NAME SOME RARE AUDIO ITEMS THAT DID NOT TAKE OFF BUT SHOULD HAVE & WHY.HERE'S MY LIST


I thought that this would be a good one to post, since I am a new member and hopefully it will be interesting and give some background.

 First off let me say that I first became fascinated with audio as a pre-teen.A relative of mine called me over.His brother was in the service overseas and he was able to get both he and my relative a great deal on some brand new stereo equipment at favorable country of origin prices..He turned it on and I didn't even know what it was.I had heard a few stereo rigs before.The ones where the speakers fold out on hinges and revealed the record player and the amp inside the box.But this was something completely different.Each piece was separate.It sounded like the floor was moving.Voices sounded like they were in the room.I didn't know what to make of it.Very impressed and intrigued.My first job was only a temporary summer job but I did make enough money to make my first major purchase; a component stereo.A Sherwood receiver,a turntable and a pair of (2 tone grill) Jensen Speakers.Had a nice few months listening and eventually traded it in for a Yamaha guitar.I wanted to become involved with the music,not just listening.To this day I have musical instruments around the house; it helps me in my modding stereo equipment.It helps to know exactly what sounds a guitar,banjo,sax really make and just as importantly what sounds they don't make.My first true high end speaker was the Goetz Systems GMS 1.They were a beautiful floorstanding speaker which looked similar to the KLH Scxa.Perhaps KLH's  most exotic offering ever along with the model 9 panel speakers.The Goetz were not well known.A beautiful 3 way made in Georgia with beautiful imaging & a beautiful crossover which made them sound effortless on conveying transient detail.They did some shows,took out some display ads in the old Audio magazine,but never quite made it in the market.One of their dealers put in some line ads for them,proclaiming them "Speakers made by Hillbillies".That might be what did it.I heard a Koetsu cartridge for the first time through the Goetz,and I Don't think I will ever forget that wonderful experience.Many people liked them better than the Thiel,Celestion,Spica models of that era (early 1980's).Goetz later came out with pre and power amps which through the grapevine might have easily been the best sounding SS amps on the market,but the market was not there for them.These are among the rarer items out there.I have never seen Goetz on ebay or Craigslist.

 Another item from around the same era (a few years earlier)that was really interesting were Watson Labs speakers.The model 7 through 10 had separate cabinets for the woofers & the cabinets were filled with lighter than air hexaflouride gas.Their bass speed,authority and definition surpassed even transmission line speakers like IMF,and from my still vivid memory they would still be a marvel in that way today.They were designed by Dayton Wright,(actually same company)and they might have been the first speaker with dynamic drivers and an open baffle dipole arrangement that reminded you of the clarity of good electrostatics.The local dealer for a long time demo-ed them alongside Dahlquist DQ10's,and they sounded better in every way to the DQ10,which were a really good speaker themselves.Mike Wright the owner,stopped production and the company after a few years when Audax stopped making the tweeter they used.I have never seen Watson Labs for sale used on ebay or Craigslist.Don't know if deterioration factors would make them worth seeking out,but their sound was something I had never experienced before and will always remember. It would be interesting to know if their bass modules still retained the hexaflouride lighter than air gas after all these years.

Mod Squad phono cartridge tiptoes.Circa early 1980's.This was a flat black thin piece and on the top it had 3 sunk in b b size balls,made of what looked like ping pong ball material which made contact on the three points against your headshell with the cartridge underneath it.This amazing gizmo actually made my dismally tracking moving coil track like a champ.The sound was incredibly faster,cleaner,clearer and more open.Wish someone still made it.Tiptoes for your cartridge.I used too much torque on the cartridge screws one day and one of the b b size ping pong balls caved in giving it an uneven tilt and made it unuseable.

Finyl CD spray.Really liked the stuff .Unplayable scratched cds would start playing again with improved sonics.

Eon pod LP disc clamp.A light as a feather plastic clamp that exerted downward pressure on the record label by gripping the spindle and lunar module type feet putting pressure on the record label.Impressively better transients and detail.Was made in Canada.
 
What's on your list?

 

supertweak
The Beveridge Electrostatics! A true SOTA contender which few have heard because of low production numbers. I was one of the first to hear them back in 1977 and they indeed did the 3-D image thing like no other! The version I heard was direct-drive off a pair of TV sweep pentodes (no amp required, just a source and preamp). Below 100 hz an active sub was required. Rodger Modjeski designed the high voltage tube circuit. Later versions dispersed with the direct-drive and used step-up transformers for conventional amplifier hook-up. The Beveridge's claim-to-fame was its use of a 6 foot acoustic wave guide to achieve a true 180° dispersion of the sound from its 3 stacked electrostatic panels. So, coherent sound from anywhere in a room!
roberjerman, The direct-drive Beveridge speaker to which you refer in your first few sentences is the 2SW.  About 5-6 years ago, I bought a pair, including the DD amplifiers that are built into the base of the speaker, on a lark and because I had always heard stories of their wonderfulness.  I parked them in our finished basement as something to play around with; I have a "main system" in our living room. After a bit of parts upgrading, tweaking, and rebuilding to the amplifiers, which are very finicky until you get them right, I can say that the word of mouth is not exaggerated.  These really are wonderful speakers.  As you say, the imaging is at times uncanny, and the sense of depth is unparalelled.

The 2SW is so named because the panels themselves are not full range; they require woofer supplementation below about 80 to 100Hz.  I've never even seen the original Bev woofers that were sold with the 2SW package.  Instead, I use a pair of KEF B139 woofers built into a full size transmission line cabinet by me, many decades ago. The TL woofers are driven by a Threshold amplifier I purchased on Audiogon for a pittance, along with a Dahlquist DLQP1 crossover, used only for low pass filtering.  For the active hi-pass filter, I use the electronic crossover built into the Bev electronics.  Right now, I am driving the whole shebang from a Manley Steelhead.  I started out with a vintage Quicksilver preamplifier, in keeping with the vintage theme of the system. The Q is superb (I keep it as back-up) but I wanted a phono/preamp that could take the input of more than one tonearm.

The first commercial product from Beveridge was the Model 2, which was full range but lacked dynamics and sound pressure.  The 2SW was the solution to that problem.  By limiting the bass extension, more sound pressure can be generated.  As you say, subsequent speakers (Model 3 and up) operated more like conventional ESLs, where an external amplifier working through a transformer was required.  I doubt that much more than 200 to 300 pairs of Model 2s and 2SWs were ever built.  (Oddly, these days they have an avid following among European hobbyists.) For the early 1980s, maybe they were too big. Maybe they were too expensive for the times.  And maybe reliability was an issue.  I was already an audiophile at that time, yet I don't recall hearing or reading much about them.  So maybe they were not adequately promoted.  Also, they were essentially hand made by Harold Beveridge and a very few trusted employees, one panel at a time. My experience with the Bevs convinces me that all ESLs ought to be direct-driven, with no transformer at all between amplifier and speaker panel.
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