Ohm Speakers, thoughts?

Amen, Sean!!!

Once you hear the Ohms rebuilt as they were intended to be implemented, the results are quite staggering. It sounds more than obvious, but the voice coil being outside the gap of the magnet just doesn't really fly. Like having the propeller of a boat outside of the water, but relying on the turbulence it creates in the air (but, NOT a fanboat) to somehow at least also exert enough influence on the water to get you moving.

Didn't know the A uses an 18" driver, and the F uses a 12" driver, but the discourse in this thread is teaching me a lot.

I'm incredibly lucky to be able to listen to Bill Legall's own pair of Walsh A's, and though I haven't heard them yet in a good system (I have to push him harder on this), or with the drivers tightened down (maybe I'll just do this myself while he's working on something...), I'm not sure they don't disqualify every other speaker in the "Best speaker you've ever heard" thread. Personally, I put them easily over Bill's pride and joy, the Infinity IRS in his living room.

Trelja: Now you know why i said what i did in a ( WAY ) earlier thread on Agon. That is, even though they most certainly have their flaws, i don't plan on giving up my F's anytime soon. I'm quite certain that mine don't perform to the level of Bill's "completely re-designed" Model A's, but none the less, many of the sonic attributes are still there to a lesser extent. Even with just that hint of performance to them, i knew that they were "special" from the very begining. Sean
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Regarding Bill's Ohm A, it is indeed a very interesting and unique type of sound. Along with the very special "you are there" characteristics, it is a frustrating design with the most complex theory behind it I have ever seen. At first listen you are aware that something special is indeed happening to the sound...a more 360 boundary-less type of envelope, yet as wonderful as this quality is, on say a female vocal and guitar, it tends to not handle the complex music quite as well, or with as much reality. Bill's IRS is the much more univeral product. While it may lack the Walsh's seduction (I know its very alluring), I can bet the house that its dead accurate. If a new recording is purchased and one wants to really know how it sounds, the IRS is the one. Now I am sure countless mods have been performed since I last heard them a year ago,and judging from the above praise, a breakthrough must have occured. Interestingly, the speaker was spectacular when auditioned outdoors with no room interaction at all. Bill can attest to this. Bill is, of course, a very gifted and visionary engineer with the most unerringly correct (almost scary) intuition regarding audio on the planet. There is no question the Walsh driver in his hands may someday surpass his IRS, but, I am sure he will tell you he sleeps better at night knowing his IRS is there as an absolute reference...........Frank

Frap: I would tend to agree, but maybe from a different perspective. The Walsh makes music with both depth and ambience whereas other speakers may produce FAR greater "hi-fi resolution". As far as being immersed in sound, as one is at a concert or sitting nearfield of a bunch of acoustic musicians, i know which one is more realistic. This could be because you don't strictly have a left /right presentation with the Walsh's like you do with more conventional speakers.

Either way, i like the presentation of the Walsh design. I also like specific attributes of other more conventional designs. That's why i have several different systems, all quite different from one another. They all have their drawbacks to one extent or another. Some are just far more blatantly lacking in certain areas. Sean
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Funny you mention "hi fi resolution", the greatest example of this being the ESS AMT HEIL 13 pound driver. To this day, it is beyond reproach from a hi fi standpoint. It does some things better than anything I have heard.It is hard to give up its special qualities once you hear them. Some music will never sound better than with this driver....yet some music sounds completely hi fi and wrong.
Isn't it ironic, Sean, that Heil and Walsh designs were of the most important variety, only to be executed without proper R&D to eliminate their errors.
The case for several systems is a good one, space permitting.
Here is a question for you Sean: Suppose the OHM A were reintroduced today with all of Millersound's R&D as a specially licenced product, and then marketed for a reasonable sum of money. Not 30K or the nonsensical current price schemes, but lets say $6500.00. Assuming respected ears on this site (like Trelja's above) were typical of the majority, could this technology/design be saved/ressurected? Vinh Vu are you listening