When the Quad 63 was announced, the makers had the foresight to anticipate a high level of demand. A carefully thought out waiting list system was introduced and dealers were warned that demo units were, initially at least, like gold dust. The clear implication being not to sell them, despite the ludicrously inflated offers made by enthusiasts. Replacement demo units were unlikely to arrive. Okay, fair enough.
Coincidental with this I was considering taking on the Levinson range of electronics. To hasten my decision, the man himself, Mark. Levinson visited my house, where I had the precious ELS63s. He brought a pair of the largest power amps I seen up to that date, and an ML6a or ML7 too. I can’t remember which.The power amps had mechanical hum, so we left them powered up in the hall. I played a few records to get started. The sound was startling.
Mark pointed out that this wasn’t really showing the amps at their best, although he was deeply impressed with the Quads. This was his first time with them although he’d used the Quad 57s to great effect in his mighty HQD system.
Anyway, he brought out one of his own test pressings of a harpsichord recorded by him, on his own modified valve reel to reel tape recorder (an ML5 I think) in a church somewhere in Basle, Switzerland. He hit PLAY and the sound was nothing short of magnificent. Tear inducing in fact. The dynamics were extraordinary, especially for an electrostatic. And then, with seemingly unlimited reserves of power on tap, the sound reached a climax – and both speakers caught fire – literally.Mark was non-plussed, but very apologetic, and puzzled. I was dumb struck.
Anyway, he wrote me a cheque there and then for the trade price, interceded with Quad and I got a replacement pair very quickly too. And as for the stunning recording, as far as I know, it was never released. Mark was, as I had expected, a perfect gentleman.