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Stradivari Audio Magnus speakers are exceptionally convenient, extremely powerful sound, airy and very natural. No sharpness, beautiful voice output, very transparent speakers , lovely high tone output, an enormous space, magnificent sound, a great fundament of the whole range, A fantastic deep bass output.
The Amorat speaker has a natural sound, depth and tight bass, full tone, a very detailed and a fine example! Beautiful voice output. Sparkling, pure high, without sharpness. Magnificent overall. Now with new tweeters, designed for Thiel (output on as linear to 40 kHz) and larger bass reflex system, ensuring for a more transparent and fuller sound.
The inspiration for Sabrina arose from two distinct and seemingly disparate sources: the original WATT/Puppy, and the Alexandria XLF. The WATT/Puppy was the result of Dave Wilson’s belief that a well-designed compact loudspeaker could outperform many of the much larger state-of-the-art systems of its day. Sabrina is nearly the same size as its 1980s progenitor. The XLF, on the other hand, represents the current pinnacle of Wilson’s three-decades-long quest to bridge the gulf between live, unamplified music and its reproduction. The XLF platform offers the world’s most precise time-alignment capability, custom-designed drivers, and cabinet modules constructed from Wilson’s proprietary materials, reducing cabinet resonance and coloration to inaudible levels.
Wilson is very excited to introduce its fifth all-new loudspeaker in as many years: The Yvette.
As we launch our newest loudspeaker, the natural questions seem to be within the context of Wilson’s past models. This is understandable. Dave Wilson’s WATT/Puppy literally transformed the high-end loudspeaker market in the late eighties, and went on to be the best selling loudspeaker in the over-$10K category in history. The Yvette may also invite comparison to Wilson’s cult favorite, the Sophia. Again, this makes sense. For thousands and thousands of music lovers and audiophiles, Sophia was the first experience they had with Wilson. Sophia was treasured for her unique combination of musicality and accessibility with other traditional Wilson virtues, such as dynamic resolution and soundstaging. She was, above all else, easy-going and eminently lovable.
The WATT/Puppy is perhaps the most salient and iconic example of Dave Wilson’s lifelong quest for the absolute sound. The WATT, the upper module of the combination, began in the mid-eighties as a utilitarian recording tool, a portable, ultra-high resolution location monitor for the recordings he was then making. The WATT was later paired with a dedicated woofer module—the “Puppy.” The WATT/Puppy combo became Wilson Audio’s largest selling product. The reason was simple: it was a truly compact, full-range loudspeaker that could fit easily in most real-world listening rooms while still offering the bass speed and extension, the dynamics, and musicality associated with much larger systems.
When it came to designing the Series 2, every angle and curve was scrutinized, every structural element was considered, each of the metal components, large and small, were carefully examined for possible improvements. Nearly everything in the Alexia has been reworked for the Series 2 with an eye toward more elegantly following the underlying technological function responsible for the Alexia’s intrinsic musical rightness.
Alexx is the fourth all-new loudspeaker from Wilson Audio in as many years. It may be intuitive to assume the Alexx replaces the venerable MAXX, in that it is Wilson’s latest entry into the large speaker segment just below the Alexandria, but, in reality, the comparison with the MAXX begins and ends there. Instead, the Alexx is an altogether more complex and sophisticated loudspeaker. Alexx incorporates Wilson’s latest thinking on loudspeaker design in the areas of time-domain geometry, driver configuration, and driver development. It is the latest beneficiary of Wilson’s ongoing analysis of low-resonance cabinet strategies via laser micrometer. Alexx draws from both recent designs such as the Alexia and the Sabrina, as well as the WAMM—Dave Wilson’s up and coming Magnum Opus—with which it was developed concurrently.
If one’s goal is to reproduce the sound of live music, logic suggests that at some point the designer must listen to his creation in order to understand how much (or how little) it sounds like the live event. Some designers in the industry maintain that making judgments on the success of one’s design through listening is subjective and unscientific. They believe that only through the application of the right theories, or the strict adherence to a certain set of measurements can one reliably approach the ideal.
Yet the history of high-end audio is littered with electronics and loudspeakers that achieve sterling performance on the test bench, and yet, to the ears of even the average listener, fail to produce life-like sound. They lack the ineffable sense of rightness that momentarily suspends disbelief.