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New or vintage crossover for A5 VOTT

I wonder if they got the tooling from Bill Hayes.

Any idea how many 3000 series tweeters were produced? It’s always seemed like a low production driver compared to other Altec HF drivers. I could be wrong about that though, it’s just based on how many I’ve seen in my audio searches.
 
MissionX said:
Pete Riggle builds them and sells them for big money. He states the most important component is using musical capacitors. I'm quite pleased with mine, but want to make it a little more personal, that's how the inductor winding came up. I am going to get oil filled capacitors for sure. I'm not quite sure how to find musical oil filled capacitors. I find some on ebay, but I don't know if they are "musical". I have emailed Pete and awaiting response.
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What did you find out from Pete? I have been to his place a few times and have seen the boxes of oil caps he has for sale. Been meaning to use some.
 
I haven't corresponded with Pete in a while.His website has been updated with information that answered some of my questions. I have gathered that the higher voltage rating oil filled capacitors are preferred. I have also concluded that he prefers stacking the capacitors instead of using just one. I have seen others doing this and not sure why. I have been gathering capacitors to update my crossover.

Can I put some 8 ohm diaphragms in without rebuilding the whole HF section to give them a listen?

You win the best avatar prize. Another guy has a good one with the gal's jeans falling off.
 
I bought some of the 40-1228 Realistic tweeters the other day and I'm sold on the 3-way. Gives it a little extra kick. Since these were only like $25 apiece, I could probably afford to step it up a notch. I have the tweeter crossed with a 2uF cap as per another member's recommendation. It's hidden behind my horn to reduce the volume until I get L-pads. Any highly regarded tweeters to use in a VOTT system with my drivers? I have the 3000s, but I'm not ready to drop a grand on the repair quite yet. TIA
 
Nyjblbob said:
At 10 watts on 288’s with any decent Altec horn
I doubt you could even stay in the same room with them for more than song
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I have A7's tuned on their sides with 1003 ten cell horns on what use to be the side mounted on stout frames with 288 hf drivers.
They have GPA 515's in the cabinets with Dynaco tubes running them.

This is for near field listening .
 
Bought a NIB Fostex T90A for a half decent price, so it looks like I'll be going that route even if I have to pay retail for the other one.
 
Got my other T90A and I'm liking them. The high hats and cymbals are nice. Rock and Roll by Zeppelin has something that wasn't quite right before. Diana Ross's voice seems clearer on the old Supremes' hits. Now my Hiraga has 2 L-Pads and a tweeter circuit. There is also a 2245 sub. Sounding pretty good. It's nice listening to all my favorite songs again and getting a new experience. I guess I should mount the tweeters back in the magnet plane of the other drivers since I'm not using an electronic crossover on the A5s. They could be strapped to the magnets of the 288s since they have the wooden mount to sit on.
 
Been familiarizing myself with the DBX PA2 over several weeks and decided to try tri-amping. There is a Maggie 8601 console amp for the highs,(288B with paper diaphragms) ST70 on the Mids,(515B) and a bridged Crown CP660 on the stereo subs, (2 x 2245s). I haven't incorporated my T90As yet. Don't have a pre-amp as I'm running everything full-bore through the PA2 and adjusting the levels in the crossover. Sounds pretty decent, but missing a little of the warm mid-bass the Hiraga network has. I will say the troubling frequencies in Sounds of Silence I've been whining about has diminished quite well. EQing is challenging and a slow process. Drums sound better, crisper and more present when they hit hard. I can feel them in my stomach which is weird. There is a choice of BW and L-R crossovers in the PA2. I'm using the Low(+3db)-Mid(+4db) crossed at 90 Hz with a L/R 24 db/oct and the mid(+4db)-high(-3db) crossed at 770 Hz with L-R 36db/oct. I was wondering if there is a way to determine the ideal crossover frequency by analyzing driver output data? I have DATS and REW and a UMIK-1. I've been over to Linkwitz Lab and it's a bit overwhelming.
 
Good question!
I just changed recently my subwoofers and I'm playing in there right now, that's the first question that comes to mind. I'm not an audio engineer so as you say "EQing is challenging and a slow process" but trial and error is for the moment my only method and pleasure, work in progress. I choose according to what I have 2 DIY DualLab12 Subs to from an engineer's plan - Altec 817 (416) - JBL2450 aquaplas Dia - JBL2397 and 2405 with DSP XTA 4448, for the moment the cutoff frequencies are with LR24 20/70Hz, (maybe too low) 70/800, 800/8000,(According to the horn) 8000/ 20,000 and the multiple filters that REW suggested to me and the fun is there.
But I can't wait to read the answer to your question.
 
Okay. I might be on to something or not. With the PA2 I can mute any drivers or all the drivers since I am tri-amping. The UMIK-1(which I am thinking may not be that great of a microphone) is right where I sit. So I can get each driver's true frequency response from this listening position. I used the LF, MF, HF since the crossover is per frequency range and not per speaker. You can look at the graph and see where the roll offs are. The 2245s go a surprisingly long way out. What I am wondering is how to determine which driver is better suited for a given frequency since they overlap? Right now I have the 515Bs and 288Bs crossed at 950 Hz and was sounding pretty good until my Maggie started flaking out. I have some caps ordered for it, so hopefully it will settle down. I tried putting my ST70 on the HF and my Onkyo home theatre amp on the MF and I couldn't get anything to sound any good. I tried a cheap NAD I picked up and a Fisher SS receiver and there was nothing there either. I don't think the ST70 is suited for dedicated HF. Some say it's not suited for anything.:( When using a passive crossover, it is pleasing to me.

Another thing. When I compare the Bink Test CD 20-20K linear and logarithmic files and the test file in REW there are discrepancies. The Bink files are running through my DAC so maybe that is why I get a more visually pleasing curve.

EDIT: There is something amiss with the right channel of the ST70. I need to address that.--Bad solder joint on the delicate PC-3 board tracer I had to construct when I refurbed it. Back in business.
 

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I tried a lot of things with A5 or A7 and finally I prefer active or DSP crossovers and bi-amp or tri-amp, easier to get what I want.
 
I've been tri-amping for a while and I like it fine with the PA2. I think I'm going to use that on something else.Building a new crossover with some different type of components and separating the LF and HF sections this time. Eventually I'm going to have 2 complete 8 ohm and 16 ohm modular units for mixing and matching. I need a good idea for R3 which I want to make variable up to say 30 ohms. I have this 30 ohm potentiometer I bought from Amazon that it is not very precise or well suited for this exercise, but will work. Any ideas that won't break the bank?
Thank you

Hiraga.png

Edit: I found a couple on ebay that are pretty accurate and were only $10 + shipping

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