Wilson speakers

[AnotherJohnson]

This week I spent some time listening to and studying the build quality of the Alexia V and Alexx V models. Also spent time learning more about and listening to the Chronosonic XVX.

On the bright side, returning to my Sasha DAWs was in no way a disappointment to my ears. In fact, I like my system’s voice better than the Burmester driven systems I listened to.

I wrote this, and at the time it was true.

I’m not sure what changed. The Burmester driven systems were always impressive, but I did like mine driven by ARC better.

I still like my home system better than the Burmester driven demos … but mine is Burmester driven too now. So maybe it’s not really a puzzle. Like most of us, I really like my listening room, set up, and gear.

[AnotherJohnson]

I’ve now driven my Sasha DAWs with several electronic sets for extended auditions over the past6 months.

ARC REF250SEs and REF6SE ($57k msrp)

ARC REF75SE and REF6SE ($30k msrp)

Burmester 911 mk3 and REF6SE ($54k msrp)

Burmester 911 mk3 and 088 ($68k msrp)

Interconnects and cables have been AQ Thunderbird Zeros
Power cords AQ and Transparent.

I think that most who think amp/preamp combinations have subtle differences would change their mind. The differences aren’t subtle. But at the same time, all four systems are very pleasing. I can hear why any one of them could be embraced as a cherished end game.

Even though the sonic signatures cover a wide range, they are all high fidelity. Comparison breeds dissatisfaction. And it can get expensive.

[admin]

At this high level, maybe it really comes down to subjective preference vs objective performance? In all honesty, how can one really say one is superior vs inferior when you are comparing top of the line gear like this where no corners are being cut?

[AnotherJohnson]

At this high level, maybe it really comes down to subjective preference vs objective performance? In all honesty, how can one really say one is superior vs inferior when you are comparing top of the line gear like this where no corners are being cut?

The real driving force for this whole nearly two year long adventure was my love of what Wilson calls micro detail. Their foundation stands on three legs defined by David as Dynamic Contrast, Harmonic Expression, and Micro Detail.

It sounds like marketing gobbledygook, but if you spend enough time with a well set up pair, and if you’ve been listening to other speakers in a critical way, David’s sonic vision may come into focus. It did for me.

The BIGGEST difference between the 088/911 combo and anything else I’ve heard, is in the micro detail. More mumbled lyrics and more backing vocals clarify with this combination in my system than any other electronics combinations I’ve auditioned. My wife walked through my fairly sound proof man cave last night. She was taking a short cut to get something she thought was in my garage. It was while I was playing Bob Dylan’s Oh Mercy album. She entered quietly during the cut before The Man in the Long Black Coat, and she returned as TMitLBC was starting.

She stopped in her tracks and quietly listened. She doesn’t care about audio or critical listening. As a rule, she would prefer to watch real estate programs on Magnolia Network.

But later in the evening she was still thinking about her unintended audition. When I emerged from “the room,” she said without prompting “I have NEVER heard Bob Dylan sing anything so clearly.” My unarticulated thought was “Yes, and this is one of his most unclearly mumbled lyrics.” But as a 48 year Member of the “Happy Wife = Happy Life” club, what I said was “Yes, I agree.”

[AnotherJohnson]

Just for fun I dropped in on my friendly neighborhood McIntosh dealer.

I had them play Man in the Long Black coat.

They streamed it through a HiFi Rose 150, their top streamer. They set it up to play through the fancy two box top of the line McIntosh preamp and a pair of the latest 1200+ Wpc monoblocks, driving Wilson Chronosonic XVX.

It was clear. Similar in diction to my Burmester set up. But the diction was the only good point. All their weak cabling, switch boxes, mediocre streamer/DAC, and sloppy set up created a very flat sound stage, lack of presence, and overall bloated presentation.

On the bright side, I think it proved to me that the modern McIntosh high end has potential (because of the decent diction). If you had the system in your own space, with proper attention to cabling and set up, it could be very good.

Although the $375k speakers are out of my league, the McIntosh electronics at this level are priced modestly, and would seem to have potential.

[audiobill]

Just for fun I dropped in on my friendly neighborhood McIntosh dealer.

I had them play Man in the Long Black coat.

They streamed it through a HiFi Rose 150, their top streamer. They set it up to play through the fancy two box top of the line McIntosh preamp and a pair of the latest 1200+ Wpc monoblocks, driving Wilson Chronosonic XVX.

It was clear. Similar in diction to my Burmester set up. But the diction was the only good point. All their weak cabling, switch boxes, mediocre streamer/DAC, and sloppy set up created a very flat sound stage, lack of presence, and overall bloated presentation.

On the bright side, I think it proved to me that the modern McIntosh high end has potential (because of the decent diction). If you had the system in your own space, with proper attention to cabling and set up, it could be very good.

Although the $375k speakers are out of my league, the McIntosh electronics at this level are priced modestly, and would seem to have potential.

OMG, such pretension!

[AnotherJohnson]

OMG, such pretension!

Don’t you like McIntosh anymore? I think the best of modern McIntosh shows good promise.

You’ve already shared with snarky comments that you don’t like the look of my system. And we know that you don’t like the idea of test cuts from your snarky comments on the glass tinkle cut.

I’m surprised that you would criticize a positive comment about McIntosh.

Bill, your stuff suits you. Better than snarky comments.
Your friend, enjoying those fine tunes,

AJ

[audiobill]

AJ, I love my stuff, just as you do yours. But "would seem to have potential" strikes me as somewhat patronizing regarding this venerable brand that has, does and will set a very high standard.

Wouldn't you agree?

Best,

Bill

[AnotherJohnson]

This link is to a SoundStage! Australia interview with Darryl Wilson about the development of the Sasha V.

If you’re predisposed to dislike Wilson, or if you believe that most high end sounds the same, put me on your “ignore” list.

In fact, stop reading now …

Are gone?

Good.

Here’s the link.

https://www.soundstageaustralia.com/ind ... f6697d6f-1

In my opinion, there are few second generation CEOs capable of advancing the development. I really like Darryl. He is genuinely approachable, yet his own mind is racing ahead.

I’ve had the DAWs for 6 months now. They delight and surprise me with every performance.

[Big Dog RJ]

Yes, the S-Daws are very special speakers, not an average dynamic type by any means nor affordable to many. It's design philosophy goes way back to Wilson's history and this is one speaker designing company that does have a very rich history! Without a doubt!
I've auditioned Wilson's with various types of gear... one thing I can conclude is that if used with a certain decent level of gear, you'll only get decent sound. Enhance that performance, and try out some top flight gear... that so called decent performance shifts several gears, and it just takes off!

Although this may be a well known phenomenon with any highend speaker design, there are a few that must have top level gear in order for them to display their true value. Once that level is experienced it's very very hard to settle for anything less or even slightly less. I guess this could well be the reason why AJ just loves to flip that inverting switch on his Burmester preamp.

Speaking of new auditions, thought I'd just add to the McIntosh line up... perhaps this is not the right place but Mac was mentioned above:
I haven't found the big powered MC601,1200's or 2000 series to be so great. That is, they were either powering ML Neoliths or the top of the line SF Aida and other SF reference series speakers. It had the typical big Mac sound and was quite pleasant, I wouldn't criticise it. But that's just my opinion. Even the MC452 and MC462 partnered with the C53 was one of my favourite Mac pre-power combinations.

However, I must say I got the opportunity in auditioning their newest 901 dual-design monoblocks. These things are pretty massive, and they've got both SS and tube Output stages all designed onto a single chassis. So with this particular config, you can choose which Output stage you want to drive whatever... it's a completely different level from the Mac norm, and I guess only Mac would ever think of something like this.

The 901 amps were driving a pair of older Genesis 5 series speakers. The tube section was used on the mids&highs panels and SS section was used on the bass. This allows for near perfect matching, no major changes in gain or anything of that sort, impedence matching is spot on and the overall balance was fantastic! This chap had these Genesis speakers before and used Dan D's designs to drive both panels and LF drivers. However, going through crossovers and all sorts of controls... which was a constant fiddle on every program material, it never sounded coherent. It was like listening to two sets of speakers at the same time.

Now, with these big 901's, that department amplifier matching in a typical bi-amp config is well sorted! From a glance they do look bit odd, the sides are slightly curved and there are heat sinks (fins) sticking out the far back sides. The front is pretty much standard all Mac in its full blue meter glory. Only when you get up close to one of these 901 monoblocks, do you actually realise how far Mac has evolved. Really tops this one and so is the price tag. I guess for those true Mac lovers, this may well be the equivalent to CJ's top of the line ART Class A gear.

Outstanding indeed! Sorry if this was too lengthy and a slight digress... just thought it's worth a note.
Cheers, RJ

[AnotherJohnson]

The best McIntosh demos I’ve heard have been at Paragon Sight and Sound in Michigan. Our local Nashville dealer is not up to the task of showing them off.

I enjoyed the 901s driving a flagship level Sonus Faber pair. Don’t remember model, but well over $30k.

Right now, at least to me, the strongest draw to McIntosh is their financial strength, their US history and manufacturing, and their modest (as high end goes) pricing.

The thing I don’t like so well is the pairing of parallel SS and tube circuits. But I think most would view this as a “best of both worlds” feature.

[AnotherJohnson]

All I can say is wow.

Out of curiosity, are they some kind of special resistor?

They are Caddock Precision Metal Film resistors.

There are 8, not 4 … so $40 each.

Half are MDN0178 6.0 Ohm 1% , and the other half are similar, but 4.8 Ohm.

I’ve looked at sourcing, and it’s another deal like Vishay. They’re selling them to people who are supporting a large need.

Using them as protective devices in a circuit means that their power absorption to failure is critical.

It appears that they are actually part of the crossovers, and you can tune the sound by choosing other values. They (Wilson) say that it is usually not necessary, but in some rooms it may help if the set up dealer is capable of tuning.