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Of the small number of times I have been totally swept away by listening to recorded music, a significant proportion have involved loudspeakers from Wilson Audio Specialties. It was my experience of their X-1/Grand SLAMM in the listening rooms of reviewer Martin Colloms, then-retailer Peter McGrath, designer Dan D'Agostino of Krell, and manufacturer Madrigal Audio Labs, that led me to name it my "Editor's Choice" for 1995 and join my vote with those of the Stereophile scribes to make it the magazine's "Loudspeaker of the Year." I wrote in my December 2001 "As We See It" about how a cross-…
The crossover is said to use high-quality parts and is encapsulated to minimize vibrational effects. Electrical connection is via a single pair of brass binding posts. Finishing the speaker off are four multi-part spikes, which both set the correct listening height and couple the speaker optimally to the floor.
Setup
Peter McGrath, now with Wilson Audio Specialties, set the Sophias up in my listening room. If you're concerned that this means a reviewer is being given special treatment, I'm told that the dealer from whom you purchase a pair of Sophias will provide this service as a…
I love the Enigma Variations, but the highlight for me of the Naxos Elgar disc is a stunning interpretation of the In the South overture, where the contrasts in mood—that between the contemplative viola section and the bombastic, Imperial Rome passage that precedes it, for example—finally made musical sense. Elgar's dense, rich orchestration depends on the uniqueness of all the various instrumental tone colors being preserved. If the grunge level rises too high, then the meaning of the music is diluted. (This is what I believe was meant by the Linn mantra of 15 years ago, following…
A very different bass player from Bromberg, but just as talented, is Jerome Harris, who is featured on Stereophile's Rendezvous CD (STPH013-2). In trying to explain the depth of Jerome's talent to a colleague, it struck me that it isn't just that Jerome has great chops—with sufficient practice, I might be able to play the lines Jerome laid down on Rendezvous. What matters is not whether or not I can play the notes, but that Jerome comes up with notes I can't even imagine. This is amply demonstrated at the start of "Hand By Hand" on Rendezvous, where Jerome plays what is ostensibly a simple…
Sidebar 1: Specifications
Description: Three-way, floorstanding, reflex-loaded loudspeaker. Drive-units: 1" (25mm) inverted titanium-dome tweeter, 7" (178mm) paper-cone midrange unit, 10" (254mm) aluminum-cone woofer. Frequency response: 29Hz-22.5kHz, +0/-3dB. Sensitivity: 89dB/2.83V/m. Impedance: 4 ohms nominal, 3 ohms minimum. Recommended power: >12Wpc.
Dimensions: 41" (1042mm) H by 12" (305mm) W by 18" (457mm) D. Weight: 160 lbs (72.7kg) each.
Finishes: High-gloss automotive paint.
Serial numbers of units reviewed: 0073 & 0074.
Price: $11,700/pair. Approximate…
Sidebar 2: Associated Equipment
Digital sources: Mark Levinson No.31.5 CD transport; Mark Levinson No.30.6, Chord DAC64 D/A processors; dCS 972 upsampler; Meridian 800 DVD-V/CD/CD-R player; Technics DVD-A10 DVD-A player; Musical Fidelity Nu-Vista 3D CD player; Macintosh 8100/80 fitted with two Sonic Solutions SSP-3 digital audio workstation cards; Dell 866MHz Pentium III fitted with RME Digi96/8 Pro and Digital Audio Labs CardDeluxe soundcards, running Windows Me, WinAmp 2.5, SoundForge 5.0, Acid 2.0, and CoolEdit 2000.
Preamplification: Mark Levinson No.380S, Z-Systems rdp-1 digital…
Sidebar 3: Measurements
Other than impedance, for which I used an Audio Precision System One, all acoustic measurements were made with the DRA Labs MLSSA system and a calibrated B&K 4006 microphone. To minimize reflections from the test setup, the measuring microphone is flush-mounted inside the end of a long tube. Reflections of the speaker sound from the mike stand and its hardware will be sufficiently delayed not to affect the measurement.
My estimate of the Sophia's voltage sensitivity came in a little below the specified figure, at 88.3dB(B)/2.83V/m, but the difference…
Paul Bolin wrote about the Sophia in October 2005 (Vol.28 No.10):
At the 2005 Consumer Electronics Show in January, John Atkinson asked if I would like to do a "Follow-Up" on the Wilson Audio Sophia ($11,700/pair). I was happy to accept the assignment. Not since my days at The Abso!ute Sound, where I reviewed the first generation of Wilson's Cub, have I had the opportunity to listen to a Wilson speaker at length.
I'd quite admired the Cub for its dynamics, resolution, and surprising bass, but ultimately I respected it more than I could love it. For all the performance the Cub…
Brian Damkroger wrote about the Wilson Sophia Series 2 in November 2006 (Vol.29 No.11):
One day in the fall of 2005, Wilson Audio Specialties' John Giolas had just finished setting up my new pair of Sophia loudspeakers, and I was taking in their incredible sound. He turned to me, seemed to hesitate for a second, then uttered the phrase that makes any audio purchaser's heart stop. "We're coming out with a new model."
I know, I know—my Sophias were still every bit as good as they'd been just moments before, and besides, new isn't always better. The logic is unassailable, and it…
Sidebar: Brian Damkroger's Associated Equipment
Analog Source: VPI HR-X turntable & tonearm, Lyra Titan cartridge.
Digital Source: Simaudio Moon Reference Andromeda CD player.
Preamplification: Sutherland PhD phono stage; VTL TL-7.5, Placette Active line stages.
Power Amplifiers: VTL Ichiban, Mark Levinson No.20.6 monoblocks.
Cables: Stereovox, Nordost Valhalla, Shunyata Research. AC: Audience, Shunyata Research.
Accessories: Audience Adept and Shunyata Research AC conditioning & distribution systems; Shunyata Research AC outlets; Finite Elemente Reference…