Wilson Audio Specialties Duette loudspeaker Measurements

Sidebar 3: Measurements

A mid-March visit John Marks and I made to Derry, New Hampshire, retailer Fidelis provided an opportunity for me to give the Wilson Audio Duettes a listen in John's Rhode Island room on my way back to New York. As I'd taken along my portable speaker-measuring gear—Earthworks QTC-40 microphone, Metric Halo ULN-2 FireWire audio interface, and MacBook laptop running SMUG Software's FuzzMeasure program—I also examined the Duettes' in-room response. The speakers were driven by the Parasound Halo JC 1 monoblocks, as they had been for some of JM's auditioning.

I performed this in my usual manner: I average 20 1/6-octave–smoothed responses taken for each speaker individually in a rectangular grid measuring 36" by 18" and centered on the positions of the listener's ears in his chair. The resulting response correlates well with a speaker's perceived tonal balance, I have found.

The Duette's spectrum, shown as the red trace in fig.1, reveals four features. First is the smooth, gentle rolloff above 5kHz, which is due both to the increasing directivity of the 1" tweeter in its top octaves and to the increasing absorption of the room furnishings. This doesn't mean the speaker sounds rolled off; I agree with John Marks about the speaker's top-octave balance being optimal. Second is a slight lack of energy at the top of the woofer's passband compared with the regions below and above. This is the result of the relatively large woofer's radiation pattern narrowing at the top of its passband, contrasting with the wider dispersion of the tweeter at the bottom of its passband.

Fig.1 Wilson Audio Specialties Duette, spatially averaged, 1/6-octave response (red trace), and of Vivid B1 (blue), in JM's listening room.

Third, the lower midrange is suppressed a little compared with the level in the upper midrange. I believe that this is a factor of the speakers being used well away from room boundaries rather than on bookshelves, where boundary reinforcement would tend to fill in this region. Finally, though there are slight peaks and dips between 50 and 300Hz in this trace, due to room modes that have not been eliminated by the spatial averaging, the transition through the lower midrange and upper bass is otherwise smooth, and the speaker offers useful output in-room down to 30Hz. This is excellent bass performance for a two-way bookshelf design.

The blue trace in fig.1 shows the response of the Vivid B1 in JM's room, taken under identical circumstances, other than being driven by an Ayre Acoustics integrated amplifier instead of the Parasound monoblocks. Being a three-way, the Vivid can use a smaller-diameter, hence wider-dispersion midrange driver than the Duette's 8" woofer, which results in a smoother in-room output in the upper crossover region, with otherwise a similar top-octave balance. The Vivid's double-woofer arrangement gives greater low-frequency extension in-room, but with a less well-managed lower-midrange transition overall and a "lumpier" bass output.

When I listened to the Duettes, I was as astonished by the speaker's resolution as JM had been. Hearing the CD version of Shelby Lynne singing the title track of her Just a Little Lovin' (Lost Highways B0009789-02, our March 2008 "Recording of the Month"), I was made aware of something I hadn't heard before: some very low-level analog-tape print-through in the pause before she begins each verse. (Though, to be fair, most of my experience of this track is of the LP, which seems free from this problem; perhaps the CD was mastered from a duplicate tape that had been stored "heads-out.") The Duette's low frequencies were also first-rate: extended, with perhaps a slight midbass excess, though with superb definition. The use of a larger-than-usual woofer for a two-way bookshelf design gives optimal bass performance, in terms of both sensitivity and power handling.

The Duette was not quite as uncolored as the Vivid B1, which I auditioned in both JM's and my rooms. There was a slight nasality to Shelby Lynne's and Norah Jones's voices. This character was not audible in male voices, but, like the Duette's rather forward sound, stemmed, I feel, from the speaker's in-room behavior at the top of the midrange. I found I could reduce the audibility of the coloration by opening the drapes that JM had to the left speaker's sides, which had been closed for the measuring and my initial auditioning. This suggests that the Duettes should be used well away from the sidewalls. Overall, however, the Wilson Audio Duettes produced a sound that allowed all the music I listened to during my visit to communicate very effectively.—John Atkinson

Company Info
Wilson Audio Specialties
2233 Mountain Vista Lane
Provo, UT 84606
(801) 377-2233
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Comments
Garrett.F's picture
This is an extremely

This is an extremely comprehensive article that truly allows us to see everything that the Wilson Duette has to offer. I hope that there will be more information coming from you because of your honestly.

 

 

Sometimes reading reviews of certain products makes us find that we are not hearing from someone who has actually tried the product but then there are some good ones.

Timbo in Oz's picture
An 8 inch cone diameter? NOT 50 sq inches in area? voice ranges?

It's an '8 inch frame' woofer whose cone diameter is likely about 7inches or less. So the surface are is 3.5x3.5x3.414 = 41 sq inches, or if it's only 6.5in across just 36sq in.

A true 8 inch cone would require at least a 9 inch frame, possibly 10 inch, the speaker is only 9.4 inches wide though!

90db/w @ 4 0hms is not a sensitive speaker.

My 8 inch 2-ways, weigh more, have an enclosure shape that is itself quiet, go almost as deep, have far smoother diffraction behaviour, and would be worth just under $Au4,000 today. They used good-sounding metallised film caps in ladders, air core coils. 91db/w easy true 8 ohm load, and no low-pass. Transparent? I bought them instead of QUAD 57s.

IMO wide dispersion is not that good an idea for home speakers in most people's acoustically small rooms.

I respect TF's recordings a great deal, and choirs and singers are important Chez Nous. So, what does he think the relevant ranges to avoid xovers within? May we read his thoughts, please?

Timbo in Oz

 

 

 

heavystarch's picture
Look closer

Hi Timbo,

You should look a little closer to the picture of the Duette at the top of this article.  The woofer's frame extends almost to the very edges of the 9.4" speaker.  If that is the case then it does appear to have a 9" frame. 

I don't know of any 8" drivers that require a 10" frame width (there must be right?).  Most 8" drivers have a 8.25"-9.0" overall width on the frame.  I just quickly looked at the 8" woofers on Parts Express and none of them had a frame over 9" (most were 8.25"-8.5").  

You're probably right that the actual "cone area" is less than 8" in diameter - probably closer to 7.5" but this is the general classification of an 8" woofer. 

If it were my money, I'd just get a pair of Event Opal's.  

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