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Any guess on value of these vintage Altec 605a speakers etc?

335guy

Member
Messages
5,228
As you probably know, these are very old speakers and tech. Back in the day, 50+ yrs ago, Altec coax speakers were commonly used as studio monitors. Hard to put a value on them since the cabs are in rough condition. Are you thinking about selling them?
 

Motterpaul

Tone is in the Ears
Messages
13,081
"Voice of the Theater" Altec Big Reds were the studio speaker of choice back in the 60s. As mentioned above Altec did tons of different versions so that can be read elsewhere.

I have mixed and listened to them in many studios and while they sounded great no one relied on them solely for mixing. They were there for tracking and "to impress clients". While they are cool, they are just outdated now except as novelty pieces. It was said that mixing on them yielded good results if your playback target system was small "console" stereos, or tiny turntables with spindles for 45 rpms disks.

By the 70s they had been largely replaced by soffitted Urei 813s, often tuned with pink noise. Speaker & control room theory has changed over the years - and unlike "tape" and "tubes" there isn't much love for old monitor systems. They would be great for a home stereo though, especially with a nice turntable and Macintosh power amps.

For value, I would guess its "whatever someone will pay." Post the query on Gearslutz & TapeOp.
 

loudboy

Member
Messages
27,316
By the 70s they had been largely replaced by soffitted Urei 813s, often tuned with pink noise. Speaker & control room theory has changed over the years - and unlike "tape" and "tubes" there isn't much love for old monitor systems..
Yet folks still go crazy for the records that were mixed on them...

Sort of an interesting dichotomy.
 

Motterpaul

Tone is in the Ears
Messages
13,081
Yet folks still go crazy for the records that were mixed on them...

Sort of an interesting dichotomy.
True, but as I recall very few records in those days were mixed solely on big monitors, a lot of the hard work was done by dropping every mix down to the Auratones (if today's engineers had any idea how prevalent these little cubes used to be they would be mentioned in every monitor-related post ever made).

In general - the "tone" of each individual instrument would be balanced out on the Big Reds, and often a mix would be checked on them to see if like instruments matched up (bass and kick), but the end stage of a mix would almost always be finalized on small speakers - generally Auratones.
 

walterw

Platinum Supporting Member
Messages
38,582
a lot of the hard work was done by dropping every mix down to the Auratones (if today's engineers had any idea how prevalent these little cubes used to be they would be mentioned in every monitor-related post ever made).
i'm no studio guy, but this is the first i've ever heard of these things! a quick googlin' backs up what you're saying about them, making the point that they're useful because mixes tend to end up the "opposite" of the character of the monitors used; deep, bassy monitors result in thin, trebly mixes, vibrant wide-band super high fidelity monitors net dull bland mixes, etc.

small and midrangey, apparently the auratones were a useful "if it sounds good on these it'll sound good everywhere" box.
 
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