA but has a lower market record player. Left Wharfedale Dovedale was a rare, 12-inch woofervariant of lowersocial class speakers introduced in the late 1960s but very good for rock with deep bass notes and Sansui amplifiers.
Right, the Solarvox TK60 here uses Dovedale drivers in a Rank-Leak cabinet, the cone mid curiously mounted on a separate baffle as a smaller diameter model. Since the year 1970 old British Empire drivers were hooked to Japanese or Far Eastern sourced electronics but did better with American Texan T.I.P. designs. By 1972 Nakamichi of Japan made a Wharfedale Glendale receiver not making its own branded receivers. Alan Sugar's TK60 uses surplus British Made spare parts from the Rank Organization aimed at just any amplifier powerful enough to give the real 65 watts needed. But the idea survives that these drivers were made for 1960s British over-engineered amplifiers like those made by Kelvin Labs and others that prove difficult to source on the internet today, high power 1960s amplifiers don't include the QUAD 303, there were others altogether hidden in the distant past, friends of the Radford STA-100.
Right even Wharfedale Glendale was unknown in working-class areas of the UK. Frequency Response wasn't level but good enough, the telescopes, aquariums and Coal Miner's safety lamp represent attention to high, medium and low frequencies. British Conservative politician, Enoch Powell's great grandfather had been a Coal Miner and saw himself as Viceroy of India, married to a Colonel's daughter. Below Vietnamese 'Cowboy's Nguyen', STA-78.
Left the appeal of Cowboys was a 1960s romance exported globally with the movie business. The idea of the STA-78 being a Cowboy's majority choice, stemmed from the brand's base in Fort Worth, Texas where it relocated from Boston in 1961 as Tandy Leather Co. The Vietnamese STA-78above is seen with chrome relief knobs. The 'RS' brand is RadioShack, a name taken from a ship's radio room.
British Ferguson (Carad) 3990 receiver similar to OLSON RA-98, not as powerful plastic-bodied SANYO output closer to Sansui Au-2900, cold rectifier. Reckoned very good and better than Pioneer, a few special components seen. The tuner has three chip stages like Sansui Tu-3900. Circuits are surface printed like other British sets. Below British HMV 4000 (Black) and 8000 (Silver) have heavy, surplus transformers but the tuner has only AFC, popular.
Above the EMISONIC stereo 9900 fondly remembered in the Punjab part of India.
Right, HMV 24887 speakers for the system above and hefty power heat-sink below. Tweeter by RS Semiconductor and Goodmans labeled mid/woofers that look Far Eastern, probably from Hong Kong before the 1997 transfer of sovereignty. Below the HMV 4000A amplifier with two separate superb quality surplus British transformers for pre/power. Owners prized these with their own speakers right. The custom manufacturer of Bin-a-tone, HMV, Ferguson, and Fidelity Radio 450TA remains a mystery, likely Thorn Electrical that acquired Carad of Belgium. They were supposedly made of obsolete, discontinued parts, probably partly assembled in Hong Kong.
Fidelity Radio 450TA is similar to HMV above and has Hitachi hybrid output devices.
Left British Ferguson 3933 has a hot rectifier visible lower picture. Far eastern power supply similar to 3930 and STA-78. Click on the image for full view. The output heat-sink is unusually screened off from the separated channel circuitry. The 3933 receiver apparently outperforms anything near the price but is exceptionally rare. Sound is such that the owner wouldn't part with it. Below Carad receivers were bought out by Thorn in England and know-how contained in the Ferguson receivers. BelowREALISTICElectrostat increased the range of speakers for high-quality Lo-Fi recordings (20Hz-13KHz) for use with later Hi-Fi loudspeakers and equipment of 20Hz-20KHz.
A REALISTIC receiver by Fisher is carefully designed to compete with Carad.
Right, when the EMI 1515AFM, a little known 1960s germanium output amplifier was soon discontinued, its instrument cases got sold off to RT-VC below, and on the inside a new amplifier was fitted in. People surmise that EMI 1515 were partnered with the Cambridge University graduate community speaker, the EMI Model Sirocco and subsequent Monitor Audio MA7.
Left and above British RT-VC circa 1971 year, uses surplus EMI 1515 amplifier cases, 'old school' radio engineers based in a small London shop. Turning of mains transformer reduces hum pick up on the output heat-sink. Click on the image for full view. RT-VC and Harversonic (Supersound 10 + 10 watts below) were engineered for surplus EMI 13 x 8 of 8-watt motor type in RT-VC DUO II and DUO III loudspeakers. RT-VC uses Mullard BY100 silicon rectifier diodes used in the QUAD II conversion below. 2N3614 is an American Motorola germanium transistor paired at each side with Rogers origin fiberglass circuit board and surplus transformer.
Right EMI 13 x 8 of the 8-watt motor variety chosen by RT-VC, sell in Japan for ¥50,000. The followers of this vintage appear to have sufficient reason to sustain demand. Left the military special OMAR Skinner speakers 'Sultan' with an AlNiCo Peerless tweeter for Bang & Olufsen germanium sets.
Left, EMI Single-Ended 'Class A' 'the best' loudspeakers for Model 544 below, differ markedly from Push/pull EMI speakers and sound awful with the wrong class, they have a shielded knob AlNiCo cup preventing interference to tubes in Table Radios. 95130 left were very good for milliwatt tube amplifiers and the benefits of the later 97880BG basket right is known to a handful of surviving engineers and hobbyists.
Right EMI/HMV544 had only 2.5 watts RMS per channel and 5 watts mono bridged. Elite only but the subject of much interest.
Left 92390DW 5 watt motor for EMI 499 amplifier. Pleated edge suits Damping Factor under 10. Stainless steel strips and rubber gasket are the late 1960s. 450 type cone with 20KHz tweeter, wire exits through side slot.
A network-free crossover with just one bipolar electrolytic as used by the American Oaktron CA-12 helps very low power amplifiers like 'Class A'. Click on images for full view.
Right, a Whizzer cone 13 x 8 of the 150 series as in the RT-VC DUO II speaker (17 x 10.75 x 6.75 ins), surprising double ribbon plywood and high-density chipboard baffle. 8 watt EMI loudspeaker motor was aimed at the Leak Stereo 30 and used as surplus have carefully designed germanium output transistor amplifiers like the Harversonic Supersound 10 + 10. More powerful silicon output amplifiers don't give the best with 8 watts motor EMI 13 x 8. A single tweeter EMI 450 is in RT-VC DUO III (23.5 x 11.5 x 9.5 ins), the exact version unknown. Below early Solid State stereo receiver follows tube theory with power supply choke and germanium output devices.
Left, after the launch of the MERCILESS SPEAKERS in 1966, black baskets had appeared as replacements for the older 1960 series DANGEROUS LOUDSPEAKERS that have relatively lightweight cones and suit older, high quality at very low output power amplifiers, loud enough with only 200mW of power. The MERCILESS SPEAKERS are surprisingly different as suited to later amplifiers that sound sweeter at higher output powers. This is reflected in prices at auction in Japan, the earliest hand-made EMI 13 x 8 fetch more. Although EMI speakers were sold off at bargain prices in the 1970s, they were elite items and suit equipment that was very expensive.
Left 15 ohm, Whizzer cone, EMI 150 8-watt magnet. Whizzers come in trumpet or cone types and several surrounding paper edges for varrous low Damping Factors, an establishment following connected with tradition. EMI 92390FY is the best known lower British society 13 x 8 and elite only, rubber gasket, 92390CEZ cabinet below.
Right, acoustic loading for the 15 ohm 92390CEZ 13 x 8 core, left below. What is so special about it? Two holes in the small ceramic magnet instead of the usual one. Four pieces of yellow glass fiber. Cabinet grille and Rexine rear seen above. These speakers are well run with Leak TL 12, although their D.F. is 20 and the 92390CEZ suits a DF near 5, meaning they may well be aimed at 'Class A' tube amplifiers of unknown models but series resistance of Output Transformers combined with less global feedback compared to Solid State, makes Damping Factor 5 an attractive figure for most tube amplifiers, whether 'Class A' would work well compared with 'Class B' would need some trial and error.
Left silver finish and cork gasket with a smooth cone closer to the FY right above. What was the elite up to? These cores have a distinct shadow or watermark across the central area under the tweeters likely some variation in the cone, possibly early doping to finely tune results for some critical ear. All are of the 8-watt magnet type, a motor for very high quality, low power from germanium devices that at the time each cost the equivalent of several weeks wages for the working man. Below an upgraded germanium power amplifier as used with the 8-watt motor EMI. The transistors sounded better the hotter they ran and needed some restraint or they'd blow fuses. They just never had enough power as better the higher the current they ran.
A closer look at the Lo-Fi 92390EA left reveals a smooth, Karad paper cone and not the rough, long fiber pulp of the 450. Really a series of similar twin cone elliptical cores, a story never told outside the closed British establishment. Size of the Output Transformers in the germanium power amplifier above suggests a feeble output, high-quality power that speakers like EMI 150 saved by avoiding crossovers and tweeters, the accordion surround only for low D.F. Note the suspension left differs from the lower frequency version below, the one with wider spaced pleats top and bottom and the other with equally spaced pleats all the way around. The cone suggests the H F M type is for lower frequencies, a higher Damping Factor ECL 86 Armstrong amplifier than the other one.
Right, 15-ohm, EMI 92390DF being of the curved (log) throat whizzer, 92390EA above, of the straight (linear) throat whizzer, very nice looking speakers using a strange color liked in the 1960s but suited only to low D.F. amplifiers of that time, their 6 watt rating points to a specific matching amplifier, the Armstrong 227, using push/pull ECL 86.
Right Dynatron L.S.1018 and right below. One speaker looks much like another behind grille cloth and badge, 1018 is a small, deep box with Peerless AlNiCo full range core needing no Whizzer for 45Hz-22KHz (60Hz-18KHz inbox). How mounted isn't detailed anywhere. On a carpeted floor, 30-watt classic vintage receiver gave a sharp disembodied stereo image appearing 4ft above the box. Sound 'polite' but sell quickly. Left larger, elliptical Dynatron speaker with similar grille cloth and a badge is the Dynatron L.S. 1608 containing a special 13 x 8 EMI 92390BP.
Early 1970s Korean SONY TA-70, mass-market look at EMI 1515 and RT-VC Viscount. 8 watts per channel into 8 ohms at 1 kHz, (tone burst) dynamic output (maximum easy load) 30 watts into 8 ohms. Frequency Response: 30Hz to 50kHz, Total Harmonic Distortion: 2%. Left service tech refurbishes junker TA-70. Amazing Headphone amplifier. The mass-market had 4-inch Coral made AlNiCo motor speaker, branded SONY.
Right, from the early days of Maplin in the United Kingdom, an ambitious small MOSFET kit amplifier from the 1980s magazine, knob layout exactly copies the 1972 year RT-VC Viscount III with a germanium/silicon output stage for the EMI 13 x 8 loudspeaker.
Right Dynatron was British middle class seen here caught in a hay barn. The Solid State amplifiers designed for low power tube speakers are best used with just single drivers and many have either whizzers (US :wizzers) or coupled cones like the EMI metal center or RCA Bi-Flex where the x-over is eliminated. The single cone of the Dynatron L.S.1018 up page is certainly best for SONY TA-70.
Left 1950s AlNiCo 92390T EMI 13 x 8 on a 46600 basket, different motor powers are known by the size of the bell. Has silver braid voice coil leads as aluminum wire making the most of amplifiers like SONY TA-70. Dynatron hadn't used many EMI cores as they were upper class and not available to the mass market.
Right, Baron Alan Sugar's AMSTRAD IC.2000 with the cheapest EMI 150 13 x 8, it was a Full Range without the whizzer of the 150TC and here has a special Bass Reflex ported box. Grille cut away shows bare timber baffles and theoretically incorrect stepped port. Buyer would get as DIY in the early 1970s, small speech dome, possibly Al-Ni-Co motor as above, IC2000 used as an easy amplifier match.
Left Australian Tannoy HPD385 core of later Scottish manufacture shipped to Japan with a box made there and used with Luxman MQ-60 tube amplifiers. The Australian audio equipment and tin-roofed houses belong to a lifestyle that may be unsettling. Long antennae mast poles prevent reflection of radio signals from metal roofs, stereo is sought after differing slightly from other markets. Rank Arena and NEC are popular besides many Australian home market brands and better selling Japanese equipment. Hi-Fi enthusiasts considering moving to a life in Australia might have to change their ways.
Right, Output Transformers in a Bogen SRB20 have 6 watts handling. The smallest magnet AlNiCo speakers of 15-inch diameter, the Output Tube pairs right being feeble but awesome Philips ECL 82.
Left 4-ohm US
market Quam speaker suited to Double-Ended Philips ECL 82. Tiny magnet and 12-inch mounted on a large baffle. The speaker has a copper drive for low frequency and the motor is very sensitive. The 6
watt Bogen sold by RadioShack in the 1961 year doesn't suit any modern speakers. If enthusiasts use the old vintage matching speakers, they'll be happy. If using vintage cores carefully check whether an amplifier is Single or Double-Ended. An unknown speaker may come from an organ and not be Hi-Fi but for musical instrument use, the correct match will reward efforts. Below EMI STD399 Controller and stereo 381 power amplifier with 80dB S/N Ratio and 30Hz-20KHz.
Left the pleated edge EMI 550 professional broadcast core for Low Damping Factor, under 10. These speakers sound good near Damping Factor 5 but the 'Class A' Single-Ended speakers are built differently and the enthusiast has to try different fixes for best effects. The three-element 550 speaker cone resembles the 92390CM but suits different amplifiers. The PVC edge is from 11 and the 'roll edge' near 30. The 80dB of the EMI 381 is 10dB above that of the QUAD II and this is aimed at expensive tweeters. The EMI tweeters weren't available to the mass-market in their day and are the best of this vintage. Below lower society, HMV set not mass-market but available at the specialist dealer.
Right, late 1950s EMI Glyndebourne IV, was unknown to the general public and used the 9206 speakers. The photo is unique, the record player a Garrard likely to outperform just about everything else despite the dated looks. The HMV above uses a version of a BSR QUANTA 700 turntable below, seldom seen but affordable where available.
Left the NAD 5040 turntable a rebadged ADC/BSR QUANTA 700 above popular in the US, the maker of Accutrac 4000 that played stacked records without damaging the record playing surfaces. The Ferguson 3939 was used by NAD in the cheapened form of the 3020 amplifier, which is the best selling piece of Hi-Fi equipment of all time. If a project delivers far less than hoped, maybe you're not making the most successful of activiti
Left, Omar Skinner & Sons was the loudspeaker manufacturer of the Sultan model featuring a unique EMI 13 x 8 known as the 92390DW for the germanium transistor output on the British LEAK Stereo 30 amplifier. Below is seen a professionally tinkered with 30 and many of the original carbon resistors have been left which in such an old item is surprising. Left button mouse click on the image for a better view. You know the new capacitors are much smaller and a few of the wire-wound resistors have been replaced with red ones, so hobbyists take note that wire-wound don't last forever either and new ones need to be exact values from the original resistor code.
Note that the LEAK Stereo 30 Plus is different having a Silicon semiconductor output and comes in about three revised editions, but the OMAR Sultan left is only for the germanium transistor output using Mullard AD149 devices. Left and below, both EMI and Peerless tweeters are front of baffle mounted with the mid/woofers rear and the cross bars below, seen in co-axial mounting, increase baffle strength to extend low frequency definition, the 13 x 8 appearing to have a 15 watt voice coil. The germanium LEAK Stereo 30, is more suited to these EMI speakers than to often hooked up modern silicon wafer amplifier sound-tailored speakers.
Right, germanium AD149 amplifier, a 1970s academic built to minimize hum and noise with pin boards and wire better than printed circuit boards, JD hand-wound power irons usually found in reel to reel tape-recorders.
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Left US Military Klipsch KM4, based on domestic KG3.5, similar stamped steel baskets but only available in drab black like 'the tin lizzie', another military machine. Discontinued 1997, launched 1994 used overseas near US military bases. 94dB/1w/1m mainly for rock music. Right 430 watt BIC America, US only, generally occupies rural places like South Carolina, aimed at Heavy Metal, powered by amplifiers like NAD 319 - awesome new, less so later. Below from the SONY STR-313 styling dept REALISTIC STA-2250 was beautiful and impressive but some develop a problem power supply. Below left photo carbaronline, FL.jpg)
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inear styling from Bob Carver's 700 cult following. The idea that SONY custom manufactured for Radio Shack had pleased many.
Left sound quality depends on amplifiers matching speaker build style. A voice coil former is a copper drive for deep notes, aluminum wire is loudest. Formers are longer or shorter, made of paper, metal or types of plastic, affecting tone. Roll edge cones left to move an inch back and forth, Lowther Voigt only 1MM.
Left 4650 were lowest powered of SONY's '1960s V-FET revival', a sale of obsolete spare parts know-how. In 'tube sound' power output is key. REALISTIC STA-120 has feeble, tinny quality despite a boastful catalog power-rating and needs special speakers. The V-FET left has a bigger mains transformer. Catalog brand match for speakers lets us know what to expect. In the US market, SONY speakers were different from other places, usually bigger for large rooms. It's not easy to find old vintage SONY speakers but since they're mass-market,
it will appear in time. The STA-120B and 120C abandon germanium and
Output Transformers so use different versions of the Optimus 1 speaker.
Right Goodmans Axiom 101 were middle class in the 1940s and 50s than in the 1960s, markets in the United States and to a lesser extent Canada, opened up, mainly Knight's custom and the Axiom 80, then 201 then 301 twin cone loudspeakers. Triaxiom is collected in both ceramic ferrite magnet and AlNiCo by enthusiasts of tube amplifiers bearing the obsolete EL37. More elaborate Art Deco style boxes are seen in the United States using Jensen and University. Many 1960s Goodmans boxes are much plainer than 1960s American brands. Below some 1940s middle class, batting appears to include net curtains and cushions placed around the square port from days of postwar austerity, many materials rationed in England.
Left the strange WER Co speakers were very loud and lower middle class, soldiering on into the early 1970s as a throwback to 1950s QUAD II of Damping Factor 11 for their orange cloth edge. Nobody added any batting to these. Goodmans were middle class in the 1960s and before. WERC is a pricey vintage bought by followers of vintage tube equipment. Addition of batting to Goodmans Axiom 101 left above suggests lots of time spent reading High Fidelity magazines and pottering about with effects, largely due to dissatisfaction with the lowest frequency notes. QUAD II is a very sought after vintage amplifier today and speakers it uses best, probably encourage some trial and error. <<WERC HF1012 are a 10" diameter (chassis) twin voice coil loudspeaker originally for column speech arrays, today favored by electric guitar players. Dual coil: 3.75 Ohms both coils in parallel, 7.5 Ohms one coil driven, 15 Ohms both coils in series. Wrms continuous 12 Watts. Larger diameter coaxial horn Hi-Fi WER is preferred. Public address speakers need careful matching on amplifiers to suit recorded music. 
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Above Concert Grand 1ST800F French Provincial was a 1959 US mass-market version of the British elite's DECCA Decola Aristocrat and from the French motto: Liberté, égalité, fraternité Americans believed many of their cars equal to British Rolls Royce but the 1ST800F has far more tubes than the DECCA original and used horn treble units like the Klipsch, based on the elite British design from Vitavox. 1ST800F 'Phantom' control electronically mimics the EMI speakers in the DECCA but has a lower market record player. Left Wharfedale Dovedale was a rare, 12-inch woofer variant of lower social class speakers introduced in the late 1960s but very good for rock with deep bass notes and Sansui amplifiers.
British Ferguson (Carad) 3990 receiver similar to OLSON RA-98, not as powerful plastic-bodied SANYO output closer to Sansui Au-2900, cold rectifier. Reckoned very good and better than Pioneer, a few special components seen. The tuner has three chip stages like Sansui Tu-3900. Circuits are surface printed like other British sets. Below British HMV 4000 (Black) and 8000 (Silver) have heavy, surplus transformers but the tuner has only AFC, popular.
Right, HMV 24887 speakers for the system above and hefty power heat-sink below. Tweeter by RS Semiconductor and Goodmans labeled mid/woofers that look Far Eastern, probably from Hong Kong before the 1997 transfer of sovereignty.
Left British Ferguson 3933 has a hot rectifier visible lower picture. Far eastern power supply similar to 3930 and STA-78. Click on the image for full view. The output heat-sink is unusually screened off from the separated channel circuitry. The 3933 receiver apparently outperforms anything near the price but is exceptionally rare. Sound is such that the owner wouldn't part with it. Below Carad receivers were bought out by Thorn in England and know-how contained in the Ferguson receivers. Below REALISTIC Electrostat increased the range of speakers for high-quality Lo-Fi recordings (20Hz-13KHz) for use with later Hi-Fi loudspeakers and equipment of 20Hz-20KHz.
Left 92390DW 5 watt motor for EMI 499 amplifier. Pleated edge suits Damping Factor under 10. Stainless steel strips and rubber gasket are the late 1960s. 450 type cone with 20KHz tweeter, wire exits through side slot.
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