My new article on the WAMM Master Chronosonic Demo
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The WAMMs are run full range and the subs are only used as sub-subwoofers
, as Peter said - the WAMM goes down to 24 Hz as -3dB! I understood that the crossover was usually set in the low 30's at high slope - similar to the setting I have in the Watch controllers. In this demo they were using the D'Agostino preamplfier, although Wilson have the VTL 7.5mk3 at the factory. Peter is also currently using the new, much improved, version of the D'Agostino preamplifier and D400's at home, although he was always very careful not to endorse any brand as "Wilson preferred". I learned that current WAMM users owned VTL Siegfried, DartZeel, D'Agostino's, Boulder or Soulution among other brands.
Steve williams
Site Founder, Site Owner, Administrator
I think a D'Agostino preamp
BTW, IM not big on you tube videos of music but having said that I thought the opera piece starting around 12 minute mark was remarkable
I hope the video above did not sound anything remotely like they did
No, the video sounds much better than the WAMMs really sounded ...
Do not tell anyone, but there were rumors that the people present at the session suffered from hard earing and hated music, but were fed with excellent raw ham and other delicatessen and drank great wine to say nice things about the system ... Anyway I am sure that the system was playing at less than 50% of what it can play. The setup of such complex system takes a long time - it is extremely adjustable and everything is tuned to extreme detail with a lot of professionalism. It was clear to me that there was no time to carry such adjustments in full - surely the happy guy who gets these speakers must be prepared to host the Wilson setup crew for some time! However IMHO what we heard was enough to someone with some experience in high-end and demos to know what the WAMMs are able to do - and other speakers still can't approach.
Yes, it sounded great. It is a recording of the finale of Puccini Tosca carried by Peter. It also sounds great on the XLFs, BTW...
Ah yes Peter McGrath--he is quite a character and indeed a gentleman --he made me ( and some other attendees ) smile
at his demo "launch"some years back of the Slamm X-I's at his then Florida Coral Gables setup.
His intro monologue assured us we were about the hear the dynamic scale and full sonic capabilities of the new largest Wilson Speaker.
Anticipation abounded to what musical powerhouse performance we were about to experience ?
He played us Christy Moore "King Puck"!
I always recall with a chuckle
Good Times
Oh yes I placed and order for set of X-1's soon after
Bruce D
at his demo "launch"some years back of the Slamm X-I's at his then Florida Coral Gables setup.
His intro monologue assured us we were about the hear the dynamic scale and full sonic capabilities of the new largest Wilson Speaker.
Anticipation abounded to what musical powerhouse performance we were about to experience ?
He played us Christy Moore "King Puck"
!I always recall with a chuckle
Good Times
Oh yes I placed and order for set of X-1's soon after
Bruce D
Ah yes Peter McGrath--he is quite a character and indeed a gentleman --he made me ( and some other attendees ) smile
at his demo "launch"some years back of the Slamm X-I's at his then Florida Coral Gables setup.
His intro monologue assured us we were about the hear the dynamic scale and full sonic capabilities of the new largest Wilson Speaker.
Anticipation abounded to what musical powerhouse performance we were about to experience ?
He played us Christy Moore "King Puck"
I always recall with a chuckle
Good Times
Oh yes I placed and order for set of X-1's soon after
Bruce D
A know aspect of Peter McGrath is his activity as a recording engineer - I have a few recordings that have been overplayed before I noticed that he engineered them. The most often referred are the Vivaldi flute concertos with Janet See and Nicholas McGegan, Philharmonia Baroque Orchestra, but the list is long - see https://www.discogs.com/artist/998968-Peter-McGrath .
Unfortunately I forgot to carry this recording to the WAMM listening!
A know aspect of Peter McGrath is his activity as a recording engineer - I have a few recordings that have been overplayed before I noticed that he engineered them. The most often referred are the Vivaldi flute concertos with Janet See and Nicholas McGegan, Philharmonia Baroque Orchestra, but the list is long - see https://www.discogs.com/artist/998968-Peter-McGrath .
Unfortunately I forgot to carry this recording to the WAMM listening!
I would very much like to hear the Relentless amps with the WAMM. They sure worked very well on the Alexx speakers at Axpona!
In the second paragraph it sounds like they used the Momentum pre-amp. He doesn't indicate whether it was the original or the newer HD version.
The Momentum pre-amplifier was used - it was also the first presentation of the Relentless monoblocks in Europe, it would be a strange choice to use the 7.5. As far as I understood it was the new version - Peter McGrath told me that it was a large improvement on the old one, but I will ask at Imacustica next Friday.
Jim - At AXPONA, Larry’s Paragon team featured the new Momentum HD Pre with the Relentless amps and the Wilson Alexx’s. I spent some time discussing the new HD with Bill McKiegan of D’Agostino. It sounded terrific.
Mike
PS - I realize this was a different presentation but was addressing Jim’s question about the HD.
Mike
PS - I realize this was a different presentation but was addressing Jim’s question about the HD.
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A very nice article of Alan Sircom about the Lisbon recital of the WAMMs https://www.hifiplus.com/articles/how-to-spend-over-a-million-bucks-in-lisbon/
Quoting from it:
"It’s sort of… well, everything. It’s like there is so little impediment between you and the music that you effectively insert yourself into that musical space inside your head and hear something like the Platonic form of recorded music. Reading that back, it sounds like hyperbole and pseudo-intellectual psychobabble; but it’s the nearest I can get to explaining what it sounds like. And maybe 100 people who were in Lisbon this weekend are nodding along in agreement. "
Being one of the 100 people I can only agree. Fortunately Ron also listened to them, otherwise the hyperbole police would immediately show in this thread!
Quoting from it:
"It’s sort of… well, everything. It’s like there is so little impediment between you and the music that you effectively insert yourself into that musical space inside your head and hear something like the Platonic form of recorded music. Reading that back, it sounds like hyperbole and pseudo-intellectual psychobabble; but it’s the nearest I can get to explaining what it sounds like. And maybe 100 people who were in Lisbon this weekend are nodding along in agreement. "
Being one of the 100 people I can only agree. Fortunately Ron also listened to them, otherwise the hyperbole police would immediately show in this thread!
A very nice article of Alan Sircom about the Lisbon recital of the WAMMs https://www.hifiplus.com/articles/how-to-spend-over-a-million-bucks-in-lisbon/
Quoting from it:
"It’s sort of… well, everything. It’s like there is so little impediment between you and the music that you effectively insert yourself into that musical space inside your head and hear something like the Platonic form of recorded music. Reading that back, it sounds like hyperbole and pseudo-intellectual psychobabble; but it’s the nearest I can get to explaining what it sounds like. And maybe 100 people who were in Lisbon this weekend are nodding along in agreement. "
Being one of the 100 people I can only agree. Fortunately Ron also listened to them, otherwise the hyperbole police would immediately show in this thread!
Francisco, this is in stark contrast to the recent and popular WBF threads and opinions that Wilson and Magico, specifically, and cones in boxes in general, simply can't reproduce music as convincingly as good planars and horns can. It seems clear that for some music lovers, they can. The AF0/WAMM demo in CA seemed to also be extremely convincing for those who heard it and reported about the experience.
It is interesting that all but one WAMM system include the subs. Thanks for sharing your impressions.
Thanks Peter,
I will have more impressions soon. I will not resist to sin again ...
WBF threads only express the preferences of a few enthusiast audiophiles. It is great to know about the good things of horns, but unfortunately some of them can not resist systematically showing their frustration with the success of some brands.
I feel I could build and enjoy a system with any type of speaker, horns included. In general , probably any of them can reproduce music as convincingly as any other. However considering my room limitations and preferences (including the way I listen to music) I currently have no reason to believe that horns would be a better speaker for me.
The WAMM is surely a much better speaker than the XLF - no doubt. But the XLF do much of what the WAMMs do and this is more than enough for me. Curiously listening to WAMMs made me happier with the XLF!
Peter,
I’m not an absolutist at all so I can see state of the art potential in all the essential competing system types... that is to say there are applications where SS or valve, box, horn, panel can be utterly engaging, sonically brilliant and or musical.
But also that each type tends simply to have a different mix of varying areas of strength or constraint... and that each of us will find a different allure for one or another based simply upon what creates the greatest personal resonance.
Also the big deep sub systems have a wow factor for sure but I do see a limit to what is bearable in terms of long term exposure to sub-sonics. But when you are exposed to a system that can fully energise a room it can be intensely exhilarating. Not sure tho if this is not actually a bodily function rather than musical appreciation at work. I’ve been exposed to big sub rigs and long term exposure always reminds me also of the feeling you get after being on a ride at a theme park. It’s also the Adrenalin that is released by the fight and flight reaction when the body is exposed to extreme sub-sonics.
But then in the end should we be at all surprised that a system costing over 1 million dollars can be competitive either musically or sonically with other top systems. Well you’d hope not.
I’m not an absolutist at all so I can see state of the art potential in all the essential competing system types... that is to say there are applications where SS or valve, box, horn, panel can be utterly engaging, sonically brilliant and or musical.
But also that each type tends simply to have a different mix of varying areas of strength or constraint... and that each of us will find a different allure for one or another based simply upon what creates the greatest personal resonance.
Also the big deep sub systems have a wow factor for sure but I do see a limit to what is bearable in terms of long term exposure to sub-sonics. But when you are exposed to a system that can fully energise a room it can be intensely exhilarating. Not sure tho if this is not actually a bodily function rather than musical appreciation at work. I’ve been exposed to big sub rigs and long term exposure always reminds me also of the feeling you get after being on a ride at a theme park. It’s also the Adrenalin that is released by the fight and flight reaction when the body is exposed to extreme sub-sonics.
But then in the end should we be at all surprised that a system costing over 1 million dollars can be competitive either musically or sonically with other top systems. Well you’d hope not.
I love planars but I've been very happy with my switch from Magnepans to Wilsons.
i think to generalize about how unlimited bass extension works in every system is wrong thinking.....but i agree with what you are referring to often happens adding subs.
the question is always degrees of execution. and in my personal experience having considerable headroom in bass extension and dynamics in a completely purpose designed integrated system allows that low octave capability to serve the music, and not be something apart.
of course, this is much, much more than gear plunked down and connected. it's years and years of effort to get this result. but......and this is a big but.........it does start out with a completely integrated original design. nothing grafted on or somehow compromised.
i suspect you would not have any sense of some sort of tiring distraction from my low octave performance......it would be part of the natural musical completeness.
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