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In Reply to: RE: Looked like a copy of the LST posted by DaveV on November 05, 2016 at 17:08:33
Thanks Dave, I never read that before.
"The piano ain't got no wrong notes." Thelonious Monk
Follow Ups:
I don't recall seeing that in print either but I have seen comments about Cello and the LST with a different name so I thought I should make that fact known in case there are people that think Mark somehow got away with an LST knockoff without AR approval.
I said they were LST inspired because the woofers and tweeters were not the same as found in the AR LST or AR3A, there was no autoformer with a aural balance switch and the four mids and tweeters were wired in parallel instead of series parallel.
The Cello Performance amps were quite capable of handling that load because they were designed with that in mind.
The later Amati had Dynaudio drivers in them.
ML/ Cello used modified AR dome drivers. The midrange was used without the protective grille and diffractive felt. The Amati had specific installation requirements, thus did not need the autoformer to accommodate mounting in several wall/boundary locations.
The details are buried in the archives of the classicspeakerpages.net AR forum.
Best,
Ross
You must be referring to the later Amati with the Dynaudio drivers because the Amati with the mids from AR did have the metal grilles and foam.
As for the autoformer, Mark just didn't want an autoformer in the signal path.
Being that the woofer and tweeters were not the same as in the original AR LST, the balance was automatically different.
But as for placement,the full blown Cello System was stacked Amati or two per channel mounted on granite stands and they were most often than not set up away from a back wall but the decision not to use an autoformer was made before any were even built.
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