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I've always liked the Celestion HF 1300/ Coles 4001G combination, works so well in many designs, e.g. B&W DM1, DM2, DM2a, DM4, the DM3 uses the Celestion HF1400 (1300 with bigger magnet) and the Coles 4001G.
Some say that the midrange of the BC1 is better than the SP1. I have never owned SP1.
I do have all the B&W above and BC1 and BC2.
Alex mate, may I offer congratulations and a couple of corrections please?
The BC1 came first as a development out of the BBC research carried out by Spen Hughes, Dudley Harwood (Harbeth) and other notables. The "official" BBC product, the LS3/6, apparently didn't sell to the Beeb in vast quantities, yet the simpler (less adjustable crossover) derivative from this research, the Spendor BC1, sold in large numbers right up until the early 80's I understand, finally being taken out of service in 1987 (from memory).
The BC1 idea was developed a little for better bass and higher power handling with the BC2 which I have, the trade-off being lack of absolute smoothness at the crossover point, a slight suckout being introduced to mask this. Only really an issue if they're too close to a wall, which lifts the bass even more.
This neutral to subtle upper mid reacts severely with the peaked up and phasey crossover region and fizzy treble exhibited by so many "Flat-Earth" speakers like many early Royds and Kans for example, the "BBC" way of doing things making the Spendors and Rogers of this period sound a little boomy and recessed - boring in other words - One reason so few flat-earthers listen to full-on orchestral or acoustic music in general I found personally.
As the 70's went on and the BC1 went through a much publicised driver-surround issue, the new Polypropylene wonder-cone came along. Spendor developed the SP1, which has 90% of the BC1's midband lucidity and a further improved bass quality and power handling of the BC2. By the launch date of 1983, my experience was that Rogers had taken over this end of the domestic market, the various "Studio 1" models being nicer looking and very popular, despite a bass heaviness quite often.
For me, the SP1 was a glorious return to form. These worked a treat with Naim (important back then) and the higher open Target stands were often used with these. The BC3-esque styling was much more up-to-date (my old BC2's are really looking tired now) and the tightly fitting black grille-cloth didn't sag as mine have now the sponge underneath has crumbled away. I last listened to some in anger a few years ago and they more than held their own easily over significantly more expensive alternatives I thought. They just have a great blend of virtues and cover their faint tracks really well.
These days, Spendor don't seem to want to vastly promote their "classic" range and put it about that the S, SE and I suspect the A range is superior. I cannot possibly judge this, except to say that Harbeth have stepped in and can always pull a pair of their excellent speakers for UK sales from an export order as necessary.
One final thing and then I'll shut up and return to my studies, which keep being neglected for audio reasons ;) people who bought and buy "BBC" type speakers tend to keep them for decades (Tannoys too I believe). If the particular recipe suits, the amount of enjoyment gained is enormous and very long lasting. be warned though, old BC1's, 2's and 3's bass/mid are no longer supported by Spendor and a blow-up will mean either scrapping the speakers or buying another pair for parts, which may not match the crossovers properly. I believe SP1's may still be supported BUT.. SP1/2, SP2/2 and it's siblings from the late eighties onwards may suffer stiffening of the rubber-compound surrounds (ooohhh missus) as has happened with some SP2/3's I know of that were little used in an editing suite since the late 90's.
Hi Dave,
It's bullshit, mate, perpetrated by a marketing bandwagon.Quote:
These days, Spendor don't seem to want to vastly promote their "classic" range and put it about that the S, SE and I suspect the A range is superior. I cannot possibly judge this...
The situation was exactly the same when I had the SP100s, with the 'Classic Series' played down and touted almost as the poor relation, when in reality that was far from the case. Swifty simply wants the glory, and folk to praise the 'S-series', because that's the design he introduced when he joined the company.
The 'Classic Series' has little do with him, and is of course based on the original designs invented by Spencer Hughes in conjunction with the BBC, so he plays down that part of the Spendor product range, because that's what suits his interests.
I also suspect that the 'Classic Series' is not as profitable as the 'S-Series', as in my view, the drivers in the former are of better quality, for starters. They probably only keep the Classic Series going because of the fanaticism of the Japanese for BBC heritage speakers, and any studios that still use them for monitoring purposes.
As for the supposed 'superiority' of the S-Series, well, I guess that depends on two main factors:
1) Whether you prefer stand-mounts or floor-standing designs.
2) Whether you seek neutrality and accuracy (particularly in the midrange) in the BBC tradition, over all else, or whether you value a more modern and commercial sound, created simply to comply with current fashion.
I certainly know where my priorities would lie! ;)
Arguably, however, the traditional BBC values of sound reproduction are better served anyway these days by Harbeth.
Marco.
To be fair, the S6 and S8 were beautifully made with decent cabinets and a great sound for a wide range of systems. I didn't like the S5 and told Phil so when he brought them to us (I've known Mr S since the Lentek days of the late 70's). The needed too much pratting around to get the bass to balance out and the S3/5's were nothing like as good as the little Harbeth P3 of old and certainly inferior to the current P3ESR, which I'm sure you'd love Marco as a great little box with a huge heart.
The S"E" versions were tauter in the bass and the S9e was fantastic, able to funk with the best of 'em and smooth enough for orchestral pieces.
Since the introduction of a mid/far eastern gent on the Spendor director-list, the A series has come along, with cheaper looking boxes yet seemingly higher pricing. I do understand in fairness that assembly is all done in the UK and this won't be as cheap as importing boxes for under £50 the pair from China and flogging them out for many hundreds of pounds. Also, the main dealer-chain need to make a minimum profit percentage for these to be on the "recommend to punters" list, so this will have an effect on the retail prices too sadly, as I believe few other dealers now stock them.
Hi Alex
Great that you got this sorted at last and congrats on the Spendors, even if I was secretly hoping that you would end up getting a pair of those 'Hi karate' Sansuies;) - Dave DSJR knows his onions - he recommended me to the Croft pre and I ain't looked back:cool:
Best
There's still time! :eyebrows:Quote:
Originally Posted by Macca
He certainly does - cheers again Dave :)Quote:
Originally Posted by Macca
I certainly don't have all my onions at school - so much to learn and it's like learning to drive - emotional rollercoaster and every thought and action having to be carefully done...
I found some more old piccies this morning of me and the gear I had. What's happened to me? the haggard old baldie head looking back at me in the shaving mirror ain't me, but is.....
:worthless:Quote:
Originally Posted by DSJR
+1 Come on, let's have a squinto! :)
Marco.
You mean I've got to go back up into the loft, fight my way through the boxes of photos?
Oh well, but not till Wednesday at the earliest (I'm skiving on here as it is ;))