回复 David 的帖子
上世纪50年代出品的JBL经典名箱，中音王375+牛百叶，15寸低音150-4C，内置分频器N500H，效率高达105DB，单端300B推就有足够的动态。
哈飞的高频只能达到10KHZ，一般需要加超高（比如075），DAVID兄当时听的这对哈飞有没有加超高，如果没有加，高频延伸和细节表现理想吗？
据说西电的古董后级是哈飞的绝配，比如WE 124C。广州新时有妇科版，可以考虑。


   

上些哈飞的资料：

	JBL D30085 Hartsfield Circa 1957 © Harman International, Courtesy Mark Gander and John Eargle
		The Hartsfield has to be credited with establishing JBL's reputation as builders of the finest loudspeaker available. This is not hyperbole. In a 1955 article on the hi-fi industry, Life magazine called the Hartsfield "the ultimate dream speaker". High Fidelity magazine stated in another 1955 article, "of all of the Klipsch derived family, one speaker, in my estimation, is noticeably superior - the Lansing Hartsfield." Klipschorn Cross-Section © Klipsch Audio Technologies The development of the Hartsfield was intrinsically tied to the success of the previously introduced Klipschorn. Paul Klipsch had developed his namesake speaker in 1949. It was an ingenious design that used a complex folded horn to front load a 15" bass driver and then used a corner placement that allowed the walls of a room to act as an extension of the horn. This increased the effective horn length to allow bass extension to 35hz. That speaker was a stunning success due to its combination of unparalleled efficiency and full bandwidth response. Almost every home speaker manufacturer rushed to develop a version of the corner horn. JBL was not immune to this pressure. JBL's dealers were clamoring for a product to compete in this market. Enter William L. Hartsfield. Bill Hartsfield was an employee of the U.S. Bureau of Standards in Washington D.C. He had belonged to the same chapter of the AES as Ray Pepe, JBL's Vice President of Marketing when Pepe had lived on the eastern seaboard. Ray was aware of Hartsfield's work in building his own home variant of the Klipschorn as a personal avocation. It was a natural fit that Bill Hartsfield would be called upon to develop JBL's version of a corner horn. He was hired on retainer as a consultant to JBL to develop a corner horn speaker. The design of the Hartsfield was not terribly innovative. Instead, it was an example of refining a proven concept with an uncompromised approach to design and build quality. (Nonetheless, the Hartsfield design was considered unique enough that a patent was issued in 1957) While there had been some criticism of the Klipschorn in its use of mass market drive units and an insufficiently rigid cabinet, there would be no such compromises with the Hartsfield. Patent for the Original Design of the Hartsfield Courtesy David Gamlowski Hartsfield 085 Component Kit © Stereo Sound Japan, Courtesy Koji Onedera The Hartsfield would incorporate the highest quality drivers in JBL's inventory - the 085 kit consisting of the 150-4C bass driver and the 375 high frequency compression driver. Both units had been originally designed for professional use in theatre speakers. The 150-4C used the same magnet and basket as the earlier D130 and 130A but added an extension to the outer rim. This allowed the installation of a steep-angled, straight-sided cone compared to the curvilinear cone in the earlier units. This cone design provided added strength to accommodate horn loading of the driver. The 375 had just been introduced and was developing a reputation as the finest high frequency driver available. It was unique in its use of a 4" diaphragm and 2" throat exit. The 4" diaphragm and voice coil allowed for unparalleled output and the large throat resulted in minimal distortion. This driver was combined with a brand new H-5039 exponential horn and "Koustical Lens" developed by Bart Locanthi. It was crossed over at 500hz using the N-500 dividing network. The cabinet for the Hartsfield used inordinately heavy stock for its construction. It was comprehensively braced to result in an extremely solid and rigid enclosure. A single speaker weighed over 250 pounds. The final system was a sonic and visual powerhouse. The Hartsfield was introduced in 1954 to near universal acclaim that reached a pinnacle with the publication of the previously mentioned Life magazine article. The publicity generated by that article resulted in an immediate jump in name recognition and sales for JBL. JBL's Los Angeles location, in the center of the movie and recording industry, resulted in the sale of a number of Hartsfield systems to local celebrities. This fact was played up in subsequent marketing campaigns to great success. Hartsfield D208 Installation © Harman International, Courtesy Mark Gander and John Eargle A little known fact about the Hartsfield was that it was possible to purchase a "starter" system in the early years that could later be upgraded to the full D30085 system. That system used a single 8" D208 speaker operating in full range. The speaker was mounted immediately behind the "Koustical Lens" and used a duct to back load the driver into the bass horn. The logic of stuffing a $25 driver into a $300 enclosure was questionable at best and was never a marketing success. This option was dropped within two years. In 1959, there was a significant redesign of the bass horn in the Hartsfield. The stated purpose was to simplify the horn path to result in a smoother response. However, it was likely that the greater motivation was monetary since the redesign resulted in a simplified construction that significantly reduced manufacturing costs. Original Hartsfield Horn Path © Stereo Sound Japan, Courtesy Koji Onedera In 1964, the driver configuration was changed to add the 075 ring radiator to make a three-way system. This addressed a long standing limitation of the Hartsfield -- a restricted high frequency bandwidth. The 375 driver never did extend much beyond 10Khz. In the 1950's, this was not that significant since most recordings were also restricted in high end response. However, by the 1960's it was common for recordings to contain information that reached into the highest octaves. The new 085 configuration, consisting of the 150-4C bass driver, 375 midrange, 537-509 horn, 075 tweeter, N400(or N500H) and N7000 cross-overs, could now boast a bandwidth that would extend beyond the limits of human hearing. Unfortunately, 1964 was also the last year of production for the Hartsfield. Its discontinuance was related to the success of stereo reproduction. The requirement for a corner placement was not a significant issue when only one speaker had to be located in a monaural system. However, a stereo system required two, unobstructed, adjacent corners that were reasonably spaced. Not every home could accommodate this requirement and thus the available market was restricted. Nonetheless, the success and impact of the Hartsfield to JBL cannot be overstated. According to Margaret Thomas, the wife of Bill Thomas and a long time JBL employee, the Hartsfield "made" JBL. It was that speaker that gave the company national recognition. It was in large part responsible for sales increases that would average over 50% a year for the next three years. © 2000 Don McRitchie

韶关的无胆兄在玩哈飞，DAVID兄的朋友如果有兴趣，可以和他交流。

据说西电的古董后级是哈飞的绝配，比如WE 124C。广州新时有妇科版，可以考虑。
复刻版吧

回复 guhelim 的帖子
对。是复刻版。


   

确实很古董

回复 wm711130 的帖子


   

韶关的无胆兄在玩哈飞，DAVID兄的朋友如果有兴趣，可以和他交流。
wm711130 发表于 2010-10-28 21:14

谢谢, 我会通知他.

回复 wm711130 的帖子

没加超高, 这对哈飞刚刚到家. 主人尚未考虑加超高, 担心破坏原来的韵味, 这我完全赞同, 玩经典喇叭还是追求其初始风貌为好, 玩现代喇叭再追求"十全十美"吧.


   

David兄的口味越来越复古了啊
167 发表于 2010-10-28 20:58

古董喇叭相对于现代喇叭来说, 最大的"优点"是从容, 有亲和力. 如果拿它们去和现代喇叭同场PK那些HIFI指标的话, 肯定是输多赢少, 但我现在对那些东西已经不在意了.

这衣柜听弦乐表现如何？

这衣柜听弦乐表现如何？
天蝎星 发表于 2010-10-29 08:55

目前听小提琴独奏的话已经很好, 但它与世霸小名琴播放小提琴的华丽娇艳不同, 而是质感强烈, 演奏者与聆听者之间没有障碍(声音非常直接). 但是目前播放弦乐齐奏尚不行, 有些吵. 公房和配线仍有大量功课要做.