Featured SPEAKERS (updated daily)

Quad 22L2

('02-'10) SOLD

In absolutely pristine cosmetic condition and operating perfectly, this pair of Quad 22L2 is a 3-way floor-standing design. The cabinets are finished in a stunning dark cherry laminate.

Following in the footsteps of their famous ESL brethren, the L-series dynamic loudspeakers offer excellent resolution, tonal neutrality and outstanding stereo imaging. A wide frequency response and incredibly accurate drivers produce a sound stage so vivid and coherent you can visualize each and every sound in three dimensional space.

Build-quality is, as you would expect, superb. Each cabinet is made from reinforced 18mm MDF, with a choice of three real wood veneers. Each cabinet then has seven coats of piano lacquer applied, with each coat drying for a full 24 hours before being cut and polished ready for the next coat.

High quality gold-plated bi-wire terminals and oxygen free internal wiring ensure excellent signal transmission.
The range consists of four stereo loudspeakers, and a center channel and subwoofer for AV applications - all with the same excellent performance and build.
The original factory spikes and grills are included.

SPECS:
Two 6.5" Long-throw Kevlar weave woofers with cast basket and dual wound aluminum voice coil
1" textile dome Tweeter
88db Sensitivity, 6 Ohm impedance, 125 watt power handling
30 - 20kHz
33.5"h x 8.1"w x 12.5"d

About Quad...
The history of Quad is one of technical achievement in the field of sound reproduction. It is a story that began with the Quad 1 amplifier, which brought the benefits of 15 years of knowledge and experience in professional audio and industrial products to the task of making the most accurate domestic audio amplifier of its age.

A few years later, in 1953, the product which set the standard for amplifiers was the Quad II Power Amplifier, the time of Queen Elizabeth’s Coronation and the year in which Mount Everest was finally conquered. This amplifier pioneered the principle of cathode coupling through the output transformer to reduce harmonic distortion to almost negligible levels. Such was its clear superiority that this model remained in production for 18 years.

Three years later, in 1956, Quad demonstrated the first true full-range electrostatic loudspeaker. This remarkable product (known later as the ESL 57) used a virtually mass-less plastic film as a moving diaphragm between two charged plates. Compared with moving coil loudspeakers, the ESL 57 was free of unwanted colourations and distortions. This landmark product remained in production, virtually unchanged, for 28 years.

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Zu Audio Superfly

Zu Audio DW6-W/fly (Superfly)

Zu Audio Superfly

('22-'26) $1800

Obtained locally from the original owner, this pair of Zu DW6 is essentially in mint cosmetic condition. They are 100% original and have all the upgrades that were available for the Superfly including the limited edition walnut finish. The total cost amounted to $3200.

Accessories and upgrades included:
~Factory performance package
~Limited Edition walnut finish
~ZU-B3 Mission-LC 10' long amp side / speaker side banana wires
~Original boxes / packing materials
~Documentation
~Press-fit protective driver covers
~Rubber footers

Superfly details:
Performance additions are engineered to give the DW-6 Superfly noticeably improved resolution and smoothness without altering its forgiving nature and great tone. Superfly upgrade also increases connection options and functionality with the inclusion of ZuB3.

Superfly-grade [tighter tolerance than standard] full-range driver matching Superfly-grade tweeter driver matching Mission Mk.II internal cable harness upgrade ClarityCap MR capacitor upgrade Extra 100 hours of factory burn-in ZuB3 connection addition Machined aluminum connection/nameplate Machined and hand finished Zu logo

DW6 Superfly-Grade Drivers:
DW-6 Superfly features tighter tolerance matching on the full-range and tweeter drivers. These are driver pairs that match to a very tight tolerance, both in deviation in magnitude and in impulse response—the tighter the left/right matching the more natural and satisfying the sound-field, creating stereo best described as realistic.

Internal Cable:
Mission Mk.II cable harness for the DW-6 Superfly Instead of standard Mission hookup wire for internal connections. Yes, DW 6 Superfly is built with the full Mission Mk.II loudspeaker cable. This triples the conducting area reducing resistance and reactive ratios improving dynamics and resolution while also improving tone. The improved sound imparted by the Mission Mk.II internal cable complements the ClarityCap MR capacitors, also part of the package.

ClarityCap MR capacitors:
ClarityCap MR capacitors are featured in the tweeter high-pass network for DW-6 Superfly. These capacitors have a very natural and resolving character, improving the “at ease” quality and yet reveal more detail and nuance. They are, like everything, pair matched.

Expanded Connector Option:
ZuB3 connection addition, which is absent in the standard model. Use of the Mission Mk.II loudspeaker cable in DW-6 Superfly imparts the utility of the ZuB3 connection, which is connected in parallel with five-way binding posts. This connection is via the silver plated Neutrik speakON NL8 circular-type locking connector. This connection lets you get the most from the improved internal cable, reduces contact resistance over binding posts, and gives the best electrical pass-through matchup when using Zu loudspeaker cable to connect DW 6 Superfly to your amp. The connection also safeguards against you getting the hot/cold out of phase, short-circuiting your amp and having the connection work loose or corrode.

Extra Burn-In: An extra 100 hours of club-level factory burn-in for the DW-6 Superfly.

Specs:

Bandwidth: 30 - 22k Hz [in-room average]
Sensitivity: 95 dB-SPL @ 2.8V, 39” [1.0m] from FRD face to mic [2π - 4π transition @ 200 Hz]
Impedance: 12 ohm nominal full spectrum Z-weighted, 8 ohm minimum
Wavefront: virtual point source from 12k Hz and down
Near Field Transition: 20” [50cm] (driver face to your nose on axis)
Max Input Power: 200 W program C-weighted
Max SPL: 118 dB-Z (slow)

Amplifier power output guidance

5 - 20 watts for low to moderate sound pressure levels
20 - 100 watts for moderate to very loud SPLs
100 - 500 watts for very loud to ear damagingly loud SPLs

Build specs:

FRD paper/CNT cone, neutral-hung 2” coil on paper/Kapton former Tweeter: Eminence ASD-1001 with custom machined from billet lens
High-Pass Network: single element mono-pole 18k Hz bezel, 12k Hz realized
Crossover: none, and no filter components on FRD
Cabinet: North American made composite wood, skinned with real wood veneer or epoxy
Bottom Insert Threads: 3/8–16 (9/16” [14mm] hex nut wrench)

Dimensions

12" x 12" x 36"
12" x 12" footprint
FRD protrudes 5/8” from the face of the cabinet
Binding posts protrude 1-1/8” from the back of cabinet
Weight: 67 lbs
Packaged: 78 lbs 17 x 18 x 41 inches

Other Details:
DW-6 is made In Ogden, Utah
Country of Origin: USA (>95%)
Life Expectancy: 100 years, indoor use (fatigue profiles factored on normal listening levels @ 1000 hours a year)
DW-6 entered production in July 2022.
DW-6 supersedes Omen and ODW Mk.I and II (in product 2010 ~ 2022)

About Zu Audio...
The company was founded in 2000 by Sean Casey, firmly convinced that the development of Hi-Fi rolled off the right way and has become increasingly business than an art, designed to bring to every house music in all its fullness, naturalness and spirituality. Is not, in his opinion, the cause for the benefit of the production and separation of components from those who have put their hearts into creating them – so Zu Audio Factory is located in Ogden, Utah, at the same place and its products are developed.

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Magnepan MMG

Magnepan MMG (powered by Carver TFM-35 amp)

('97-'01) $700

This pair of the original Magnepan MMG is in excellent cosmetic condition and fully operational. These are a matched pair of mirror-image designs (dedicated left / right placement).

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NOTE: The MMG are fuse-protected. An optional pair of 1-ohm wire-wound ceramic cement resistors @ 1 Ohm 5% 10 watts.
is available online. Currently they do not have (nor do they need to have) the resistors; in our listening area they sound just fine without them.

(From the MMG owner's manual:)
"OPTIONAL TWEETER ATTENUATION: There are several reasons for possibly needing to attenuate the tweeters in your MMGs:

Recordings typically in the “pop” or “rock” vein often exhibit a pronounced rise in the treble region.The Magneplanar Quasi ribbon tweeter is very efficient in it’s total energy dispersion. If the surrounding walls are exceptionally reflective, the overall perceived acoustical balance can be tipped toward a “hot” high end. Put A and B together and it can be unbearable.

Attenuation is accomplished by placing a resistor in the attenuation position on the connection plate . The 1 ohm resistors are for this purpose. These resistors will provide about 2dB of attenuation."
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These thin panels would not look like speakers to those not familiar with flat panel technology. They are 48” tall, 1.25” deep, and 14.5” wide, wrapped in an unobtrusive black grill cloth with solid natural oak trim down the sides. The unique design always makes a stylish statement in any room. However, be aware that the MMG can be a challenge depending on the room configuration. They need a solid amp capable of driving 4 ohms; the better the amp power, the better they sound after discovering the right placement.

Magnepan MMGs are “Quasi-Ribbon Planar” magnetic speakers, which are dipolar. As opposed to the classic (dynamic) transducers that you are used to seeing in your speakers such as cones and domes, Magnepan uses a .0005” Mylar diaphragm. This diaphragm vibrates within a magnetic field to produce sound.

While looking at the back panel, you’ll notice two other connections. A fuse, for protection of the mid/tweeter section and another pair of nuts for “Tweeter Attenuator.” (as explained above)

Bass response of 50 Hz means this speaker will perform well with music even if you do not have a subwoofer, but it won’t shake the walls. (if you pair a sub with the MMGs, you must take care to balance it properly so you don’t mess up the magical midrange and tight bass of the MMG.) If you like lots of bass, you are probably better off looking for different speakers. If transparency and naturalness are what you are after, the MMG will do the trick.

Specs:
Two-way Quasi Ribbon/Planar-Magnetic
Frequency Response: 50Hz - 26kHz
Sensitivity: 86dB, 2.83 Volts, 500Hz @1 Meter
Recommended Power: 40 to 150W @8 Ohms.
Impedance: 4 Ohms
Dimensions: 14-1/2" X 48" X 1-1/4"
Weight: 40 lbs./Pair

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KEF C40

('85-'88) $400 (stands not included)

In very good cosmetic condition, completely original and operating perfectly, this pair of KEF C40 was an iconic British design from the mid 80's. They are generous in both volume and drive units.

Bass is plentiful and extended, and the design is balanced to operate clear of room boundaries (on a specific type of stands).Designed as a 2.5 way system, the twin 8" mid-bass drivers (featuring "no maintenance required" polypropylene cones) handle the lowest frequencies. They augment and extend bass output, substantially improving power handling capacity, and assisting bass damping.

To handle the high frequencies, the KEF C40 used their excellent T33 tweeters. These were actually made by the highly respected French speaker company Audax and were designed specifically to KEF's specs.

These were top of the line in the KEF C Series that was built from '85 to '88. KEF described this C40 design as a "2 & 1/2 way" speaker, in which the bottom mounted driver acts as a subwoofer to handle the very lowest frequencies. The versatile C40 can be used either as a compact floor-standing speaker or it can be placed on low stands. It is built to effortlessly handle 100 watts and it has all of the exceptionally accurate, warm and musical reproduction that built KEF's reputation in the '80's.

Here's another excellent description of the C40:
The C40 (a successor to the KEF Carina) added a second B200 unit operating at low frequencies only. These two 3-ohm B200s have a free-air resonance of 40Hz. The two together, connected in series to give 6 ohms and shunted by capacitors of 10μ and 100μF respectively, produce a resonant frequency of 85Hz in this quite large box. KEF have reverted to third order loading here, with a 450μF capacitor in series and this has resulted in a nice clean bass end of apparently limitless power. A low floor-stand is suggested, but operation on the floor itself is not out of the question and was indeed preferred on some program material. The cabinet coloration is now low down and comparatively innocuous; the sibilance is still present but less obvious and, if the loudspeakers are being used on the floor, one is automatically off-axis vertically. Driven by a pair of 100-watt amplifiers, these C40s with their true sensitivity of 91dB at 8 ohms, are capable of very loud sounds indeed and they remain clear and undistorted right to the amplifier limit. This is a level at which I feel inclined to leave the room but, as KEF succinctly put it, "it will be particularly appealing to the cost-conscious rock listener.
The system can go exceedingly loud, can handle plenty of power, and, with a generous bass delivery, is particularly suited to good ol' rock n' roll...the so-called "West Coast' sound.

Basic specs:
Nominal Impedance: 8 ohms
Rated maximum power: 100 watts
Frequency response: 68Hz to 20kHz +/-3dB (-6dB at 58Hz)
Sensitivity: 91dB
Maximum output: 111dB peak under typical listening conditions
Weight: 22 lbs each
Dimensions: 25.5"H x 10"D x 9.75"W

About KEF...
It all began in 1961, as it so often does, with one man who was somewhat detail-obsessed. And in the world of hi-fi (or indeed, anything grounded in innovation, technology and perfection), that man, was Raymond Cooke, a former technical director for Wharfedale speakers (England). In the beginning, their tendency to sell raw drivers to their competitors – rather than keep them for themselves – solidified them as true leaders in this field. They went on to produce the K1 Series but with the 1962 introduction of the now world famous B139 bass driver, the Celeste was born. It proved to be a best seller but it wasn’t until the 1970s that their real breakthrough occurred. After a series of very successful commercial loudspeaker designs, 1975 saw a development which placed KEF on the hifi map. Indefinitely.

Thanks to the first implementation of computers in the design and measurement of their loudspeakers, this lead to the world famous

KRF Reference designs emerging for the first time, from the 101 all the way through to the 105.2. The first of many lines of References, each dominating its market.
Everything about what KEF has produced since day one has screamed of quality, of innovation and of style… three very memorable qualities. And when you have a company history (not to mention product range) as long and as illustrious as KEF’s, there are some seriously impressive things to remember.

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Klipsch Reference RF5

('01-'06) $800

Obtained locally from the original owner, this gorgeous pair of Klipsch Reference RF5 are in absolutely pristine cosmetic condition. These floorstanding towers have the very desirable cherrywood finish. All the drivers and crossovers are 100% original and in perfect working order.
Originally selling at $1500/pair when first released around 2001, they had a long five year production; that run is a bit unusual because most speaker manufacturers are lucky to get more than a few years out of certain models before they get replaced.

Each of the enclosures of the RF5 feature dual 8" "cerametallic" woofers, a single 8" square "Tractrix" Horn tweeter, a single 1" titanium diaphragm compression driver and audiophile grade crossover components.
Rated at 8 ohms with an astounding power ceiling of 600 watts, we would suggest using a "premium" amplifier with a minimum output of at least 80-100 watts per channel.

Klipsch probably said it best when they proudly announced that the RF5: "Was proudly built in Hope Arkansas...plays louder with less distortion...has a smooth midrange tonal balance...Deep authoritative bass without noise and features a furniture-grade cherrywood veneer enclosure."

Obviously, as with any highly rated speaker system, giving out opinions when asked "how do they sound?" can be difficult. Describing speakers is just way too subjective; it's YOUR ears that will make that decision. However, even those really picky guys on the AudioKarma website are pretty much unanimous when it comes to the RF5. For instance, you'll hear statements like these:

"These are keepers and you rarely see them for sale because they are one of the special speakers in the RF line. A totally fine loudspeaker you can put away your loudspeaker buying troubles now and look to working on the rest of your system."

"I've had a lot of speakers. These RF-5's are the first speakers my son asked me if I wanted to sell. Sign of a definite keeper!They also blend well with my JBL 4311b's, they seem to complement each other well."

"The RF'5's are the RF7's little brother, I have a pair that I bought new in the early 2000's. They are amazing speakers but need a lot of power to make them sound their best. You don't see them come up for sale very often."

Essential specs:
Type: Two-way, Bass-Reflex Floorstanding Speaker
Frequency Response: 34Hz – 20kHz (±3dB)
Sensitivity: 99dB (2.83V/1m)
Nominal Impedance: 8 Ohms (compatible)
Power Handling: 150W continuous / 600W peak
Crossover Frequency: 2500 Hz
Connections: Double terminals for bi-wiring
Dimensions: 42.5"H x 9.25"W x 14.25"D
Weight: 60 lbs each

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Trois Facon

Trois Facon by Davidson Audio

(2024) $950

In excellent cosmetic condition and operating perfectly, this pre-owned pair of Trois Facon speakers from Davidson Audio is one of their designs from 2024.

Each of the 46 lb enclosures measures 21" tall x 11.25" wide x 16" deep.
When placed on the matching stands, they are 42" tall. They have a nominal impedance of 6 ohms. The cabinets have a luxurious dark walnut finish with matching stands.

John Davidson describes the Trois Facon:
"The Trois Facon is my second 3-way design. My last two designs (Bel Suono and Augustus) focused on using top-of-the-line drivers and, as a result, proved to be more costly than expected. Even though I've never been (and probably will never be) profit motivated when it comes to building speakers, I usually end up with a final price that's related to build costs.
Having said that, it's probably more than likely a lot of people are not comfortable paying over $2000 for a pair of speakers. So, the focus for the Trois Facon was to build the best speaker I can with moderately priced drivers and, ultimately, reduce the cost.

The bass driver I selected for the speaker is the Peerless SLS-830667. This driver has been around for many years and has a reputation for value and performance. Also, this woofer is optimized for use in a sealed box, easily reaching the F3 roll off at 45Hz. But in addition to this, sealed woofers have a gentler roll off than ported boxes giving this design usable bass below 40Hz. The Peerless woofer also has a great flat extension up to 1Khz.

The midrange driver is a SB Acoustics 4-inch ceramic cone drive with a beautiful flat response through the midrange frequencies. The driver starts to roll off at about 3 Khz and has no breakup until about 7 Khz, well past the intended crossover point.

The tweeter also comes from SB Acoustics. This 1" ceramic dome tweeter has a ruler flat response from 800Hz to over 30 Khz. The ceramic dome is very stiff pushing any breakup mode well past the audible range. This tweeter is easy to listen for without any fatiguing characteristics.

The cabinet is constructed out of ¾” MDF on all sides except the front baffle. The baffle is constructed from 1” MDF and the cape with ½” piece of solid American walnut. An internal enclosure is also constructed inside the box to isolate the midrange from the woofer. The box is also integrated into the cabinet to provide bracing on the tall side of the cabinet. The sides and top of the cabinets are covered in thick walnut veneer to match the baffle.

I also built a pair of very sturdy, matching walnut speaker stands. These stands are so strong they easily support the 46 lb. cabinets.
This combination gives this system a sleek and elegant look.

The crossovers are constructed using air core inductors, and polycaps. No electrolytic capacitors are used in the crossovers. I use a combination of 1st order; 2nd order and 3rd order filters to take advantage of the wide power bands and natural roll offs of each of the drivers. This provides a seamless transition between the drivers. The crossovers frequencies are 650Hz and 3Khz. Overall, this is one of the smoothest speaker systems I have ever built and I will miss them.

The speaker has a sensitivity of about 87dB per 2.83V. The impedance never goes below 6.5 ohms and stays at 8 ohms or more for 90% of its frequency range. It is an easy speaker to drive. It does well with any amp or receiver of about 50 watts. Max power is about 100 watts but as always, any time the speaker starts to sound stressed you need to turn down the volume. I personally was using a 300-watt amp.

About Davidson Audio...
Based in Easley SC, John Davidson has over 25 years experience in custom loudspeaker design and technology. During the late 60's, at the tender age of 12 and through the teen years, the addiction to HiFi led to a serious study of electronics. For his senior high school project he built his first amplifier. Eventually he earned a degree in electronic engineering technologies and began to work in the industrial manufacturing area. All the while, the HiFi bug continued as a serious hobby.

In the mid 90s, with the consent and encouragement from wife and family, he decided to build a high quality media room at home. After setting a substantial budget for the intended gear, he discovered, very quickly, just how little the speaker budget had actually brought to the table. This led to researching the REAL cost in manufacturing high quality speakers which, in turn, led him to the surprisingly abundant world of DIY. From that point on he never purchased a new set of commercially built speakers.

With his substantial and continuing understanding of electronics and the benefits of his other serious hobby, woodworking, he set out to build his own speakers. By intensive reading and studying (along with trial and error), he gained the understanding and formulas of speaker construction. Over the next 25 years he built many sets of speakers of his own design along with some from other designers he had come to respect.

As he states "my designs typically start by combing through hundreds of data sheets from driver manufactures to find specific drivers that fit the acoustic and electrical characteristics I want. Using that reference data, I make base calculations on the crossovers. However, since drivers are a type of motor and dynamic by nature, the static calculations serve only as a starting point. It is impossible to produce a design with just base static calculations that will be pleasing to the ear. So next comes the most difficult and time consuming aspect of any new design: hours, days, weeks, and even months of listening, testing and tweaking the crossover to produce the desired final product. Once the crossover is worked out the woodworking starts. Selecting the best materials, I construct the cabinets. I use proven construction techniques and try to add visual interest using contrasting solid woods and veneers. Internal bracing adds rigidity and lining the enclosures with acoustic foam eliminates standing waves and distortion. In the end, the enclosure must be functional but also pleasing in cosmetic design. My philosophy towards loudspeaker design begins with the realization that it's an artful process that's based in science and engineering. The final tuning of the crossover by ear combined with the design and construction of the enclosure is what elevates a loudspeaker into something you never tire of listening to."

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a/d/s ADS L400

ADS L400

('83-'86) SOLD

Hard to find in such excellent cosmetic and operating condition, this pair of the highly regarded ADS L400 was manufactured by ADS (Analog and Digital Systems) in Wilmington Massachusetts USA. They use the well renowned Braun drivers which were manufactured in Germany. These speakers, when driven by a quality amp capable of handling 4 ohms, sound excellent in a "typical" small listening area. They also have satisfying bass considering the small size of their walnut veneer cabinets. The perforated metal grills are in excellent shape as well.

NOTE: The ADS L400 speakers were originally designed by the world-famous Dieter Rams, the industrial designer who designed many of the Braun products of the same era. The New York Museum of Modern Art is loaded with Dieter Rams' and ADS' works.

The all original Braun 7" mid-bass drivers *(with Stifflite cones), tweeters and crossovers are in perfect operating condition. The cabinets also have a factory installed hole at the back-top of the cabinet to facilitate hanging the speaker. The minimal specs of dust on the tweeters is typical and does not affect the sound at all; the Braun tweeters were factory coated with a sticky material to help damp the resonances.

*NOTE: Stifflite is a relatively thick material formed of air-filled, randomly-oriented pulp fiber in a unique "sandwich" construction. Because of this unique design, Revox, Braun, Visonik and ADS firmly believed it had the closest thing to the ideal woofer cone.

Specs:
7" paper "Stifflite" paper woofer, rubber surround, stamped steel basket
1" dome tweeter part number 206-0116. Measures 3.95 Ω DC
Frequency response: 60-20,000 Hz ± 3 dB
Efficiency: 90 dB
Minimum amp power: 20 watts
Crossover: 2 kHz
4 ohms nominal, 3.2 ohms minimum.
Dimensions: 11.75"H x 7.5"W x 8"D
Weight: 11 lbs each
Original price ('83-'85) $399 / pair

About a/d/s ADS/Braun...
ADS (Analog & Digital Systems) was the American importer's company label. Braun was the original German company which built the raw drivers and to some extent had a small, popular line of (fairly conventional) Braun speakers, tape decks and amplifiers for sale in Europe. The most common link to the ADS/Braun line was a Dr. Gunther who wished to import the products and traveled around to dealers trying to stir interest in the late '70's when Germany was not yet on the US audiophile map beyond Dual (from the Black Forest area) and a by then less well known Blaupunkt. (Studer and Revox were both Swiss companies distributed originally through German lines.)

Eventually, enough dealers signed on to a commitment and Gunther established ADS as the "manufacturer" of the speakers in the US. This was fair at the time as many companies were using drivers sourced from various manufacturers around the world and subsequently designing and building their own systems with either off the shelf drivers or custom modified drivers from a larger company. The original Boston Acoustics line came down in lineage from the KHL/Advent company but sourced their midrange and tweeter from Vifa and Seas while the woofers were manufactured in house but due to time restrictions on the company launch the A200's original woofer's ceramic magnet was charged at the AR factory in Cambridge, Mass. A largely similar story exists around EPI and the original Genesis line from Cambridge where nepotism in speaker design was commonplace amongst the numerous MIT students who had worked with Vilchur or Kloss or one of their students/business associates.

At ADS, Gunther hired a designer (some say it was Michael Kelly) to build finished speakers around the Braun drivers. Another company built cabinets here in the US to ADS' specifications. Kelly managed some fairly industrious and unique designs for ADS which drew significant attention to the ADS line. As the ADS line grew in stature and sales, Braun took notice and thought they could do just as well or better under their own name by trading on the popularity, reputation and success of the ADS line. The problems started with the issue of Braun having to import entire speaker systems which meant fairly heavy cabinets were being shipped across the sea incurring added expense not seen in the ADS line who had only been shipping raw drivers. ADS and Braun existed for a time as distinct lines with only passing similarities yet in discrete dealerships which led to many conflicts of interest and many awkward questions for everyone concerned. Braun's answer to this pricing issue was to cut off ADS's access to many of their most successful drivers. Suddenly ADS was in danger of being put out of business without a product line along with not having any backup drivers for repairs. Promises to dealers were being broken on a daily schedule as both revenues and resources dried up. Many of Kelly's designs were difficult to drive and required high power yet the Braun drivers were not meant for high power handling. This led to numerous repairs being done by dealers. Day by day, many dealer's repair facilities were stacking full of broken ADS speakers waiting for parts that never came.

There was a short compromise where ADS/Braun speakers existed as one line but Braun soon found themselves under commitment to repair existing ADS/Kelly designed speakers while not having the benefit of using all of Kelly's designs - many of which Braun disapproved of due to their reliability issues and their not being "perfect" examples of Braun design skills (which were not of the type desired by the average US audiophile of the day).

New dealers had been established for the ADS/Braun line separate from the original ADS and Braun dealerships, many original ADS dealers were left out in the cold without any factory backup and new Braun dealers were expected to use their own resources to fulfill ADS's commitments to parts and service. Court battles quickly and seemingly endlessly ensued. Eventually ADS was subsumed and then ceased to exist as a distinct company. Braun speakers went on in the US for a few years without most of the innovation of the ADS/Kelly designs and eventually faded ingloriously from the US market. Memories from customers ranging from fond to highly upset and generally hard feelings from dealers who stuck it out too long or hoped to make a quick buck off someone else's efforts were all that were left...

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JBL L20t

('85-'87) $300

In very good cosmetic condition, this pair of JBL L20t is completely original and the mid-bass drivers have rubber surrounds.
The L20T was introduced in 1988, as the smallest member of the L series. It is the consumer version of the professional studio JBL 4406 and uses the exact same drivers (115H woofer and the famous 035Ti titanium tweeter). If you look at the 4406 specs you would see they are identical. They are different only in the looks of the enclosure and the port, and the 4406 has a tweeter attenuator. In fact, the L20T is also used in many studios!

SPECS:
Type: 2 way, 2 driver loudspeaker system
Frequency Response: 50Hz to 20kHz
Recommended Amplifier: 100 watts (maximum)
Crossover Frequency: 3000Hz
Impedance: 6Ω
Sensitivity: 87dB
Bass: 6.5"polypropylene cone
Tweeter: 1" titanium dome
Enclosure: bass reflex
Finish: american walnut
Dimensions: 15"H x 9.5"W x 8.25"D
Weight: 34 lbs each

JBL 4408

near-field studio monitors ('87-'03) $650

In very good cosmetic condition, this pair of JBL 4408 studio monitors are a high quality 2-way system. They feature beautiful real timber (walnut) veneer enclosures and classic acoustically transparent speaker grills. These are 100% original.

The woofers have been refoamed and the tweeters' damping foam has been replaced. Each of the enclosures have unobtrusive corner solid brass protectors. The original grills are also in great shape and have the original JBL badges. Speaker stands shown in any of the photos are not included.

With a continuous production run of 16 years, the 4408 (and 4408A) were some of the longest continuously produced models in JBL history. The 4408 vs 4408A: the original 4408 featured a genuine walnut enclosure, 8" felted cone woofer (116H2) & titanium tweeter (035Ti), oval shaped bass port and front L-pad. The 4408A used a vinyl laminate coating, same woofer, slightly different HF driver (052Ti), round bass port and did not have an L-pad.
NOTE: titanium dome tweeters are a technology pioneered by JBL

The 4408 is described as "near field monitors" for a reason; Technically speaking, the 4408 was primarily intended for direct-field monitoring in close-in broadcast applications, where the close driver spacing creates a
coherent sound source.

However, for the rest of us, when the 4408 is in a "typical" listening room other than a HiFi recording engineer's studio, one would assume an approximate 10' x 10' (or slightly larger) critical listening area. In this environment, the 4408 are in their glory. Assuming the speakers are off the floor, (either hanging in brackets or sitting on some type of isolators) all it takes is a few tweaks on the L-pad and the listener can "tune" the soundstage to within their own particular hearing-comfort zone.

Even though they are rated at an "easy-to-drive" 8 ohms and 89dB sensitivity, the 4408 (in our humble opinion) will really come alive when driven by high quality amplifier power. Generally speaking, because the loudness of a speaker does not always equate to sonic perfection, the pure build quality of the amp allows the speaker to also perform better at lower volumes.The 4408 is right up there with the best of the 80's & 90's JBL monitor designs. Of course the limitations of a 2-way speaker design vs 3-way leaves room for a lot of chatter about what's best for each listener's needs or budget.

The bottom line?
Let YOUR ears decide; that's all that matters...

SPECS:
Frequency Response: 50Hz to 20kHz /
Power: 100 watts /
Crossover: 2500Hz /
Impedance: 8 ohms /
Sensitivity: 89dB /
Bass: 8" felted cone
Tweeter: 0.25" pure titanium dome /
Finish: real walnut /
Dimensions: 17.2"H x 12"D x 11.5"W /
Weight: 26 lbs each

About JBL...
In 1927, one of the original pro-audio companies, Western Electric, pioneered cinema sound with 'The Jazz Singer'. In the Wall Street crash of 1929, Western Electric was split up. From the ashes, came Westrex (who are today still involved in the movie/video side of the business) and Altec, short for 'All technicians', because the new company's bosses and founders were the technical people from Western Electric. Most notable of these was James Buoloh Lansing, and when he became president, Altec took on his surname, thus Altec-Lansing. Like Western Electric, Altec-Lansing's main business was in cinema sound, but along with RCA, this is where high-power, large-scale sound reinforcement was pioneered, horn speakers being their forte.

In 1940, Lansing sold his shares and later set up his own, competing company, with an emphasis on speakers. Lansing was subsequently killed in a plane crash in the late 40s, but the company he founded - James B. Lansing Inc. - or 'JBL' as it's better known, has gone from strength to strength.

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Axiom surround sound system

Axiom system (complete w/ original boxes)

M60 V2 / VP150-V2 / QS8-V2 ('06-'10) $600

(complete set with original shipping containers)

Obtained from the original owner and in absolutely perfect cosmetic and operating condition, this Axiom set includes the M60-V2 main towers, QS8-V2 rear speakers and the VP150-V2 center channel. They are all finished in Boston Cherry veneer. The stands, brackets, original factory boxes and documentation are included. Since we specialize in vintage stereo and rarely offer surround components, this price on this set is generously discounted. Rather than write a lot of copy, it's probably easier to go to the following links for information on these components.

M60-V2
https://www.goodsound.com/equipment/axiom_m60v2.htm

VP150-V2
https://www.axiomaudio.com/vp150-center-channel-speaker

QS8-V2
https://www.axiomaudio.com/qs8-surround-sound-speakers

About Axiom...
Scientifically proven superior performance. For over 30 years Axiom has been a research leader in establishing the science behind sound so you get the absolute best performance possible.The Axiom Research Laboratory, located in Dwight, Muskoka, Canada is one of the finest acoustic research facilities in the world and in many aspects replicates the acoustical laboratory at the NRC (National Research Council) in Ottawa, Canada where Axiom’s founder Ian Colquhoun spent many years. Following the original research conducted in the laboratory, all Axiom product designs are tested using the most rigorous real world double-blind listening tests which establish the connection between technical measurements and real listeners’ impressions of the products.

Axiom’s world class research facilities are equipped with the state of the art psychoacoustical testing equipment, including a power test room, an environment test chamber, a fully equipped electronics laboratory, and of course a full sized certified anechoic chamber—literally, a room with no echoes (pictured above). But it’s no ordinary room—lining all six walls of the chamber are large fiberglass wedges that absorb all reflections from the loudspeaker. These wedges are mounted to layered walls and the entire chamber sits on hundreds of springs. Pictured inside the chamber is an Axiom M22 bookshelf speaker, supported on a pedestal that can rotate to either side as well the microphone can move up and down. All these movements can be controlled automatically from the control room. This is where the initial design and frequency response of the M22 (which has received glowing reviews from a variety of critics and reviewers), was refined, measured, and fine-tuned by its designer, Axiom founder Ian Colquhoun.

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