Altec Lansing A7's 50's model

I can only speak to your first topic. You need to remember what the things were designed for, and that was not music in the home. They project exceptionally well, with not much subtlety, but very efficiently. Just the thing for filling a theater space. IMO, they're hard to beat for reproducing the horns in the triumphal march in Aida.

The sectorial horn was available in two sizes, 511B and 811B, with 500 and 800 Hz crossovers, respectively, though both used the 802D driver. The low frequency driver should be an 803B.

As a stab at topic 3, the actual A7, as I knew it, was pretty much an open box with the LF driver mounted at the end of a small front loaded horn, a sort of quite open bass reflex arrangement below, with either the 511B or 811B and 802D mounted on top. There were so many of these in commercial use that I would expect servicing to be available.

We used A7s mostly in the lab, but I did have one at home for some time.

db

Altec still supplies parts(diaphragms/woofer re-coning kits) for the drivers to all their authorized repair/warranty stations. Waldom Electronics supplies re-coning shops everywhere, and parts that will make the woofer LOOK original, but it will lack the edge-wound aluminum voice-coil(and quite a bit of performance). SO- Yes, thet are easily serviced/supported. The sound: They're LOUD! Comparison with modern horn-loaded theatre systems: They're LOUD too! Some people like LOUD and don't mind the horn colorations/crazy response curves that go with these systems. If you can get them cheaply enough: See if they fit your tastes(they'll be great, if you have neighbors you hate, or for a home theatre system).

Here's a link to the system's PDF manual: (http://www.altecpro.com/pdfs/vintage/SpeakerAndMics/systems/A7-8G%20VOTT%20Speaker%20System%20Manual.pdf) and these guys do the authorized repairs: (www.greatplainsaudio.com)

Picked up a pair of Altec Valencia Bs about ten years ago,still have them. Same driver compliment,only 8 ohms. This started a fire in me and I am always scouring the used/consignment pro audio stores for bargains. The best one here in town does not recognize these for home use.I have since picked up a pair of Altec 902 drivers,Mantaray horns,JBL 2205 woofers and Apt supertweeters that I used to build speakers in a used pair of Altec Santana cabinets I bought on Craigslist.All told I have about $600.invested,I have seen the horn drivers alone sell for that.The biggest improvement came from biamping these.The had a used TDM crossover that had been sitting around for a long time,probably because it had rca jacks.Things like this are worth almost nothing to a pro audio store,so they are great places to look.Horns get a bad rap because they are very revealing of amplification,you should consider using tubes if you get these. Even the mighty Klipschorn will sound god awful with a cheap japanese receiver! I use single ended triodes on the horns and solid state on the bass. This may be a little more complicated than what you would care to go through,but you can have a lot of fun and the results are worth it.I assume because you are willing to put up with their size you are a bit of a putterer like me. I thank companies like Avant Garde and the Edgarhorn for the resurgence of interest in horns,even though they don't use compression drivers.They look cool! Certainly not as intimate and seamless as my Merlin VSM Ms were,but a whole lot more like live music!

As a supplement to my previous post, I might mention that I "graduated" from the A7 to a pair of AR3a speakers in the early 60s, i.e. from monaural to stereo. In our psychoacoustics lab, A7s were driven by the lab standard Mac MC 60 amp, but the efficiency of the A7 suggests that was overkill. I much preferred the big 511B horn with its 500 Hz crossover to the 811B.

Although the 511B and 811B are sectorial horns themselves, the A7 isn't a LF horn design in the sense of the large corner horns in vogue in the time of monaural, e.g. those from Paul Klipsch, JBL, Electrovoice. These were mostly rear loaded LF horns designed to be placed in a corner where the walls could act as extensions of the horn. Their popularity went out with stereo, because you could rarely find a configuration of corners that would work for stereo, and taking the speakers out of the corner removed a major design parameter. IIRC, the smoothness and frequency extension of the dome tweeter of the ARs contributed to the demise of the HF horns.

I looked in the Audiogon Blue Book and didn't see anything about the early A7s, so I'd guess following the ads is the way to figure out what's a fair price.

My impression of the sound of the A7s, with over a 40 year gap, compared to my KEF Reference 104/2s, is that the A7s lack refinement. But then that was not the design goal of the A7s, spreading a lot of sound over a large area with high speech intelligibility was. Usually, A7s were hung close to the ceilings in theaters and auditoriums.

db