In Europe I imagine you could find the German Physiks speaker which has their version of the Walsh driver.
https://www.german-physiks.com/
I think a more apt comparison in terms of the overall design might be the NBL Radialstrahker. They have a tall vertical assembly that has some sort of foil ribbons that curve from the top down to the bottom of the center assembly in a long shallow arc. Some of them also have a base module. The cheap version is about $15,000 to $19,000 per pair at retail, but the the big ones are closer to $60,000 per pair. I've read reviews of them that were absolutely glowing. I'm sure they're more efficient than the original Walsh drivers that were used in the in the models A and F (those two were actually of a slightly different design but that's a topic for a different thread or another reply. I wanted a pair of the model F since I first heard them in 1973, in a Tech HiFi showroom, then heard them for a second time a few years later in a very small dorm room in a cloud of smoke. in a threat I recently read, but I don't think it was here, someone kept insisting that they had the lifespan of a housefly. That couldn't be further from the truth. There was a design issue with the original production run that caused them to fry when they were driven too hard, yet they were very demanding speakers that required a high current amp. Phase Linear was the most popular choice to drive them properly. That issue was corrected. The most significant challenges to restoring a pair, assuming the voice coils are okay and that the drivers are intact, is related to the rubber spider assembly, the foam surround, and most significantly, carefully removing and replacing the sound absorbent clay type material that was used on the inside of the upper third of the cone, which I believe is made of titanium foil. that clay dried out over the years. It has to be removed with great caution, and a suitable replacement material applied. there's a material whose name escapes me at the moment but it's something like mortite - a sort of insulating putty that has similar characteristics to the clay that was originally used. I'm not sure what Bill Legall used on mine for this purpose, as if you remove the cone from the cabinet, there is a securely attached piece of rather stiff woven cloth that prevents you from seeing inside or getting inside without removing it. I believe that the more common practice is to use Dynamat. It's a dense self-adhesive black foam material that is frequently used in custom audio installations to attach to metal areas and reduce resonance and sound reflections.I think Bill also had some sort of technique of reinforcing the spiders so that they don't sag as much over time. this is all hearsay, and I'm not trying to put words into his or anyone else's mouth. I do know that if they're going to be stored for a couple of years and not used, the recommended practice is to remove the cones and invert them so the weight of the cone is not pulling on them.
Any pair that has not been restored when they're purchased will require restoration - that's a guarantee. Mine have continued to improve in sound characteristics since I've owned them, simply because I have improved and increase the power of amplification, gotten a much better preamp, and also finally have them in a room that provides adequate unfettered space between the drivers and the side and rear walls. Presently driving them with a McIntosh MC452 amplifier with a C2300 preamp on the front end. The centers of the cones are roughly 7 ft apart, and I have about 4 ft clearance between the top of the cones and the side and rear walls. The custom stands that came with mine, which appear to be Factory built but that cannot be verified, raises them 14 inches off the floor. I've tried them with and without and really prefer having them on the risers. If anyone reading this has a pair and is interested, I can provide a PDF I made up with some photos and measurements showing exactly how the risers are built.
I owned two different pairs of the Ohm Walsh 2 before acquiring the model F. I thought they were terrific speakers, just slightly more directional than the F. But they use a downward firing woofer, but the tweeter/midrange is pointed at a 45° angle toward the listening position. There is a felt material inside the back of those cylindrical metal cans that reduces the amount of reflection to the rear. they can be driven quite nicely with 80 Watts or 100 watts of clean power, but they will sound a lot better with 150 wpc. I paid $200 for the first pair and $250 for the second pair, and sold each pair for about $300. For a used vintage speaker, they punch way above their weight class relative to their price, and they have some sort of treated fabric surrounds that don't rot out.
As for the sound characteristics of the truek omni-directional design of the F: you either love it or you don't. My wife and I sit on the couch for serious listening, but haven't 8 ft wide archway going into our dining and kitchen area. Given a bit of volume, the sense of a true stereo sound stage anywhere in the kitchen or dining or living room areas is always present. They don't have profoundly deep and super powerful pace, but I have found uncertain material that has very significant base, they will only show their true colors when they are driven by lots of clean power. A friend of mine who had not been into audio for many years, got inspired by what I was doing. He built one of the Bob Latino design modern day Dynaco ST79 amps, converted an old iMac into a music server in his basement, and then used Wi-Fi to an Apple Airport Express, which received the signals from FLAC files, functioned as the DAC, and handed the signal directly to the speakers. he used his iPhone to select which files to play and also as a way to control volume. The sound was absolutely fantastic. He really preferred it to my setup which, at the time, was a McIntosh MX-120 and MC2395 amp (200 wpc.) He had repaired and restored his 1970s vintage Phase Acoustic three-way tower speakers. The Tweeter is in a separate assembly that sits on the top of the tower and is a bit further back than the two other drivers, and is also open on the back. it is claimed to be a face coherent transmission line design, and I'll have to say that the sound was fantastic. I took a half dozen of my favorite CDs with me, we ripped them FLAC files, and played them on his system for the sake of comparison. I think about a third of the dozen or so songs we evaluated sounded better on my system, about 1/3 sounded better on his system, and the remaining third sounded equally good on both - to my ears. He had a strong preference for his speakers under all conditions, because he likes pinpoint directionality, which the Phase Acoustic speakers offer. I can live with less of it because I prefer the immersive sense of organic wholeness, and the ability to move around to different listening positions and hear everything more or less equally. I've even spent some time sitting in an armchair in between my speakers, and it was quite enjoyable. By the way, his speakers were designed and built by a guy named Phil Clements. Phil was based in Canada and had a terrible fire about 3 years into producing that brand, which put him under financially for a while. He reemerged with his own name on the company, making Clements loudspeakers. not sure what happened with that company but it also folded after a few years, but he has been back in business for a while with an outfit called Solus Audio - whose speakers are said to be quite nice.
