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32mm aluminium dome tweeter on a Celestion SL6 si hifi speaker.
Leitz Wetzlar colorplan projector lens on M42 helicoid.
Focus stack of three images.
MacroMondays.
Explore! 1/9/20.
Shell Creek Road during the Perseids. Cars coming and going down the road lit up the windmill and tree nicely. The Pilates star cluster is just to the left of the windmill above the horizon. About 1/4 down from the top of the image and between the Pilates and the windmill is the Andromeda galaxy. This is a 71 second exposure using the iOptron SkyTracker and a Celestion mount.
The history of Marshall Amplifiers has become a source of great fascination and interest over three decades. In 30 years of manufacturing we have made a vast number of different models using many materials and techniques. People like Jimmy Page, Jimi Hendrix, Pete Townshend of the Who, Tony Iommi, Eric Clapton, Jeff Beck, Ritchie Blackmore are just a few of the many Marshall Amps users.
Documentation from those Marshall amps early years is virtually non-existent. The pressure to build amplifiers was so great that detailed record keeping was impossible. This pressure also created anomalies in the products themselves as component and minor cosmetic changes could be phased in at any time where supplies ran out but production had to continue. The following information is a rough guide to the major changes in the most popular Marshall models since 1962.
Jim Marshall made his first amp back in 62 in order for the bass guitarists to be as loud as the drummer. This was mainly for Rock music and musicians as the drummers simply played louder than that of say a jazz drummer. In fact Jim was a drummer and I'm sure he wanted to be able to hear what they were playing. He had a music store in England and sold Fender amps. His favorite was the 59' Bassman (which is actually a great sounding guitar amp). The problem as Jim found it was these amps where too expensive.
He decided to make them as inexpensive as possible by limiting the 'features'. This ended up being an amp with a single speaker impedance, and very similar controls as found on the Bassman. The JTM45 was the first Marshall amp. It had 25 watts of power and a different sound than that of the Fender Bassman mainly because different output tubes where used, the KT66. It had a softer sound than that of the Bassman. Later the KT66 was replaced with the EL34 which further changed the sound of Marshalls. By adopting the EL34 meant different output transformers where used.
In the beginning Marshall Amps a number of amps where designed, each to be used for a different purpose: PA (Public Address), Organ, Bass and Guitar. The JTM 45 was often used with two column type speaker cabinets for PA systems. Later when the 100 watt Marshalls where developed, many variations of the amp were used for particular purposes. The PA versions had an extra 12AX7 to allow for extra input channels. They also added two more output tubes (EL34) and larger output transformers. The early Marshall amps didn't yet have a Master Volume control. For the bass amps usually the only difference was an added capacitor placed on one of the inputs that would filter out some of the high frequencies. It was the Bluesbreaker amp or Model 1962 combo amp which really put Marshall on the map. This amp was used by Eric Clapton in the legendary John Mayall Bluesbreakers.
The master volume actually came into being around 1975. With a master volume control you could overdrive the preamp tubes to get a more distorted sound without blowing down the walls. The sound wasn't like Eddie Van Halen but more of a bluesy fuzz sound. The only way to get a great distorted guitar tone was to turn up the amp to overdrive the output tubes and speakers. Celestion Speakers where used in most of these amps. They would of course vary depending upon the type of application. The Guitar amps use them in a number of different configurations, ie. 2 x 12" open backed cabinet to 8 x 12" speakers in a closed back cabinet.
Bass: Lavoce WSF152.50.
Horn: Celestion H1-9040P.
Compression driver: Lavoce DF10.172M.
128l closed box made from baltic birch plywood.
www.der-akustische-untergrund.de/speakers/power-hifi-proj...
Asathor is an entertaining and competent hi-fi speaker, not a party speaker.
I expected a bit of aggressive sound from the horn, but this is far from the truth. The 15" bass is not very dominant, but rather dry.
Following on from a recent clear-out of the garage, I've been able to have a bit of a reorganisation of the shed. This meant I could unpack some boxes which were filled some 7yrs ago...
The desks are cast-offs from work, two have been set up so my son can join me out there. Just need to fit a proper worklight under the shelf.
My 1970s Celestion speakers have found a better home too, and with the CDs and records more accessible I can play all sorts of awful music while I build kits, leaf through old magazines and brochures etc.
With lots more work planned on the house this year I'm not entirely sure when I'll be able to enjoy this time out there, but it's good to know that I could.
Fender Roadworn 50’s Telecaster and a Vox AC15C1 with Celestion Greenback. From sparky cleans to snarling growl, from dude to rude, this combination got it covered. I think I just found my new worship gear tone..
Dating from about 1953, this vintage radio is in full working order. It simply needed decades worth of dust extracting from the cabinet, and two new scale (tuning dial) lamps fitting.
With the back cover removed, the Mullard valves can be seen glowing in their full glory.
Reception on Long Wave is excellent, although obviously there are fewer and fewer stations available these days. Nevertheless Radio 4 sounds rich and clear at it's original position on the dial.
With sources of interference such as televisions turned off, the sixty year old Celestion speaker produces a very impressive sound.
In 1948 Fender made the first amp dressed in tweed. Thank you almighty guitar angels for this day.
I play on tube amps. I guess that´s a bit like shooting with film when it comes to photography. I love the film look, I really do. But I´m still fascinated by the fact that you don´t have to spend hours in the lab, developing and such. Well you can send the rolls away, but anyway... And though being a very calm man, I´m still very restless and don´t like to wait for things. Same thing with eg vinyl records. They´re just better, softer and more alive than cd's I think. And the old records, with two sides, contains a dramaturgy with their two sides. Planned in detail by the musicians and producers. The first track is always good. And the last on the first side is often quite good. But the first track on the second side, it´s often that one that blows you away! With a cd this drama is totally lost. And the images were often cooler on a big LP too..!
Today I´m listening to Grateful Dead. Again, after many years. (On mp3's... lazy me... lol.) Thanks for reminding me Jim!
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One of the more recent additions to my vintage radio collection, an Ever Ready Sky Master dating from approximately 1962. It was in very good condition when I purchased it, although it did need a good clean, and one of the control knobs needed to be repaired. The usual modifications were also necessary in order to accommodate modern batteries.
This set was released after the Ever Ready Sky Leader which I also have in my collection, and is slightly smaller:
The Sky Master continues to work well, and is in daily use, however, it does suffer from a peculiar and interesting issue known as "tin whiskers".
This set contains Mullard's AF series transistors, the construction of which consisted of the junction mounted inside a metallic case, insulated with a silicone grease. Over time very fine tin dendrites grow between the junction and the casing, eventually causing an internal short circuit and loss of operation. The only cure is to replace the transistors, but tapping them with a screw driver breaks the dendrites but they do grow again.
The tin whisker problem had some very serious ramifications, and was studied extensively by NASA as the issue affected the operation of their space craft causing major safety concerns. More recently the issue was rumoured to be the cause of certain Toyota car models accelerating without the driver depressing the throttle!
My Sky Master is in original condition, so I plan to persevere with it for now, although I may need to replace the transistors at some point.
This 1970s Rola Celestion G12H 30 "green back" was the driving force behind some of the best sounds ever produced by a British valve guitar amplifier.
Canon 5D Mark II
135 f2L @f2
Fender Deluxe Reverb 73' blackfaced by George Alessandro w Celestion Blue
This is the cardboard cone from a 1970s Celestion G12H speaker that would have been fitted into a Marshall guitar amplifier of the day.
MC2015 was launched from 1970 to 1975 with 105 wpc so it's a good competitor to the SU-V8, of course, the tonal quality also relies on the preamp, therefore pairing with C26 or C28 would be appropriate in terms of manufacturer and same year of production.
I sent this combo for clean up the dials and switches after 6 months of enjoyment to fix the weak left channel on both the pre and power amps. Glad that nothing wrong with the caps and other electrical parts so they are in original components and specs.
Listened for about 2 months after brought back from an audio shop, until today when I finished the "A/B test" I know what are different to the 100-watt Japanese amps I owned. For sound characters, if only compare to my Technics and Sony, this Mcintosh combo produces richer, softer tones at all ranges, no harsh in highs while the bass is less solid than the SU-V8*, or I would quote some others' comments of this combo - "produce tube-like sounds", lively and warm in other words I can use. If the Sony is a 2D video player, this combo plays 3D.
Mated with the SL6si, the soundstage presentation was gorgeous. Even without today's test, I found that the C26+MC2105 made my SL6si sounds like having a pair of 8" woofers, especially low-frequency bass in the background. I knew every Celestion SL series speaker owners already mentioned higher power amp will definitely improve the sound from the SLs, among these 100-watt amps, only Mcintosh with 2 soft-drink-can-sized capacitors can do the job right no matter with jazz, classical, or pop music.
Background noise may be the only concern for some owners, a good setting could make it subtle.
*Note: Comparison base on SL6si and 2600 speakers. Different speakers with larger low-frequency drivers and 1-way, 3-way or 4-way speakers will be different.
A Celestion G12 speaker from the 1970s. It was once fitted to a Marshall 2x12 combo.
Can you see the 2p coin stuck to the side of the magnet?
Unedited, uncropped.
As is (apart from the watermark.)
Squier SP-10 amplifier, as it was in the beginning!
A fun little thing, but I liked the way it sounded through a bigger speaker, and I always fancied a "tweed" amp.
So, a trip to the charity shop later I had one tweed jacket and one sparkly top and after some chopping and glueing I had me a baby tweed head.
I made the speaker cab a few years ago from a wooden storage box from Homebase, back before I had a place to do woodworking. It's closed-back and has a 10" Celestion Gold speaker in it from an old Marshall 4x10. It barks!
Dating from about 1953, this vintage radio is in full working order. It simply needed decades worth of dust extracting from the cabinet, and two new scale (tuning dial) lamps fitting.
With the back cover removed, the Mullard valves can be seen glowing in their full glory.
Reception on Long Wave is excellent, although obviously there are fewer and fewer stations available these days. Nevertheless Radio 4 sounds rich and clear at it's original position on the dial.
With sources of interference such as televisions turned off, the sixty year old Celestion speaker produces a very impressive sound.
Got these a few years ago on eBay, they are originally from the early 90's. I'm using them for the rear channels in my home theater system.
Peace To All,
It's been a long while Here is my speaker wall. All speakers I've found in the streets, thriftshops, and Salvation Army. I fixed them all. They are all working and connected via speaker switch and different receivers.
Speakers are:
Polk Audio
Cerwin Vega RE 16
Celestions
Genesis Model 1
Spendor BC2
Nova/Pioneer Hybrid
ADS L710
Technics
Infinity RS-6
Enjoy..
Blessings To All.
There is no specification of C70 (S70)'s sensitivities anywhere, but refer to L100's spec, C70 should have a 1 watt to 78dB at 15’ distance, more than L77’s 74dB and SL6si’s 84dB*. The biggest (dimensions) speaker among all others in my collections, driven by the smallest (wattage) amplifier in my hands gave me an interesting experience.
I hooked up the tube amp after listened to the SS state amp, and then played the same CDs from vocal, classical, to jazz. Tubes become more stable after more than 40 hours of burn time, I didn’t find any big different between tube and solid-state amp in terms of speed and “warmth” sound.
MP-301 works pretty well with the 12” drivers and 12” passive radiators, no muddy bass at all listened music. Punchy mid-bass sounds were still achieved but a bit softer than using the 50-watt SS amp that may be the character of tube amps’ “overlapped tones”.
This 6.5-watt single-ended tube amp does pushing C70 better than I expected, the highest volume I turned to was 3 o’clock with no change in clarity, and the mid to high tones were as good as SS amps. If anyone has a pair of JBL L100 or small 43xx I will say this amp is still a good powerhouse for not-so-loud music (rock or club music) listening, and definitely no problem with any higher sensitive speakers from other brands.
Updates:
*Celestion measured at 1M /3.3 feet, the set distance for modern measurement.
According to a document from Daedalus Audio, www.daedalusaudio.com/images/loudspeaker sensitivity.pdf, speaker sensitivity drops about 6dB when double the distance, base on JBL's rating at 15 feet, the closest multiplied distance is 13.2 feet and reduced 12dB. In reverse L77 could have 86+dB and C70 has 90+dB.
The number now make more sense and explained why C70 sounds better than L77 and SL6si with this small tube amp.
This immaculate Ever Ready Sky Leader is another of the sets in my vintage radio collection. The Sky Leader was one of the very first transistor radios to be commercially available. The advent of semiconductors made radios truly portable for the first time, and battery manufacturer Ever Ready seized on the opportunity as a way to promote it’s battery products.
Produced by the Ever Ready Co. GB Ltd.; London, the Sky Leader is a six transistor two-band portable receiver radio. This particular example, which is in full working order, was originally owned by a gentleman in Newton-on-Trent, Lincoln and dates to the early 1960’s.
The Mullard transistors used in this radio are quite unlike modern transistors as they are semiconductors based on Germanium rather than Silicon. Germanium transistors operated on a different technological principle to their silicon successors, however, they proved immensely reliable and many sets like this one contain the originals.
In addition many audio specialists still today prefer the sound produced by Germanium semiconductor based amplification circuits over those which utilise silicon transistors. This preference gives rise to the term “Germanium sound”, as it is claimed that Germanium semiconductors produce a smoother and more acceptable distortion. For this reason amplifiers based on Germanium transistors are still in use, and original Mullard transistors sell rapidly on sites like eBay.
This radio also contains a high quality Celestion speaker. The Celestion company began manufacturing speakers in 1924, and is still operational today. Celestion speakers became known as the 'voice of rock & roll', and were the preferred choice of iconic musicians such as Jimi Hendrix and Slash. Their products installed in radios like this one, and earlier valve sets are still performing flawlessly many decades after they were produced.
Other components in this set such as capacitors were manufactured by Plessey, a company founded in 1917, and of course one which is still at the fore front of the electronics industry today.
Unlike the electronic component manufacturers, Ever Ready faced more difficult times, as eventually battery manufacture became a commodity and migrated to low cost manufacturing countries in the Far East. However, although not well known, Ever Ready has a strong link with Walsall, because in 1972 the company acquired J. A. Crabtree & Co, who had a factory in the town. However, Ever Ready (and indeed Crabtree) was the subject of a hostile takeover by Hanson Trust in 1981. The Hanson Trust effectively ended Ever Ready’s long history, and the last Ever Ready radios were produced in the early 1980s.
with Mesa Boogie 4x12 Celestion Vintage 30's equipped cabinet.
Effects: Jim Dunlop 535Q Cry Baby, Boss VB2 vibrato, Ibanez TS10 Tube Screamer, Electro Harmonix Big Muff Pi, Mesa Boogie V-Twin tube preamp, Ernie Ball volume pedal, Korg PitchBlack tuner.
Guitars: Fender American Standard Stratocaster, Gibson Les Paul Classic Plus
This was a 386 33Mhz system that I bought off of a coworker. Later I upgraded it to a 486 80Mhz! The Desk was made by Bush and was heavy as hell! I had that desk up until Oct 2013 when I moved out of my previous apartment. I had the bad feeling I wasn't going to find work anytime soon (which turned out to be correct) so I threw it out with a lot of other stuff.
Some upgraded audio components here too, a Hafler DH500 power amp and a NAD preamp. The small speakers on the desk are Celestion 3's. Later in the late 90's I gave the 3's to my brother when I picked up a pair of Celestron 5's on ebay.
Celestion started in Hampton Wick (a suburb of London) in 1924. Celestion Radio Company and Celestion Limited were formed in 1927, and two years later the company moved across the Thames to Kingston. The company grew rapidly, but was hit by the depression. Wartime restrictions forced Celestion and the nearby British Rola Company to produce loudspeakers to the same specification; British Rola bought Celestion in 1947 and moved production to Thames Ditton a year later. The name of the company changed to Rola Celestion; with its products sold under the brand name "Celestion". Production of radio, television and "hi fi" speakers continued in the postwar years. Rola Celestion was bought by Truvox - a manufacturer of public address systems in 1949.
In 1968 the company started production in Foxhall Road, Ipswich, Suffolk, moving all production there by 1975. The company merged with a clothing company in 1970 and the result was named Celestion Industries, which in turn became Celestion International in 1979. In 1992 the loudspeaker part of the business was sold to Kinergetics Holdings, which also bought KEF.
Today Celestion International and KEF form GP Acoustics UK. In 2006 Celestion ceased to manufacture pro audio finished systems and now completely focus on the manufacture of guitar, bass guitar and pro audio drivers.
The Very High Quality speakers described in this advertisement were manufactured in Ipswich in the 1970s. The advertisement is taken from the HIFI Year Book 1977
Squier SP-10 amplifier.
A fun little thing, but I liked the way it sounded through a bigger speaker, and I always fancied a "tweed" amp.
So, a trip to the charity shop later I had one tweed jacket and one sparkly top and after some chopping and glueing I had me a baby tweed head.
I made the speaker cab a few years ago from a wooden storage box from Homebase, back before I had a place to do woodworking. It's closed-back and has a 10" Celestion Gold speaker in it from an old Marshall 4x10. It barks!
Dating from about 1953, this vintage radio is in full working order. It simply needed decades worth of dust extracting from the cabinet, and two new scale (tuning dial) lamps fitting.
With the back cover removed, the Mullard valves can be seen glowing in their full glory.
Reception on Long Wave is excellent, although obviously there are fewer and fewer stations available these days. Nevertheless Radio 4 sounds rich and clear at it's original position on the dial.
With sources of interference such as televisions turned off, the sixty year old Celestion speaker produces a very impressive sound.
Looks good! The styling is similar to the classic 1960TV cab from Marshall: Bluesbreaker cloth, gold piping etc. It also uses birch ply throughout. Sounds almost like a 4x12 but I can carry it myself.
Speakers: Celestion Heritage G12-65
Dimensions: 750x600x360 (mm)
Squier SP-10 amplifier.
A fun little thing, but I liked the way it sounded through a bigger speaker, and I always fancied a "tweed" amp.
So, a trip to the charity shop later I had one tweed jacket and one sparkly top and after some chopping and glueing I had me a baby tweed head. Can you spot the one place I couldn't quite stretch the cloth to...?
I made the speaker cab a few years ago from a wooden storage box from Homebase, back before I had a place to do woodworking. It's closed-back and has a 10" Celestion Gold speaker in it from an old Marshall 4x10. It barks!
Nice sounding little system, set up to try out a few components:
Harman Kardon PM650 Amplifier
Celestion Ditton 100 Speakers
Technics SL-D3 Turntable
Rotel RCD-865BX CD Player
Taken with Pentax K-01 + SMC-M 28mm f2.8
Pair of Ditton 15 XR loudspeakers designed and manufactured, c.1977, by Rola Celestion Ltd., Ipswich, Suffolk, England. 56x25x24cm., teak veneer finish.
(CC BY-NC-SA 2.0)
One of the best-sounding portables ever produced. This one dates from 1969 or 1970, which were probably the peak years for Maidenhead-based Hacker, before increasing market pressure from far-eastern built sets forced economies which resulted in quality compromises for later sets, even those of the premium Sovereign line.
This set was fitted with a Celestion 8 x 5 inch/ 20.3 cm elliptical speaker (earlier models had used Goodmans speakers) giving famously good sound. Like most of the best radios of this era, the set requires two PP9 type batteries for operation.
I sold this set yesterday.
P1150088 E-PL2 with Zuiko 50/1.4