What would be you feeling on the design/origin of these loudspeakers. The step for the horn looks like if it is damaging the tweeter dispersion!!!
Thanks for the info Ralph!
What you describe with the 1/4" plate mounted directly to the driver looks practical in the case of the blue-face Westlake in Tuscon that John sent in. That has an inner set of bolts that the driver is mounted to and an outer set of bolts attaching the plate to the baffle. But it would seem that on the very early monitors, where the plate is barely larger than the mounting plates, the baffle must be inbetween the the plate and the driver???
In the third picture I sent in the 2420 doesn't seem to have any support other than the baffle it's attached to??
If you can clarify, or post a quick and dirty sketch I'd appreciate it.
Thanks again for your explanation
glen
"Make it sound like dinosaurs eating cars"
- Nick Lowe, while producing Elvis Costello
That I dont know. You would need an answer from Widget, Giskard, Ian, Zilch, or someone else that really understands the cabinet, and layout on baffle board and how the various drivers/horns interact with each other.
My guess is they put the tweeter where they did, because these speakers were to be soffit mounted, or hung overhead, and this way you got good on axis tweeter response in the listening position, but, this is just a guess.
scottyj
I should add that before they had the 4435,s they were using the 4350,s and while the 4435's had a refined sound it was not the same as having the power of the 4350's. When they fired up the Westlakes it brought back the punch of the 4350's , and with those sweet mids spilling out of the large format driver coupled to the Westlake Walnut Horn!!! Well that's when the 4435,s became westlake stands. The 4435,s have since been sold, gone to europe.
Hi Ralph,
Did the ones you heard have the horns on top or on bottom?
John Storyk, designer of Electric Ladyland and Bearsville studios was talking about the installation of Westlakes at Bearsville in this article:
http://mixonline.com/mag/audio_john_storyk_thirty/
What did you have to choose from in terms of monitors at the time?
Not much. The decision at Bearsville was not mine, but we used the state-of-the-art Westlakes with the big horns. But I was one of the first to mount them upside down, with the big horns on the top. People thought it was because it made it look like a little bear logo, but the reason was to get the high-frequency driver lower to get rid of reflections off the console. That was a very intentional move and helped get a better imaging focus. But Westlake was one of the three or four good off-the-shelf speakers we could choose from in those days.
Upside-down Westlake looking "bearish":
glen
"Make it sound like dinosaurs eating cars"
- Nick Lowe, while producing Elvis Costello
Look what I found (Electric Lady Studios). Thanks for this new search strategy Perhaps this is a very early (c:a 1970) specimen? Maybe the original design was a 2x15"+2" (and someone added 075:s later to the monitors shown in the first post of this thread)? (I'm still looking for the answer to these questions...and these )
Hi Glen,
I can see where you're coming from. I can't see a way of mounting the diffraction plate to the driver as per the interior photo either. I wish I could remember how this was done. It's just a bit too long ago! I'll have a look on the weekend and see if I have a sketch at home somewhere.
I've only heard the big Westlakes in 2 studios and in both cases they were mounted right way up.John Storyk's comments are interesting and may explain my perceptions of the poor imaging from the Westlakes.
Cheers, Ralph
From that last image it would appear the loading device was removed and it was a non std mod.
What is interesting is they did not run with the 2405 or other bullet devices? Regardless it was crude. One can only imagine it was an ultra HF enhancement.
There are currently 1 users browsing this thread. (0 members and 1 guests)