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karpa72
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El Hombre del SACD
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Re: El mejor altavoz de la historia
kike cansino Sáb 28 Ago 2010 - 12:12
bueno, tambien me plantee esta posibilidad para los coaxiales, no lo descarto ..
http://www.maclementhorn.it/PHY-HP_Open_Baffle.html
http://www.maclementhorn.it/PHY-HP_Open_Baffle.html
kike cansino- Cantidad de envíos : 714
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Re: El mejor altavoz de la historia
Invitado Dom 29 Ago 2010 - 11:38
Jajajajajajajajajaja, me parece a mi que como haya un crio por medio!... de momento el pìso, el coche y la custodia sería pa ella!, jejejejeje.
Ahora se dedican a otros segmentos.
Saludos.
Ahora se dedican a otros segmentos.
Saludos.
Invitado- Invitado
Re: El mejor altavoz de la historia
Kapton Dom 29 Ago 2010 - 11:49
AR 3A loudspeaker:
It may have been ugly, colored, and with rolled-off highs, but the sealed-box 3A defined the "Boston Sound" and helped establish the American speaker industry. I never liked it, but I can't ignore it. Pretty much the same drive-units were used in AR's multidirectional LST, which years later was to inspire Mark Levinson's Cello speakers.
Dahlquist DQ-10 loudspeaker:
The Brits hated the DQ-10 for its superficial resemblance to their beloved Quad electrostatic. But with the first Magnepan and the Infinity Servo-Statik, Jon Dahlquist's staggered-baffle speaker helped launch the High End in the early 1970s.
Yamaha NS1000 loudspeaker
Back in the days when paper cones were de rigueur (though a handful of British engineers were playing with plastic cones) and designers were starting down the path to trade off reduced coloration against the need for more and more driving volts from the amp, Yamaha introduced the NS1000. It was sensitive, it used a high-tech midrange dome using vapor-deposited beryllium on an aluminum substrate, and it (ahem) kicked major booty! The Yamaha's major use of technology made many contemporary European and American speaker-makers look more like box-stuffers. I haven't heard an NS1000 in 20 years, and often wonder how it would measure up in today's more refined market.
The Advent Loudspeaker
The late Henry Kloss had the Midas touch: whatever his fancy alighted on turned into sonic gold. In the case of the Advent Loudspeaker, he designed America's first true high-end dynamic sealed-box loudspeaker. And given that everyone was convinced that good speakers needed to use three drive-units, Henry made do with two. He designed the Advent armed with microphone, voltmeter, oscilloscope, and signal generator, but without—the entire generation of speaker engineers who graduated since the early 1980s will be astonished to learn—a computer. Henry made do with talent and ingenuity.
Acoustic Energy AE1 loudspeaker
Designer Phil Jones may have fed the LS3/5A concept steroids, but the AE1 makes the list because it spearheaded the resurgence of the metal-cone woofer, which acts as a pure piston in its passband. (But outside the passband...)
Acoustat 2+2 electrostatic loudspeaker
Between the demise of the KLH 9 and the introduction of the MartinLogan CLS, the Acoustats held high the flag of American electrostatics.
MBL 101d omnidirectional loudspeaker
Critics dubbed this innovative German design the "accordion from Mars," but Jürgen Reiss's bending-mode Radialstrahler drive-units were the first to successfully address the challenge of producing a laterally omnidirectional radiation pattern.
PSB Alpha loudspeaker
Canadian Paul Barton has designed bigger speakers and he has designed better speakers, but none of those has offered so much sound for so little money as the Alpha in all its guises—or, with more than 50,000 sold, has benefited so many people.
Spica TC50 loudspeaker
John Bau's ugly ducking of a time-aligned two-way miniature showed that great sound could be produced from a speaker without the designer having to throw unlimited sums of money at the problems.
Shahinian Obelisk loudspeaker
I first heard the quasi-omnidirectional Obelisk 25 years ago, and it sounded as different then from what else was around as it does now. Richard Shahinian has always gone his own way, guided by his overwhelming passion for classical orchestral music; his speakers fall into the category of "If you love their sound, they're the best speakers in the world for you." However, for Dick to survive and even to prosper through the years lends his efforts a credibility that cannot be acquired in any other way.
Avantgarde Uno & Sonus Faber Guarneri Homage loudspeakers
With American and British loudspeaker design philosophy running along rigidly defined rails by the 1990s, the appearance of these musically communicative German and Italian speakers, which danced to very different design drummers, blew a welcome breath of fresh air into the High End.
KEF Reference 107 loudspeaker
Yes, the elegant R107 was the first high-end speaker to successfully implement a "bandpass" or "coupled-cavity" woofer, but its real importance lay in the fact that it finally rammed home the lesson that speaker design primarily involved engineering rather than art. Yes, art is still an essential part of designing a musically satisfying speaker, but only when that art rides on a platform of solid engineering.
Apogee Scintilla loudspeaker
It wasn't the first all-ribbon loudspeaker from Apogee, it wasn't the biggest, and it probably wasn't even the best-sounding (that was probably the Duetta). It was also a pig to drive, with perhaps just the big Krells up to the task of sinking power into what was, at some frequencies, little more than a short circuit. But the Scintilla was the Apogee speaker that convinced me that the magnetically driven ribbon, with its effortless coupling to the room and its lack of sonic character or coloration, was more than just a historic backwater of speaker design.
KLH 9 electrostatic loudspeaker
An American classic at least two decades ahead of its time. I heard the 9 only once, but I still shiver at the memory.
Meridian D600 digital active loudspeaker
More recent Meridian loudspeakers exceed the D600's performance in every way, but this modest floorstander was the first to show what could be achieved by integrating power amplification and digital technology in a speaker design.
Celestion SL-600 loudspeaker
The first popular compact supermonitor, introduced in 1983. The English company's Graham Bank and Gordon Hadaway decided that, as the main source of coloration in a box speaker is the box, they would effectively do away with it by making it from the Aerolam material used in airplane construction. The copper-dome tweeter used in the SL-600 and its wooden-box SL-6 sibling also pioneered the resurgence of interest in moving-coil drivers with pistonic metal diaphragms. "Had anyone even 1) tried to make a compact monitor sound this uncolored, or 2) charge as much?" asks Wes Phillips. Nope. But what a sound!
Spendor BC1 loudspeaker
Designed by the late Spencer Hughes after he left the BBC, the BC1 was perhaps the finest all-'round loudspeaker to come out of the UK until the B&W 801 Series 2. Too bad its somewhat loose low frequencies were not the optimal match for typical mid-1970s LP playback, and that the CD came too late to save it from relative obscurity.
Thiel CS3.6 loudspeaker
While almost every Stereophile writer nominated one of Jim Thiel's designs, it was the CS3.6, from the early '90s, that was mentioned most often, rather than one of the Kentucky company's flagships. This is because the '3.6 was the finest all-'round package in terms of time alignment, neutral balance, power handling, bass extension, and industrial design—all for about $3000/pair, which, in hindsight, looks like an unbelievable bargain. While Jim Thiel has since designed speakers that exceed the CS3.6 in one, two, or more areas of performance, the '3.6 represented the first full flowering of his talent.
BBC LS3/5A & Wilson Audio WATT loudspeakers
These two tiny speakers—which, apart from being intended to serve as location recording monitors, are as far apart in their design starting points as is possible to imagine—redefined the art of the miniature loudspeaker: the LS3/5A in the mid-1970s, the WATT a decade later. The LS3/5A perhaps represented the finest flowering of a team of audio engineers assembled by the state-run broadcasting company, and which included Dudley Harwood and the late Spencer Hughes.
MartinLogan CLS electrostatic loudspeaker
The elegant and transparent (both visually and sonically) CLS brought electrostats into the mainstream consciousness—you can find MartinLogans on both the small and silver screens.
B&W Nautilus, Infinity IRS, Wilson Audio WAMM loudspeakers
One uses cone/dome drivers in a conventional cabinet (if something resembling a snail could be called "conventional"), the other two use dynamic, planar-magnetic, or electrostatic upper-range drivers in a panel array and conventional woofers in a separate tower. All three were made in minuscule numbers, and all three are the finest-sounding true full-range loudspeakers I have heard.
B&W 801 Matrix Series 2 loudspeaker
Widely used in classical recording studios and high-end systems alike, the revised version of the big B&W took the concept of a high-quality minimonitor integrated with a bass bin to a far wider audience than its $5000/pair price would suggest was possible. "Possibly the best-selling high-end loudspeaker ever sold in the US," notes Wes Phillips, and "certainly the most influential dynamic loudspeaker design of its generation." The current Nautilus incarnation of the 801 builds on a solid base of quality.
Magnepan Magneplanar Timpani loudspeaker
Back in the late 1980s, more Stereophile readers owned Magneplanar panels than any other loudspeaker. Jim Winey's twin ideas of using an array of ceramic refrigerator magnets and bonding a flat wire coil to a Mylar diaphragm allowed him to create a magnetic equivalent to an electrostatic speaker but without some of the latter's problems, and with additional benefits such as ease of drive and much higher power handling. The current Magnepan designs may use a ribbon tweeter and be refined in all areas of performance, but are no different in concept from what Paul Bolin calls "a landmark in the dictionary sense of the word."
Vandersteen 2 loudspeaker
In production for a quarter century and incrementally improved throughout that period, the modest-looking 2 offers astonishingly clean, extended, and detailed sound without ever losing sight of the music. That it does all this for just $1500/pair is a tribute to Richard Vandersteen's talent but also foresight.
Quad ESL-63 loudspeaker
An inspired planar design from a true audio genius, England's Peter Walker, and still in production (as the ESL-988) more than two decades after its introduction, the Quad has survived when bigger, more complex full-range electrostatics have long since disappeared. "A no-brainer classic," writes Paul Bolin. "People will be listening to the ESL-63 40 years from now and loving every minute." Amen. (Stereophile)
It may have been ugly, colored, and with rolled-off highs, but the sealed-box 3A defined the "Boston Sound" and helped establish the American speaker industry. I never liked it, but I can't ignore it. Pretty much the same drive-units were used in AR's multidirectional LST, which years later was to inspire Mark Levinson's Cello speakers.
Dahlquist DQ-10 loudspeaker:
The Brits hated the DQ-10 for its superficial resemblance to their beloved Quad electrostatic. But with the first Magnepan and the Infinity Servo-Statik, Jon Dahlquist's staggered-baffle speaker helped launch the High End in the early 1970s.
Yamaha NS1000 loudspeaker
Back in the days when paper cones were de rigueur (though a handful of British engineers were playing with plastic cones) and designers were starting down the path to trade off reduced coloration against the need for more and more driving volts from the amp, Yamaha introduced the NS1000. It was sensitive, it used a high-tech midrange dome using vapor-deposited beryllium on an aluminum substrate, and it (ahem) kicked major booty! The Yamaha's major use of technology made many contemporary European and American speaker-makers look more like box-stuffers. I haven't heard an NS1000 in 20 years, and often wonder how it would measure up in today's more refined market.
The Advent Loudspeaker
The late Henry Kloss had the Midas touch: whatever his fancy alighted on turned into sonic gold. In the case of the Advent Loudspeaker, he designed America's first true high-end dynamic sealed-box loudspeaker. And given that everyone was convinced that good speakers needed to use three drive-units, Henry made do with two. He designed the Advent armed with microphone, voltmeter, oscilloscope, and signal generator, but without—the entire generation of speaker engineers who graduated since the early 1980s will be astonished to learn—a computer. Henry made do with talent and ingenuity.
Acoustic Energy AE1 loudspeaker
Designer Phil Jones may have fed the LS3/5A concept steroids, but the AE1 makes the list because it spearheaded the resurgence of the metal-cone woofer, which acts as a pure piston in its passband. (But outside the passband...)
Acoustat 2+2 electrostatic loudspeaker
Between the demise of the KLH 9 and the introduction of the MartinLogan CLS, the Acoustats held high the flag of American electrostatics.
MBL 101d omnidirectional loudspeaker
Critics dubbed this innovative German design the "accordion from Mars," but Jürgen Reiss's bending-mode Radialstrahler drive-units were the first to successfully address the challenge of producing a laterally omnidirectional radiation pattern.
PSB Alpha loudspeaker
Canadian Paul Barton has designed bigger speakers and he has designed better speakers, but none of those has offered so much sound for so little money as the Alpha in all its guises—or, with more than 50,000 sold, has benefited so many people.
Spica TC50 loudspeaker
John Bau's ugly ducking of a time-aligned two-way miniature showed that great sound could be produced from a speaker without the designer having to throw unlimited sums of money at the problems.
Shahinian Obelisk loudspeaker
I first heard the quasi-omnidirectional Obelisk 25 years ago, and it sounded as different then from what else was around as it does now. Richard Shahinian has always gone his own way, guided by his overwhelming passion for classical orchestral music; his speakers fall into the category of "If you love their sound, they're the best speakers in the world for you." However, for Dick to survive and even to prosper through the years lends his efforts a credibility that cannot be acquired in any other way.
Avantgarde Uno & Sonus Faber Guarneri Homage loudspeakers
With American and British loudspeaker design philosophy running along rigidly defined rails by the 1990s, the appearance of these musically communicative German and Italian speakers, which danced to very different design drummers, blew a welcome breath of fresh air into the High End.
KEF Reference 107 loudspeaker
Yes, the elegant R107 was the first high-end speaker to successfully implement a "bandpass" or "coupled-cavity" woofer, but its real importance lay in the fact that it finally rammed home the lesson that speaker design primarily involved engineering rather than art. Yes, art is still an essential part of designing a musically satisfying speaker, but only when that art rides on a platform of solid engineering.
Apogee Scintilla loudspeaker
It wasn't the first all-ribbon loudspeaker from Apogee, it wasn't the biggest, and it probably wasn't even the best-sounding (that was probably the Duetta). It was also a pig to drive, with perhaps just the big Krells up to the task of sinking power into what was, at some frequencies, little more than a short circuit. But the Scintilla was the Apogee speaker that convinced me that the magnetically driven ribbon, with its effortless coupling to the room and its lack of sonic character or coloration, was more than just a historic backwater of speaker design.
KLH 9 electrostatic loudspeaker
An American classic at least two decades ahead of its time. I heard the 9 only once, but I still shiver at the memory.
Meridian D600 digital active loudspeaker
More recent Meridian loudspeakers exceed the D600's performance in every way, but this modest floorstander was the first to show what could be achieved by integrating power amplification and digital technology in a speaker design.
Celestion SL-600 loudspeaker
The first popular compact supermonitor, introduced in 1983. The English company's Graham Bank and Gordon Hadaway decided that, as the main source of coloration in a box speaker is the box, they would effectively do away with it by making it from the Aerolam material used in airplane construction. The copper-dome tweeter used in the SL-600 and its wooden-box SL-6 sibling also pioneered the resurgence of interest in moving-coil drivers with pistonic metal diaphragms. "Had anyone even 1) tried to make a compact monitor sound this uncolored, or 2) charge as much?" asks Wes Phillips. Nope. But what a sound!
Spendor BC1 loudspeaker
Designed by the late Spencer Hughes after he left the BBC, the BC1 was perhaps the finest all-'round loudspeaker to come out of the UK until the B&W 801 Series 2. Too bad its somewhat loose low frequencies were not the optimal match for typical mid-1970s LP playback, and that the CD came too late to save it from relative obscurity.
Thiel CS3.6 loudspeaker
While almost every Stereophile writer nominated one of Jim Thiel's designs, it was the CS3.6, from the early '90s, that was mentioned most often, rather than one of the Kentucky company's flagships. This is because the '3.6 was the finest all-'round package in terms of time alignment, neutral balance, power handling, bass extension, and industrial design—all for about $3000/pair, which, in hindsight, looks like an unbelievable bargain. While Jim Thiel has since designed speakers that exceed the CS3.6 in one, two, or more areas of performance, the '3.6 represented the first full flowering of his talent.
BBC LS3/5A & Wilson Audio WATT loudspeakers
These two tiny speakers—which, apart from being intended to serve as location recording monitors, are as far apart in their design starting points as is possible to imagine—redefined the art of the miniature loudspeaker: the LS3/5A in the mid-1970s, the WATT a decade later. The LS3/5A perhaps represented the finest flowering of a team of audio engineers assembled by the state-run broadcasting company, and which included Dudley Harwood and the late Spencer Hughes.
MartinLogan CLS electrostatic loudspeaker
The elegant and transparent (both visually and sonically) CLS brought electrostats into the mainstream consciousness—you can find MartinLogans on both the small and silver screens.
B&W Nautilus, Infinity IRS, Wilson Audio WAMM loudspeakers
One uses cone/dome drivers in a conventional cabinet (if something resembling a snail could be called "conventional"), the other two use dynamic, planar-magnetic, or electrostatic upper-range drivers in a panel array and conventional woofers in a separate tower. All three were made in minuscule numbers, and all three are the finest-sounding true full-range loudspeakers I have heard.
B&W 801 Matrix Series 2 loudspeaker
Widely used in classical recording studios and high-end systems alike, the revised version of the big B&W took the concept of a high-quality minimonitor integrated with a bass bin to a far wider audience than its $5000/pair price would suggest was possible. "Possibly the best-selling high-end loudspeaker ever sold in the US," notes Wes Phillips, and "certainly the most influential dynamic loudspeaker design of its generation." The current Nautilus incarnation of the 801 builds on a solid base of quality.
Magnepan Magneplanar Timpani loudspeaker
Back in the late 1980s, more Stereophile readers owned Magneplanar panels than any other loudspeaker. Jim Winey's twin ideas of using an array of ceramic refrigerator magnets and bonding a flat wire coil to a Mylar diaphragm allowed him to create a magnetic equivalent to an electrostatic speaker but without some of the latter's problems, and with additional benefits such as ease of drive and much higher power handling. The current Magnepan designs may use a ribbon tweeter and be refined in all areas of performance, but are no different in concept from what Paul Bolin calls "a landmark in the dictionary sense of the word."
Vandersteen 2 loudspeaker
In production for a quarter century and incrementally improved throughout that period, the modest-looking 2 offers astonishingly clean, extended, and detailed sound without ever losing sight of the music. That it does all this for just $1500/pair is a tribute to Richard Vandersteen's talent but also foresight.
Quad ESL-63 loudspeaker
An inspired planar design from a true audio genius, England's Peter Walker, and still in production (as the ESL-988) more than two decades after its introduction, the Quad has survived when bigger, more complex full-range electrostatics have long since disappeared. "A no-brainer classic," writes Paul Bolin. "People will be listening to the ESL-63 40 years from now and loving every minute." Amen. (Stereophile)
Kapton- Cantidad de envíos : 11746
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Re: El mejor altavoz de la historia
El Hombre del SACD Dom 29 Ago 2010 - 12:13
Magnífica recopilación de clasicazos, Kapton, todos son referencia, y especialmente para mí las Apogee, Martin Logan y las Quad, porque las electrostáticas son un mundo aparte. En una pista de baile, el primero que saldría ardiendo sería el monitor de la BBC. 
Por cierto ¿en qué rincón del baúl has dejado las ProAc Tablette?
Por cierto ¿en qué rincón del baúl has dejado las ProAc Tablette?
El Hombre del SACD- Cantidad de envíos : 5204
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Re: El mejor altavoz de la historia
kike cansino Dom 29 Ago 2010 - 16:24
Estais preparados?! ahi va lo gordooo!!
que os parece? lo se encuentra uno limpiando el trastero...
si alguien quiere iniciarse con un plato ya sabe..
y por fin esto:
jajaja!!
Joan estas por ahi? te he llamado un par de veces, supongo que estas disfrutando las vacaciones, te seguire llamando.
bueno amigos, ahora queda lo mas jodido..como meter estos "bichos" en casa sin irme a vivir con Galbis, pagar manutencion, casa etc etc.
hablando ya en serio, existe la posibilidad de reducir la medida de la caja fabricando unos recintos Onken,tambien se pueden cambiar las trompetas (este tambien es un mundo aparte), os mantedre informados.
Luis, si te animas a venir a escucharlas..jeje
saludos
que os parece? lo se encuentra uno limpiando el trastero...
si alguien quiere iniciarse con un plato ya sabe..
y por fin esto:
jajaja!!
Joan estas por ahi? te he llamado un par de veces, supongo que estas disfrutando las vacaciones, te seguire llamando.
bueno amigos, ahora queda lo mas jodido..como meter estos "bichos" en casa sin irme a vivir con Galbis, pagar manutencion, casa etc etc.
hablando ya en serio, existe la posibilidad de reducir la medida de la caja fabricando unos recintos Onken,tambien se pueden cambiar las trompetas (este tambien es un mundo aparte), os mantedre informados.
Luis, si te animas a venir a escucharlas..jeje
saludos
kike cansino- Cantidad de envíos : 714
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Re: El mejor altavoz de la historia
kike cansino Dom 12 Sep 2010 - 17:30
Lo siento Kapton, no acepto esa lista sin un modelo mítico de Jbl, seguro que sabes encontrar uno..
saludos
saludos
kike cansino- Cantidad de envíos : 714
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Re: El mejor altavoz de la historia
trocri Dom 12 Sep 2010 - 17:51
Kike Pal-año que viene y si aún siguen esos monstruos y tu en casa me animo a dar una vuelta por los Levantes y hacerte una visita.
Trmendos los Altec
Un saludo
Luis
Trmendos los Altec
Un saludo
Luis
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Re: El mejor altavoz de la historia
kike cansino Lun 13 Sep 2010 - 14:05
Kapton, quizas el modelo Everest de Jbl o la serie "K" ?
Luis, por mí encantado.
Luis, por mí encantado.
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altec
GALBIS Lun 13 Sep 2010 - 14:48
Lo tendras que buscar en mi casa por que en la suya es dificil que el año que viene este......
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Osborne- Cantidad de envíos : 379
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Re: El mejor altavoz de la historia
kike cansino Mar 14 Sep 2010 - 10:40
ahí ahí Osborne!! tú sí que sabes!!
prepara sitio Rafa!
prepara sitio Rafa!
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¿Cuanto pagariais por una Altec Lansing A7?
karpa72 Mar 19 Mar 2013 - 15:51
SACDófilo escribió:Quizás mi afición por la música provenga de aquellos años en aquella discoteca donde me reunía con mis amigos cuando yo no llegaba aún a los veinte años. Es posible que la edad también contribuyera a que era más impresionable, que cualquier cosa me sonara a música celestial... pero no, nunca antes había escuchado nada igual: la pieza "Knock On Wood", de Amii Stewart, era el espectáculo sonoro de cada noche, el primer tema techno de la historia, con aquel "no va más" de la percusión sintetizada. Algún tiempo después llegó Michael Jackson, y el demoledor comienzo de "Billie Jean" te despeinaba por su tremendo punch. Para nada quiero describir lo que para muchos fue lo más demoledor en discotecas y otros garitos, el "Blue Monday" de New Order. El comienzo del fin, inmediatamente antes de que alguien estrenara un maravilloso CD player en la cabina, llegó con el "Relax" de Frankie Goes To Hollywood. Puede parecer extraño a las nuevas generaciones si digo que yo particularmente iba a esa discoteca más para degustar la música que para flirtear con las chicas, pero es cierto. La figura del disc-jockey por entonces sí que era una auténtica deidad, y él era quien se llevaba a las niñas de calle, de manera que... a seguir escuchando.
Una noche, un foco perdido me permitió ver algo en la oscuridad de la pista y yo, tan curioso, me acerqué a uno de los dos altavoces que se erguían en un rincón como un bulto oscuro e informe. Entonces, pude ver su nombre en la chapa: "Altec Lansing". Ese nombre lo repetí varias veces para memorizarlo. Tenía la intención de indagar sobre aquello que me parecía tan bueno y tan exclusivo.
Cosas de la vida. Tras echarme una novia (naturalmente, fuera de la disco), las circunstancias me llevaron al mundo del sonido profesional. Batallé con varios equipos, pero curiosamnete el nombre de Altec no volví a verlo nunca más. A día de hoy, sigo ganando mi pan delante de una mesa de mezclas, y algunas veces me acuerdo de aquellos años en aquella discoteca, y lo redondo y poderoso que me parecía el sonido del viejo altavoz con un buen vinilo.
Tras este pequeño feedback personal, voy a por la historia de lo que me enamoró hace ya bastantes años.
All Technologies (Altec) es posiblemente la marca más antigua de altavoces de la historia. Nació como consecuencia de la Ley Antimonopolio norteamericana, que obligaba a Western Electric (en la década de los 20 la única empresa dedicada al cine sonoro) a dividirse en otras más pequeñas. Tras la unión con un experto en metalurgia, James B. Lansing (JBL), nació Altec Lansing, que se expandió rápidamente al desarrollar un concepto de cabina sonora, con una gran caja de graves y una unidad de agudos por encima con una trompeta y difusores. Fue el nacimiento del mítico "Voice of the Theatre", cuya patente data de 1927 y que siguió fabricándose sin pausa, y con pequeñas modificaciones, hasta la decáda de... ¡¡¡los 90!!!. No hay nada parecido en la historia del sonido, un modelo de altavoz que se haya fabricado en serie durante nada menos que siete décadas. Hace unos años, concretamente en 2006, se intentó el renacimiento del modelo, sin demasiado éxito. Aquí el enlace:
http://www.audioworld.com/stat/pr/0305/28.altec.lansing.legacy.a7.loudspeaker.shtml
Altec Lansing actualmente no es ni la sombra de lo que fué en sus días de gloria. En algunas empresas de informática podemos ver la marca exhibida en sistemas 2.1 para ordenador, qué vueltas da la vida.
Aquí, un buen enlace para saber más sobre el tema, que me ha servido de referencia para abrir este post:
http://www.escuelasuperiordeaudio.com.ve/ampca/altavoces.htm
Esta es la larguísima historia de Altec a través de su catálogo:
http://www.altecpro.com/products/vintage/index.htm#systems
Y si alguien sabe de un Altec modelo 7 que siga en funcionamiento, por favor ¡mándame un mensaje de inmediato, y vamos todos a escuchar la gloria de otros tiempos!
Última edición por karpa72 el Mar 19 Mar 2013 - 15:52, editado 1 vez (Razón : Sin duda es un altavoz muy especial.)
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Re: El mejor altavoz de la historia
Punkylex Miér 4 Sep 2013 - 14:07
Kapton escribió:
Yamaha NS1000 loudspeaker
Back in the days when paper cones were de rigueur (though a handful of British engineers were playing with plastic cones) and designers were starting down the path to trade off reduced coloration against the need for more and more driving volts from the amp, Yamaha introduced the NS1000. It was sensitive, it used a high-tech midrange dome using vapor-deposited beryllium on an aluminum substrate, and it (ahem) kicked major booty! The Yamaha's major use of technology made many contemporary European and American speaker-makers look more like box-stuffers. I haven't heard an NS1000 in 20 years, and often wonder how it would measure up in today's more refined market.
Última edición por Punkylex el Miér 4 Sep 2013 - 20:22, editado 1 vez
Punkylex- Cantidad de envíos : 668
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Re: El mejor altavoz de la historia
Titoven Miér 4 Sep 2013 - 14:47
Hace 34 años mi padre inaguró la discoteca con las Altec Lancing, despues hubo Cerwin Vega,Celestion con trompetas JBL, pero ya....nada fue igual. De esas Altec salio pasta para hacer cine y sala de 2000m para fiestas y conciertos en directo.
Todavia recuerdo cuando me iba con amigos y mejor aún con alguna amiga jeje, en fuera de horas de sesiones, lo bien que sonaban tambien a volumen bajo.
Saludos
Todavia recuerdo cuando me iba con amigos y mejor aún con alguna amiga jeje, en fuera de horas de sesiones, lo bien que sonaban tambien a volumen bajo.
Saludos
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Re: El mejor altavoz de la historia
Punkylex Miér 4 Sep 2013 - 15:18
Según Geoff Emerick, el ingeniero de sonido de los Beatles, usaron una Altec 604 para monitorizar las grabaciones. La mayor parte del tiempo, una única caja, ya que los discos se hicieron para el mercado «mono».
Al contrario, en los años 50 y a principios de los 60, los Fine grabaron sus míticos discos del sello Mercury Living Presence con 3 Altec, la tercera caja se usaba como vía central.
Al contrario, en los años 50 y a principios de los 60, los Fine grabaron sus míticos discos del sello Mercury Living Presence con 3 Altec, la tercera caja se usaba como vía central.
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Re: El mejor altavoz de la historia
ahele Miér 4 Sep 2013 - 19:46
Eso mismo que comentas vos se decia sobre los monitores de campo cercano los yamaha ns10. Para muchos sus agudos eran muy estridentes e insoportables, pero eran la referencia en estudios de grabacion (siempre ve un par en cualquier estudio)Punkylex escribió:Este modelo es mítico pero por otras razones que por sus «cualidades» sonoras. Los ingenieros de sonido lo usaban porque era tan difícil hacer que algo sonara bien con él que si lo conseguías, tenías asegurado que tu grabación sonara de maravilla con cualquier otro altavoz. Fue un modelo odiado por muchos y adorado por otros tantos.Kapton escribió:
Yamaha NS1000 loudspeaker
Back in the days when paper cones were de rigueur (though a handful of British engineers were playing with plastic cones) and designers were starting down the path to trade off reduced coloration against the need for more and more driving volts from the amp, Yamaha introduced the NS1000. It was sensitive, it used a high-tech midrange dome using vapor-deposited beryllium on an aluminum substrate, and it (ahem) kicked major booty! The Yamaha's major use of technology made many contemporary European and American speaker-makers look more like box-stuffers. I haven't heard an NS1000 in 20 years, and often wonder how it would measure up in today's more refined market.
Pero de los ns1000 no lei ese tipo de comentarios, es mas los escuche hace unas semanas y me parecieron muy agradables (aclaro q me gusta el sonido tirando a plano pero sin tanta dispersion)
Lo mejor son sus medios.
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Re: El mejor altavoz de la historia
Punkylex Miér 4 Sep 2013 - 20:21
Ups, tienes toda la razón, se trataba de las NS10. Lo corrijo ahora mismo. Gracias y mil perdones por la confusión.
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Re: El mejor altavoz de la historia
arfmma Mar 10 Sep 2013 - 18:31
interesante hilo,no conocía esa marca....
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