With a good antenna the Realiatic auto lock works very well. The TM-1000 tuner I use in the garage has it and stays locked and doesn't drift. However with a very weak station or one that has bounced around will still lock, but will be off a bit when it does. But for those few stations turning off the feature lets you tune it in manually.Kinda hard to see on this borrowed pic of a Kenwood, but there are three LEDs in the tuning "pointer".
The center one tells you it is tuned by turning from red to green . The outer ones light as needed and point the way for you to hit "tuned"
If you so much as touch the tuning knob (on mine, you only have to be VERY close), the center LED turns red to show it is not locked on yet.
The Realistic model below it has an auto-tune feature that locks to the correct frequency after you bring the tuning marker to the closest position (no visual, it just does the job).
Not sure that was from the factory. Early models had none. The XG-8MKIII added a piezo above 10k.
It was an incredible speaker that forever had a lasting effect on me. About that time, I joined JWC on a trip south of Atlanta to meet a gentlemen who had the Mark Levinson HQD system. Hartley 18" sub, stacked Quad 57s with Decca ribbons on top. It was impressive, but I still preferred the Daytons for their disappearing act and dynamics.
That's why a variable loudness control as on many Yamaha products is the best implementation of a loudness control. Once you have made all the sources the same level you use the volume control to set the highest level you use. You then use the variable loudness control to lower the volume and it applies the correct amount of compensation. Doing it this way takes into account speaker sensitivity and listening distance.
Dayton Wright panels were full range - albeit with somewhat limited extension in the top octave.
Some of those ML setups had Hartley 24" pairs ...
That was the HQD! My first pic didn't show them very well. Here's another where you can see the ML-2 amps, LNC-2 crossover and the "H" part of the system behind the Quads. Since the xover was at 100 hz, you really needed a pair. The Decca ribbons were in the space between the Quads
That would have been useful about twenty years ago when I recorded a phone message using the Twilight Zone music and intro. Play music on the left and record that with voiceover on the right.
Fair enough.
Wasn't sure how the sound gets out of the sealed plastic box, and figured that tweeter-looking slot was the opening. Looking more closely at the picture in your earlier post, I assume that I'm looking at two separate speakers, with the output being the side covered in cloth, and the ribbon tweeter facing the rear. Please correct me if I'm wrong.
)First of all, it's a sealed aluminum box with wooden caps and the sound doesn't "get out" - the outer mylar diaphragm that covers the entire front surface radiates the sound produced by the panels. You'll note some wrinkling towards the upper right section. It is in need of heat treatment to bring that fully taut.
Yep - that's the ones. I saw a pair of the stacked panels only when visiting Madrigal for sales training in 1999 - I was the rep for Proceed in Central TX at the time.
some are selling for ludicrous money...
When I was a kid and they were pretty new, I really, really, really wanted one but I couldn't afford one and nobody would get me one. I finally got one at a yard sale when I was a teenager. Hooray! Such joy!
When I was 12, I begged my dad for one for a couple of months. He finally bought the GE model I was covetting and I put it in my bookshelf headboard.
About ten years ago, I went on a vintage clock collecting frenzy and had them ticking and bonging all over the house. That was fine; ticking and bonging is gentle and, uh, soothingly clocky.
