Altec Lansing 848A Flamenco (1967)
At 710 mm wide and draped in ornate ironwork, these towers don’t whisper—they announce.
Overview
The Altec Lansing 848A Flamenco isn’t background furniture; it’s a statement in cast metal and wood, built when high fidelity meant something you could see as much as hear. Released in 1967, this floor-standing speaker system combines brute acoustic engineering with a flamboyant aesthetic—its defining feature being a classical Spanish-style gridiron grill, machined from iron to resemble an old-world door. Behind that grille sits a serious 2-way, bass reflex design, tuned for wide dispersion and deep extension down to 35 Hz. These were never meant to hide in the corner. They were meant to dominate the room, both visually and sonically.
Two versions exist: an early model from the late 1960s and a revised version updated after 1970. The original carried a 16 Ω impedance and used the 416A woofer paired with the 806A and 811B high-frequency horn assembly, along with the N-800G crossover network. Around 1970, Altec Lansing refreshed the design to better align with the rising standard of 8 Ω amplifiers, introducing a new variant with the 416-8A woofer, the 807-8A compression driver, and the updated N801-8A crossover. The cabinet remained the same—the 860A—maintaining continuity in form while adapting to shifting technical demands.
Despite their theatrical appearance, the Flamencos were engineered with precision. The 38 cm cone woofer handles bass duties with authority, while the horn-loaded high-frequency section ensures clarity and dynamic headroom. With a rated input of 30W and an allowable input of 50W, these speakers can handle serious drive, especially from tube amplifiers of the era that thrived into higher impedance loads. The crossover at 800 Hz, set to a 12 dB/octave slope, splits the signal cleanly between drivers, a design choice that balances integration and protection.
These are not neutral monitors; they are performers.
Specifications
| Manufacturer | Altec Lansing |
| Product type | Speaker system, 2-Way, 2-Speaker, Bass Reflex System, Floor Type |
| Released in | 1967 |
| Frequency characteristic | 35 Hz to 20 kHz |
| Input | 30W (rated) |
| Input | 50W (Allowable Input) |
| Crossover frequency | 800Hz (12dBoct) |
| External dimensions | Width 710x Height 700x Depth 490 mm |
| Units Used Low band (early) | 38 cm cone type (416A) |
| Units Used High pass (early) | Horn Type (806A + 811B) |
| Network (early) | N-800G |
| Impedance (early) | 16 Ω |
| Cabinet (early) | 860A |
| Units Used Low band (late) | 38 cm cone type (416-8A) |
| Units Used High pass (late) | Horn Type (807-8A + 811B) |
| Network (late) | N801-8A |
| Impedance (late) | 8 Ω |
| Cabinet (late) | 860A |
| Sold Separately | Center Cabinet 883A |
| Center Cabinet external dimensions | Width 2,550x Height 710x Depth 490 mm |
Key Features
38 cm Cone Woofer with Bass Reflex Tuning
The 848A relies on a large 38 cm (15-inch) cone woofer—either the 416A or the later 416-8A—to anchor its low end. Mounted in the 860A bass reflex cabinet, the driver benefits from tuned porting that extends response down to 35 Hz. This combination delivers room-filling bass without requiring excessive amplifier power, a hallmark of Altec’s efficiency-focused design philosophy. The woofer’s size and suspension allow for high excursions, making it well-suited for dynamic program material like orchestral recordings or live jazz. The later 416-8A version was optimized for 8 Ω operation, improving compatibility with solid-state amplifiers just beginning to enter the consumer market.
806A/807-8A + 811B Horn High-Frequency Assembly
High frequencies are handled by a dual-component horn system: the 806A or 807-8A compression driver mated to the 811B horn. This is classic Altec theater DNA—loud, articulate, and capable of high SPLs with minimal distortion. The horn design provides high sensitivity and excellent dispersion, ensuring that the treble remains present even off-axis. The shift from 806A to 807-8A in the later model reflects Altec’s effort to refine high-frequency response and better match the 8 Ω system standard. While some listeners find the horn character slightly aggressive compared to soft-dome tweeters, it’s precisely this boldness that gives the Flamenco its live, immediate sound.
Classical Spanish Iron Grill Design
Few speakers from the era made a visual impact like the 848A. The front is dominated by a heavy iron grill with an intricate gridiron pattern inspired by Spanish architectural motifs.
This isn’t a fabric cover stretched over wood—it’s a metal statement piece, featuring a classical Spanish style gridiron grill with an iron door pattern.
N-800G and N801-8A Crossover Networks
The crossover is a passive network—N-800G for the early 16 Ω model and N801-8A for the 8 Ω revision—designed to manage the 12 dB/octave slope at 800 Hz. The crossover points were chosen to keep the horn driver out of the lower mids, where distortion could creep in, while allowing the woofer to operate within its most linear range.
860A Cabinet with Matching Ensemble Potential
The 860A cabinet is shared between both versions of the 848A and is itself a substantial piece—700 mm tall.
It’s designed specifically for bass reflex operation, with a port tuned to maximize low-end output. What’s more, the Flamenco was conceived as part of a larger system: the 882B (FlamencoII type) center cabinet, sold separately, was intended to house electronics and complete a stereo ensemble. With space for a tuner, amplifier, turntable, and tape deck, the 882B turned the Flamenco into a full living-room command center—a self-contained audio fortress.Historical Context
The 848A Flamenco emerged in 1967 as part of Altec Lansing’s premium home audio line, drawing directly from their professional theater and studio speaker designs. It shared driver technology with the 846A Valencia, particularly in the early version, reinforcing Altec’s strategy of leveraging proven components across models. The 1970 revision—switching from 16 Ω to 8 Ω impedance—mirrored a broader industry shift as solid-state amplifiers gained dominance and demanded lower impedance loads. The early model’s 16 Ω spec was compatible with tube amplifiers, which were still widespread, while the later 8 Ω version ensured relevance in the evolving market.
No documentation explains why the Flamenco was discontinued or how long production lasted, but its design suggests it was aimed at affluent audiophiles who valued both performance and aesthetics. The ornate grill and matching center cabinet indicate a focus on furniture integration—a time when high-fidelity systems were expected to complement home decor, not hide behind it.
Collectibility & Value
The 848A Flamenco trades today at a modest level considering its size and pedigree. Original pricing in Japan—¥286,300 around 1970, rising to ¥305,400 after the revision—indicates these were premium products, especially when paired with the 882B center cabinet, which sold for over ¥300,000. The 860A cabinet alone was priced at ¥132,000, underscoring the modular, high-cost nature of the system.
Despite their visual drama and solid build, the Flamencos haven’t reached the collector stratosphere of some JBL or McIntosh gear. This may be due to their niche appeal—the iron grills aren’t universally loved, and the sheer size limits practical placement. Additionally, no documented common failures or service notes exist, making restoration a challenge. However, for those who appreciate theatrical mid-century design paired with legitimate sonic capability, the 848A remains a compelling artifact.
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