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CADDCO consoles? Atlantic Records. . . Single-Channel Preamps
Old 14th November 2014
  #31
Gear Head
 

Quote:
Originally Posted by Silvertone View Post
My old Flickinger 281 console was based on the SS101 cards and had the EQ on the two buss. Also had Dan's own custom FET compressor on the two buss as well.
Old 14th November 2014
  #32
Gear Head
 

Quote:
Originally Posted by Silvertone View Post
My old Flickinger 281 console was based on the SS101 cards and had the EQ on the two buss. Also had Dan's own custom FET compressor on the two buss as well.
Old 14th November 2014
  #33
Gear Head
 

Flicklinger was an active Spectra dealer in the early years. Many of his well known consoles contain 101's.
Old 14th November 2014
  #34
Gear Head
 

Flicklinger was an active Spectra dealer in the early years. Many of his well known consoles contain 101's.
Old 14th November 2014
  #35
Hey Fellow Slutz-
Let's keep welcoming Bill to the forum!

He has an incredible knowledge of Spectrasonics and the related brands, and is a very nice guy as well. He is dedicated to faithfully reproducing the classic designs and implementing them in ways we can all enjoy. Perhaps we can tease some more tales from the early days out of him when he has time...

Best-
Jonathan
Old 14th November 2014
  #36
Gear Nut
 

Bill thanks for sharing your vast knowledge, it is a treat to get real insight to the minds behind the gear. We are truly fortunate to have this forum and people who are open with their expertise and wisdom.

-VB
Old 14th November 2014
  #37
Lives for gear
 
analogtodd's Avatar
 

Awesome thread, I've got a SpectraSonics 1024 in my B room. Its in fantastic condition, love the history and information here!
Old 15th November 2014
  #38
Gear Head
 

Quote:
Originally Posted by Silvertone View Post
My old Flickinger 281 console was based on the SS101 cards and had the EQ on the two buss. Also had Dan's own custom FET compressor on the two buss as well.
Old 15th November 2014
  #39
Gear Head
 

Flickinger was an active Spectra dealer in the early years and purchased a considerable number of 101 amplifiers and related pieces. Some of the more famous Flickinger consoles utilized many of these parts.
Old 15th November 2014
  #40
Gear Head
 

Mr. Dilley was rather reserved on what he would say. This was due in part to his military background as well as interest shown by others to "borrow" his designs.
We were never allowed to discuss any technical issues beyond what the spec sheet stated. This conservative approach to explaining the Spectra brand resulted in misapplication of products, specifically the 610 Complimiter. Today, owner's of 610's, are surprised to find out that they have been using the unit improperly, (sometimes for periods beyond 20 years). Recently, we confirmed that Mr. Dilley went from modular tube console design to transistor design, and the 101, in less than 18 months. The tube console design was featured in a 1964 AES Journal paper. The 101 appeared in 1965. The irony is that the 101 has not had a design revision during the following 50 years.



Bill
Old 15th November 2014
  #41
Gear Head
 

Quote:
Originally Posted by spectrasonics View Post
Mr. Dilley was rather reserved on what he would say. This was due in part to his military background as well as interest shown by others to "borrow" his designs.
We were never allowed to discuss any technical issues beyond what the spec sheet stated. This conservative approach to explaining the Spectra brand resulted in misapplication of products, specifically the 610 Complimiter. Today, owner's of 610's, are surprised to find out that they have been using the unit improperly, (sometimes for periods beyond 20 years). Recently, we confirmed that Mr. Dilley went from modular tube console design to transistor design, and the 101, in less than 18 months. The tube console design was featured in a 1964 AES Journal paper. The 101 appeared in 1965. The irony is that the 101 has not had a design revision during the following 50 years.

As a point of interest, refer to Dilley's early article on microphone tube preamplifier design: Audio Magazine, October 1962, Page 48. As you will note, Dilley's tube designs were ahead of what today's designers would consider cutting edge technology.


Bill
Old 27th November 2014
  #42
Here for the gear
Just wanted to pop in and say a few things as Jon Pines and Bill Cheney are two of my favorite people! I am a Spectra Sonics nut. I have a 1969 Spectra console built in Memphis that is identical to the STAX/Ardent configs except for the monitor section. The thing sounds amazing,has only 4 caps in each channel, and has yet to have an original switch go bad. Bill Dilley for president!
Just recently tracked a record in Canada with Spectra 502s,610s and a RND 5088: tone for days!
Old 28th November 2014
  #43
Here for the gear
Quote:
Originally Posted by [email protected] View Post
Hey Fellow Slutz-
Let's keep welcoming Bill to the forum!

Best-
Jonathan
Yes! Thanks so much and welcome Bill. We really appreciate all the insight and info!

and you're right - especially about the 610 - and I had read the literature, but it took an ex Spectra employee to truly explain it.

now - I use it even more than ever - its ingenious - the ability to limit without any artifacts, or limits the peaks and just add a slight amount of compression to the program - really, its amazing…

I building a 10x2 mixer using spectra 101's and 500's and I have a pair of 601's and 603's for the 2 bus...
Old 28th November 2014
  #44
Here for the gear
Quote:
Originally Posted by MonsieurMatt View Post
Just wanted to pop in and say a few things as Jon Pines and Bill Cheney are two of my favorite people! I am a Spectra Sonics nut. I have a 1969 Spectra console built in Memphis that is identical to the STAX/Ardent configs except for the monitor section. The thing sounds amazing,has only 4 caps in each channel, and has yet to have an original switch go bad. Bill Dilley for president!
Just recently tracked a record in Canada with Spectra 502s,610s and a RND 5088: tone for days!
Hey!

I'd love to hear more about this - do you have any photo's?

who built it? Is it an old Auditronics build?

and were you with Phillip in Ottawa? is that the Canadian studio with the Spectra stuff?
Old 28th November 2014
  #45
Here for the gear
Bill,

that article of Dilley's from Audio Magazine '62 is fantastic - anymore golden nuggets like that readily available to read on the web?

I have paid for a few of the AES papers, "New Trends for Studio Console Design" and the like, but I am hungry for more!!!

thanks so much for sharing Bill - I really appreciate it!!!
Timothy
Old 28th November 2014
  #46
Here for the gear
I do have some photos, just need to get over my chronic laziness to post them!
It was a custom Auditronics build and really well done. It can almost do 5.1 and thats from '69!

I was not in Ottawa with Phillip. The band wanted to turn a huge barn into a studio for about a month up at the Stoney Lake. All the gear was rented from various sources and I brought some gear from home.
Cheers,
Matt







Quote:
Originally Posted by mutterd View Post
Hey!

I'd love to hear more about this - do you have any photo's?

who built it? Is it an old Auditronics build?

and were you with Phillip in Ottawa? is that the Canadian studio with the Spectra stuff?
Old 29th November 2014
  #47
Gear Head
 

Quote:
Originally Posted by mutterd View Post
Yes! Thanks so much and welcome Bill. We really appreciate all the insight and info!

and you're right - especially about the 610 - and I had read the literature, but it took an ex Spectra employee to truly explain it.

now - I use it even more than ever - its ingenious - the ability to limit without any artifacts, or limits the peaks and just add a slight amount of compression to the program - really, its amazing…

I building a 10x2 mixer using spectra 101's and 500's and I have a pair of 601's and 603's for the 2 bus...
A few things to keep in mind about Dilley's transition from tubes to transistors. Tube designs typically use relatively high circuit design impedances, which translates into thermal noise. The use of numerous impedance matching transformers as well as use of power transfer design practice results in a non-linear output relative to frequency. In other words, power transfer through reactive components, (transformers), changes with frequency, which Dilley often referred to as a "splayed output response". This variation in non-linear frequency response was further aggravated as output levels increased in amplitude. The higher the level, the greater the variations in frequency response. This reactive voltage divider, while sometimes providing a "smooth sounding" response, does not accurately track the input waveform. Tube designs do provide superior dynamic range performance beyond what most conventional transistor designs can deliver with high peak/average audio program material. The need for audio program peak overload capability in transistor design was one of the many areas that Dilley amplifier designs overcame with the first Spectra Sonics product, the 101.
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