YL, Goto, Onken, ALE - a saga

 

In the beginning were YL ( Yoshimura Laboratory ), and they became very famous. YL started with the 555, and tried to go beyond. Even today, if not produced anymore for many years, YL drivers are very common in Japan, and many used ones are available. YL let a important mark. All contemporary high efficiency speaker designers in Japan had their beginning at YL. Goto was founded 1965 by Seya Goto. Goto san was employee at YL Acoustic, which president and founder was Yoshimura San. In a short time, Goto got responsible for development and construction of compression drivers for home use ( hi-fi). Beside Goto, Endo San , founder of ALE acoustic, and Koizumi San ( founder of Onken ) were also former employees of YL Acoustic. 1965, after some important developments of drivers for domestic usage, YL ( which was not a small company, but rather making products at industrial scale ) decided to work with other products, more compact and easier to produce, directioning to finished speakers with folded horns. Seya Goto however, went the opposite route, developing more complex drivers and systems, with higher performance , without care of cost. In a few words, he wanted to produce new products , wanted to find new limits, go beyond the limits achieved at that time being. YL was not interested to go in this direction, so Goto left, and let Endo San and Koizumi with the development of YL.

Goto had in mind to make products, much more superior to the ones, YL had made in the past, products in fact, that would be the avant-garde of audio products for home use. So he started his independent research , and came to the conclusion, that the horns hat to be spherical, round, and straight. He came to this conclusion through mathematical / theoretic research, and as well through long listening sessions.

Soon after starting his venture, he met Takajo San, a famous guy amongst audiophiles in japan, and expert in master recording. Takajo San was also a passionate of hi-fi, and so, right after they met, he asked Goto to develop better drivers, with the ability to have higher dynamics and better detail . At that time, Takajo had a not very common opinion and philosophy, which today might make us smile : a audio system must be able to reproduce sound in a way, that it is indistinguishable to original sound. Takajo made a vast number of recordings, and compared them with his audio system, improving the results more and more. This influenced Goto remarkably. Takayo registered many times the noise of insects, because they represented to him very specific and particular sound, like a violin. The noise of insects is particular, repetitive, and rispid transients, very difficult to reproduce well. Takajo understood the importance of the transients , more than other parameters commonly used. So, the support of Takajo San was enormous, and permitted Goto to improve the horn profiles, to change the magnets, the diaphragms etc.

After this important and intense period, Goto presented his new products, with the promise of a sound, closer to the original sound, with the slogan :

Original, and reproduced sound, must be the same. Since then, Seya Goto never stopped, and improved his products, even at a short looking, it doesn’t appear evident, the big step forward he made in more than 40 Years. Goto had in the beginning only compression drivers in his program, and not woofers. In 1965 the diaphragms of the drivers were of aluminum, like the best American tradition, from which he started. Amongst the first products were the sg17 tweeter , and the sg555 midrange. One of the first improvement were the substitution of the tangential suspension with a FRP film ( probably mylar ) : the improvement was substantial. Afterwards Takajo was fundamental also for the development of the first Goto woofer. At the time, Takajo used woofers special for horn loading, and made for him, from a TAD engineer. When one of the TAD woofers stopped to work , he searched for the TAD engineer, but the men had died , and TAD was not able to repair the woofers. So Takajo asked Goto to repair it. Goto observed intensively that object and understood that the development and production of a good woofer was perfectly in his ability. Goto never repaired that woofer, but developed one with a enormous magnet . The weight was 40kg. It was this way that Goto also started to make woofers, completing this way his offers, to realize a horn system, only using Goto Unit drivers. So the SG38W was born. Goto did find out as well, that horns had to be short, to have low distortion and a correct sound. So , contrary to all others, he choose the hyperbolic profile. This profile has a important characteristic :

The impedance is constant almost from the cutoff Fc frequency, contrary to the exponential profile. This was the determinant factor of the choice of Goto, if however not the only one.

 Don’t let forget us the listening. The model SG370 , and SG16TT, have been produced without any change for 30 years, now. The SG38W is not the same today as in the past. The improvement of the Goto products went through various steps in the last 40 Years. Seya Goto founded his company with this goal in mind, to surpass always the limits, and this is what he does until today.

 Cost is not a important factor, he is driven by the passion of research, because, reproduced sound must sound the same as the original sound. Some improvement was to use stronger and bigger magnets, and the bettering of critical parts, with the introduction of very expensive but extremely well performing materials, like permendur, and last not least, with the introduction of diaphragms made of beryllium. Unfortunately, these drivers are also much more expensive

Goto from Japan: drivers and horns - a lifelong passion, in the name of music or The German Way.

Many, MANY thanks to Reinhard, Klaus and - as always - in this case for unveiling this european horns beauty - to Roman and his superb site & forum for sharing this:

"These are the results of 30 years (in words: thirty) of research and development in bass horns. Nowadays nearly everybody is talking about horns, and especially bass horns, Tractrix, exponential, hyperbolic... But the discussion seems always very isolated and concentrated on only one type of horn at the time without any possibilities of listening comparison in reality, and hardly anybody seems to really concentrate and nail it down on the last two octaves from 16 - 32 and 32 - 64 cycles which very severely determine the mid and high range reproduction, they think they have a horn and that's it. No, unfortunately it is not...

We have been "through" all sorts of horns, i.e. we have built them all. Yes, and we have started with the first straight 40 cycle horn with some 4 m in length and 2,70 mouth diameter back in 1983 with the first ever available Goto Bass Compression Driver SG146LD. Since then we are in HiFi-heaven. And since then we have built and listened to all the other types of bass horns because we just wanted to know for ourselves. And because at the time we did not know anybody with practical listening experiences regarding this specific theme we did it all by ourselves. So we built all different types of horns up to a length of 6,50 m and 3,20 m in opening mouth diameter. And over the years we have visited and listened to all "big" systems in Europe to hear what it is all about with horns in general and specific. The only ones missing in our "collection", i.e. we have not yet listened to till today, is the Western Electric WE15 with the original drivers from the 1920ies, which we will "do" rather shortly.

I don't want to use the word "better". It doesn't say that much. It is the same with vinyl and/or CD. With a "good" system you will always listen to "music". And that's what we do: listening to music and nothing but music, no more system - and hardly any source - evident in reproduction. And we get the right "pressure" for the sound, we "get" the organ in a church in reproduction, down to 30 cycles precise in some 11 m distance from the mouth of the bass horns, clearly and without any boom-boom... The horns are only "big tailored" in the sense of practicing precisely physical laws, of precisely working out what they "get" from the amps, not more, but also not less.

But not only the horns. As well the amplification. Been through all highest end: Mark Levinson, Macintosh, Audio Research... no amplification really did what we wanted to have rsp. hear. And what we wanted (and what we have now) was : input = output, without any add ones and without any deduction. And we wanted all Class A. Because the sound of Class A was so spectacular. And at that time Jean Hiraga had just developed his "Le Monstre" 7 Watt mono Class A, which we took as a model and then optimized during time. So we now have all Class A, 10 Amps, one for each driver, two 4 resp. 5 channel crossovers, and one pre-amp. And during the last years we have all amplification extended to separate controlled power supply for each unit. That was a huge step forward. It made the whole sound not only crystal clear but really stable down to the lowest frequencies, and the boom-boom was completely gone. And at that time we had already listened extensively to all highest end systems in Europe. And it was immediately clear what we didn't want to have and what we wanted to have. So we continuously worked on it.

By the way, we never ever followed any "new horn fashion". We wanted to check them all out. One after another. And we did. To get our own impression. And it was and still is just the sound that we are interested in. And nothing but the sound. And after all self-experiences we keep with the Goto philosophy: Kugelwellen-horn. We knew (at least we had a deep feel inside) what we wanted to hear, and so we developed, and developed, and developed... In hundreds of small and bigger steps. Over thirty years. Till we were "there" where we always wanted to be, but nobody had or could offer for sale. And "there" we are now in a sense that we have a platform where nothing in music is disturbing, no matter what source or music you play or what loudness. But one thing we wanted urgently was playing at highest levels and "feel" the music live with the natural sound pressure on the stomach. But not "loud", we wanted it "naturally loud", that is something different. That is to adjust a voice in playback at that level as if someone is singing in front of you, or playing an instrument or...

Crossover: Yes, we neither were content with available crossovers with phase shifting and so on... So we let build crossovers without phase shifting, because we wanted to have that and because we realized that the industry does have no interest in generating products like this... and the frequencies are cut according to the Goto recommendations: natural octaves, and I have to admit: that works for me. 4 resp. five way.

During all our constructions and research and developments regarding the horns (we did not build the amps ourselves that made a physician according to our proposals) we found one thing to be the quintessence in reproduction: the squares. No matter at all what source you are listening to. The more we optimized the squares horizontally and vertically in amplification (and within the sources of course, i.e. Vinyl- and CD-players) the more natural the sound came out of the horns. Result: what you do not put in, you cannot get out.

While Klaus is using some "older" Goto drivers (which have nothing lost regarding their magic), I use all highest end Goto beryllium drivers, i.e. SG188BL, SG3880BL, SG5880BL and SG146LD for the bass (30 - 200 cycles). Expensive? Yes. But cheap as well. Because they bring me - whenever I want - into paradise without dying. The throat diametre mid range is 75 cm (200 - 1000 cycles), the highs 21 cm (1000 - 5000 cycles) and super high 3 cm (5.000 - open end).

For me the most important thing was the Goto SG146LD. Klaus started with a straight 10 leafs 40 cycle horn in 1983. And it was awesome. SG146LD is the only compression bass driver which does not produce boom-boom if fed right. The SG146LD contrarily is on first impression not to be heard as bass, first you think, hey it is wrong, it is not connected, but then you realize, what they are doing, they integrate completely homogeneously into the sound, totally natural, like a royal soufflé, no more "cuts" between bass and mid-range (especially in the voices), just "one" sound. Marvellous. Really marvelous. And they make the right pressure. 113 db/watt/m... and you can put some 35 watts in there... and you get volume like on stage... and nothing disturbing...

Perhaps one has to get used to that sound a little at first, because it is so "unspectacular" without boom-boom, but then there is no way back... nearly exactly the same is with their membrane basses...But, please keep in mind, we are exploring new territory ... nobody was able to advise us so far... and we are still learning... deeply learning...the adjustment of all those horns is not yet finished... and now comes the next big revolution: high resolution digital stream...

I read: "...no one talk about the SOUND of Goto drivers, neither the driver owners nor the driver’s salers. I still hope to hear from someone who has a direct experience with Gotos about the sound of those drivers…" if it is like that then let me try.

1. As is with all drivers and horns: they only sound as good as with what they are fed; if the amplification is good, i.e. squares, the sound is good; if the amplification is weak or bad, the sound is like that (and that begins within the vinyl-system and the error correction in CD-players; so, wherever we start, we start "bad", exception: reproduction from computer files). The horns in itself are "neutral", but it is obviously very hard to reach that aim...

2. The drivers of Goto. Well it is like cars from Daimler Benz Mercedes. You have a range from A 180 to 560 SLC and on top formula 1 racing cars. They all drive fine. And there are lots of cars from other societies, which are comparable and which drive fine as well. But at the absolute top it is getting otherwordly unique... with the material beryllium... (but that material is not easy to implement; although not bad, the TADs beryllium have no chance in direct comparion to Goto beryllium!) the sound gets that light, that easy, that uncomplicated, that natural, it is on the border of no more being sound, the differences between an original and reproduction are really neglectable, nothing disturbing, you can listen for hours and hours and hours, and you scream for "More, More, More..."

3. The Gotos could not at all "open" as we are used to and show what they are capable of. The sound was steril. Like kissing your aunt and nothing happens. Get me right: there were no mistakes, not at all, one can easily live with that, it is just that we did not like the outcoming sound, the sterilness, the lifelessness, there was no "breathing"...

4. So what are the Gotos capable of?
4.1. Although they measure badly, they sound best. We do not understand why, but it is like that. But when you listen to their sound, you are not really interested in measurements, although we do that of course: Goto says: "You shall not measure, you shall listen!" I have to admit: Yes, it is like that. Although I like measurement controls. They are necessary, but I had to learn, that they practically say nothing about the "sound", as to be seen with the totally flat curves at Jean-Yves.
4.2. Their sound pressure brings you to life atmosphere, exactly there where other drivers are off limits, not that they are not able to play loud, but you are not willing to crank them up to that level because there will come up things you will not listen to and which with Gotos simply are not there...
4.3. The neutrality of the reproduction - well I repeat: if amplified correct - is jaw dropping, awesome
4.4. The mode of reproduction is not only natural, it is easy as well; when you reach a natural reproduction level, i.e. a voice is like a voice, a guitar like a guitar, you feel no need to crank futher up because of the lack of dynamics...
4.5. The preciseness of reproduction (well, again depending on the squares of the amplification)
4.6. The "easiness" with which they do it: 113 db/Watt/m, respectively 116db/Watt/m, it is like riding 60 miles/hour and you don't realize that you are driving
4.7. The dynamics, the capability of transferring loudest impulses out of nothing and that easy - makes you shiver
4.8. Closest to reality what I have heard in my life
4.9. You will realize most what Goto really is, when you remove the drivers one by one out of your system and put in others...
4.10. for me the best description of the impression of the sound is: the modesty, the unspectacularness, you are missing things, exactly those things that other drivers do wrong and/or are not capable of...

For Klaus and me it is "it". Not to say that other systems do not sound good or very good. But there are certain things only Goto is capable of. One has to hear this to believe. And the result is: nodding with your head. That's the sound of Goto. You will never go back..

P.S. I am totally aware of the fact that in reproduction all things are more or less compromises. The only aim we can follow is to minimize the impression of listening to something coming out of a conserve..."

Only a user, a passionate one, can share his findings, enthusiasm and heartfelty proselitism - I know myself, too... - as per above essay.

The above prose is much more valuable as it's not written by the importer of Goto's products or someone who wish or need to sell some Goto's, so abusing in empty hypes and the like: it's PURE, sincere satisfaction for a - I'm sure - great final result.

Clever.

Klaus Speth meets Gotorama

My pal Klaus, the Best Goto System on Earth's owner from Germany,  paid a long awaited visit to yours truly, last Saturday.

Shinichi Tanaka, Klaus Speth and Jean Hiraga

Klaus began playing with Goto, back then Royal Sound, in 1978... while I was still looking at Led-blinking gears and bookshelf speakers, he was already fiddling and dealing with Japanese commercial closeness and related hassles to get, first in whole Europe, those handmade driver.

These Goto's are still with him...

He built in recent years a 100 sqm auditorium to accomodate his impressive 5 ways Goto system!

When Klaus seated on my Eames Lounge chair, his first exclamation was: "Kleine!" - i.e. definitely yes! My studio is so tiny vs. Klaus' hangar-like room...


Yet, the precision and microdetailing of Gotorama, its being multiamped and the use of Thomas Mayer's preamps and crossover and analog playback, master-tapes and vinyl discs, made the German Goto Master to swing and enjoy my system and our listening session...

Me, Moni and Klaus

We agreed that every Goto's system we're aware of is different, according the owner/landlord tastes, yet keeping that sense of zesteness, unique lushiousness and overall trueness... a very Goto feature.


Thanks to Walter, Christine, Moni and Klaus for visiting.


Has been a true pleasure spending some time together... I was missing you since last time we gathered at your place, Klaus.

... again about Goto speakers from Japan: visiting my friend Toni and listening to his system

Yesterday evening I had one of those rare musical experiences every audiophile and music lover seeks for years... nor my japanese trip, neither the several listenings in the years gave to me the shivers and emotions I had few hours ago at Toni's place...

The system is made of a stock EMT 930 (no, RIAA eq., BUT with glass/rubber Dush's platter), 929 arm and TSD-15 cart; a Tango MCT-999 MC-transformer at 40 ohm, an Audio Research LS-2 preamp, a passive 1st order crossover (using Mundorf's "jet-set" type caps) and passive multiamping - i.e. a Class-D 400W stereo amp (sic...) and a Verdier 300B amp.

As you imagine, the Class D is feeding the Onken W 380 litres HUGE boxes, while the 300B's is powering the three upper ways...

So, here we are on spot: the upper ways...

Toni's using a superb Altec's 1803 horns, an huge six rows/three tiers;-) elements horn with an Altec 288-16H driver; then a Goto SG-370 mid-high with an S-600 horn and a Goto SG-16TT tweeter complete the combo.

What can I say... it was not the first time I listened to an Onken W, or to Goto's... what gave to this system an enormous strength, a relaxed sense of power, is the way the sound flows from speakers: it's liquid, immediate, unforgiving, round and detailed, easy to the ear.

Truly seldom heard overall quality and sound... better: Music.

The bass coming from the behemoths of 4 x 416-8B's is here and there, BUT only politely hinting to a music lower end, NOT imposing a larger-than-life, unnatural and simply not true bass, as a HUGE ghetto-blaster would rudely do.

A superbly natural low end, like only live music is... without forgetting the smooth highs and luscious mids...

A solo cello is able to go low, and impress, surprise at times, during a, say, Bach's sonatas perforamnce... I still remember an Anner Bylsma's concert with his Mattio Gofriller cello... shivers and goosebumps!

Shivers, pals... like I had yesterday evening, twenty kilometers from home!

Toni gives a lot of merits to this truly awesome final result to the sense of cohesiveness the two Goto's upper ways drivers are able to give to virtually ANY system...

They don't sound like different ways with a crossover, BUT more than the larger, yet correct in size and ambience and details and emotion, wide-band speaker you ever listened to.

This listening session has possibly been the highlight of the whole 2009...

Yes, the above also considering my own system with the new Thomas Mayer's WE 437A/801A super-preamp in place, plus the ALE and Audio Tekne's japanese field trip and some (top class) systems in Germany, Italy and Greece I auditioned this VERY year.

In a comparison Toni's vs. my own system... my tiny, japanese-style music room is giving a more intimate, detailed result: the recording venue, ambient noises and overall listening experience is more a "I look in a space and time musical window" stuff... at Toni's is the venue entering the music-room... two sides of a greatly enjoyable whole, like a link between emotional correct and "hi-fi" audio(s).

... but the details and ambient retrival are still WELL here, at Toni's... something greatly missing in the top, BIG japanese multi-amped systems I'm aware of.

A lesson: the whole may easily be more than the sum of single parts... Toni's beautiful 60 square meters room and nice speakers combo with quite "normal" equipment easily surpasses and outperforms mega-bucks systems in lesser rooms, using ultra expensive ancillary gears.

... and - another for-free lesson - the Best Sound of the Year isn't 10.000 kilometers from home (i.e. - Japan), but just a short drive from home.

So what?

Yard-Sale - My audio leftovers - a pre-view...

Before going Ebay/Audiogon/wherever, anyone interested?

Having been an almost compulsive (but careful...;-)) audio-buyer for decades, now, here is the (partial) list of my very first "yard-sale", ever:

- Goto CF-1 4 ways active/electronic crossover 100V (including a bulky custom-made, outboard 100-to-220V transformer) 18 db/octave - freq. 220/1000/5000 hz;

- Goto SG-555PS mid-low drivers 100/1000 hz 16 ohm with original Goto wooden-box and aluminium adapters for Goto S-150B mid-low horn - Sejia Goto-san made it as a replica with permanent magnet of original Western Electric 555, also same "narrow" throat of ONLY 18mm... the driver is a true beast, possibly also a great driver for some Western Electric 15A replicas by Aldo D'Urso (Audio Anthology), still cheaper than a complete so fussy and hassley Tungar P.S.U. and WE555's;

- Thomas Mayer, lovingly handmade in Germany power amp, transformers-coupled, with old (NOT ISO...) Tango XE-20 and ALL Lundhal's irons throughtout and best sounding paper-in-oil caps and silver-wiring inside - 4/8/16 ohm taps, using those soooo special 6CB5A tubes true "300B sound" and handy, still "cheap" tubes and coming with a full spare set of boxed, N.O.S. tubes - 220V - great, great 8 WATT amp, superb for horns and broadband, single speakers;

- A & E Technical Research ECN-5 - 5-ways active/electronic crossover - 6 db/octave - to be used as 2-3-4 (as I'm still doing now, using it in my Gotorama system) and 5 ways - 230V Made in Japan - superb sound;

- Jolida JA-300 integrated amp using 300Bs triodes and 274A-like (5R4GT) rectifiers... a 35 kilos beast, gorgeous look and sound, with remote control, original double boxes and papers - 220V - (proudly) made in China:-):

- Marantz 7C tube pre-amp from the '60s with six "Diamond/Smooth plate" N.O.S. Telefunken ECC-83 100 % unmodified/original, as built by Saul Marantz and Sidney Smith + wooden case + original papers - truly seldom seen 220V original!!!!!;

- Garrard 301 "White Whale" - butter-white platter in matching white birch-plinth, ready for any 12 inches arm - coming with a red thick felt-mat;

- Slate plinth for Garrard 301 in Ferrari "Giallo Modena" (bright yellow) - gorgeous one-of-a-kind 45 kilos custom-made plinth;

- Marantz 10B tube-tuner, the "Rolls-Royce" of tuners from the '60s + wooden case + fully original/unmodified/serviced, perfectly working, with original papers - 117V;

- McIntosh C-22 '60s classic pre-amp - undented, unscratched, perfectly working - ex-117V U.S. voltage, professionally converted to 230V many years ago - a truly lush, sexy piece of gear;

- Studer B-67 rare High-Speed open - reel tape recorder, VU-meter version, 3 speeds: 7,5/15/30 i.p.s., with original orange (thick) user's manual/schematics;

- EMT 997 "Banana" 12 inches arm, N.O.S. in original wooden-box complete with ALL accessories (weights, 2 x arm-rests and papers) - EMT "diamond" mount for TSD15 cartridge - five bare-wires original;

- Ortofon RMG-309i 12 inches arm, original box and papers w/8N Ortofon blue cable;

- IVIE IE-30 Real Time Analyzer, complete in original briefcase, with class A microphone and ALL accessories, a brand-new set of genuine spare IVIE's batteries and Ivie IE-20 Pink and White noise-generator - both with original 117/220V power supplies/batteries chargers - top conditions and not comparable with any other shitty computer analyzer - the one! ;

- Vintage, early 60's original Ortofon SPU-A "Green label" - square bakelite headshell with "leaf" cantilever and vertical BIIIG magnet - the one sought-after and revered by Ken Shindo-san - with original butter-white/red inner box - extremely rare;

- EMT 930st top-plate, engraved/old EMT logo at lower right-side, original early '60s "bakelite" grey-hammertone with ALL silk-screens in good shape, unrepaired, only some small spots on paint - good for restoring/overhauling a lesser EMT 930st... very rare!;

- nicely hand-made 3,5 W liquid, smooth sounding stereo tube-amp based on Western Electric 421A (5998) undirectly-heated double triode, plus 2 x 6SJ7 drivers/5R4GT rectifier - sold with three spare tubes, N.O.S./boxed, original WE 421A, quite rare and expensive in this as-new conditions - 220V - great, little amp for tweeter in multi-amped horn-system;

- Mitch Cotter/Verion Mk II MC transformer/step-up with original built-in silver cables;

- Mijayima Labs. Shilabe Otono MC cartridge brand-new, in double wooden/carton box, ebony body, Shibata tip diamond - hand-made in Japan;

- Mijayima Labs. ETR-800 MC step-up, selectable low and high impedance, brand-new;

- Bang & Olufsen CD-5500 design-friendly CD-player, Philips TDA-1541 DAC, superbly sounding;

- Allnic Verito Z brand-new MC cartridge - hand-made in South Korea;

- Lumiere DST, brand-new MC-cartridge, hand-made in Japan - unused - superb!;

- Garrard 301 white in natural finish, oiled slate plinth, overhauled, serviced;

- EMT 930st w/EMT 155st RIAA, EMT/Ortofon RMA-229 and EMT TSD-15 conical tip cartridge, original 45 r.p.m. bakelite adapter, grey hammertone "Shindo" bronze clamp, Dusch's 45 kilos seismic-base and silk-screened heavy glass-platter - Made in Germany, mega-rare vintage Beyer/EMT DT-48 monitor earspeakers, plexiglas dust-cover, original user-manual, lot of spares (strobo neon-light, spare spindle bearing, different arm-lift for EMT 929 arm, original plastic/felt platter, brake-assembly, stainless-steel arm-well for Fidelity Research FR64-S' mounting... and 500 cc original spindle-oil can);

- BEYER TR/BV 351015006 MC transformer in Hammond alu box - nicely matching and sounding with EMT TSD-15 and, most of all, with Denon DL-103;

- custom-made cartridges display/holder, dust-proof, made in plexiglas: black base and see-through clear plexiglas cover, good for 6 cartridges and headshells - elegant and useful for carts collectors - two available;

- Nagra IV-S with QGB large-spools motor, alu flight-case, Power-supplies and accessories, cables, original Nagra's NAB and cine adapters, etc. - museum quality, perfect sounding/recording;

- Fidelity Research FR-64-S "Silver wires inside" 10-inches arm, no original box, perfect for EMT 930st mounting;

... also more goodies available - mostly speakers, all in top conditions - ( i.e. '50s Westrex 2080-A 15" woofers 16 ohm/Philips 9710 Alnico/RCA MI-9584 1,5" drivers 15 ohm + original metal theatre horns adapters/Emilar 1" 8 ohm drivers/Altec 15" 803A woofers 16 ohm and 420A Biflex 15" 8 ohm/JBL 2420 1" - high-drivers and original "sound-barrier" horn - 16 ohm/Isophon 22 cm Alnico/original N.O.S. Saba "green" mids and highs pairs and several baffles for wide-band and bass-enclosures for 15" woofers)... if the case, pls drop a line at:

stefanocello-at-gmail-dot-com

Will send hi-res pixes of any item to anyone interested enough... only be (a little) patient;-)