Wilson Audio Haters


I've always wondered why there are so many people out there, that more than any other speaker manufacturer, really hate the Wilson line. I own Maxx 2's and also a pair of Watt Puppys. They are IMHO quite wonderful.

Why does Wilson get so much thrashing?

128x128crazyeddy
How stuppid can you be to use the word hate. I do not hate any kind of brand. I want people in audio to become more open and honest to consumers.

The focus need to be more on quality instead of making the most money. The way companies work in audio will decrease the market each single year.

When you want to persuade more people to buy audio, you need to give them quality. I met so many people in the last years that were not happy with their system. The main reason is the lack of knowledge and insight in audio. But also the low level of quality you see in many products.

This will only have a bad influence on the market. I would love to see Wilson Audio to use new and beter materials. So consumers will get more value for money.

I think about B&W the same way. They should focus more on quality. For example better crossovers, new design in tweeters. I don’t hate any brand.

They all see that the market is decreasing. But when you focus on short time distance and you use cheaper parts than people will walk away.

I love music and audio to death. I want to share my passion with as many people possible. Giving them the highest level in realism and emotion.


bo1972: "I can garantee you 100% that a loudspeaker who creates a stunning 3 dimensional holographic stage will influence your emotion and level of exitement a lot."

I definitely agree with that one.

Best to you,
Dave

This idea of 2D vs. 3D two-channel listening has baffled me through years of system improvements and visits to shows. 3D is easy to rationalize for an omnidirectional speaker. But with a forward-firing speaker, the 3D effect seems to come from reproducing fine shades of volume through which we perceive precise distance between the microphone and the instrument, or subtle ambient cues at the far walls of the recording space through which we perceive an overall stage.

A system that is unresolving or lacking in dynamics can imply a deep stage by veiling and deadening. Everything sounds more or less recessed in depth. This may endear some listeners who prefer a relaxed system or who reliably take the same seats at concerts and like to feel the 20th row replicated in the living room.

A great system jumps forward by virtue of superior dynamics, while communicating depth cues photographically with the optics of a superior lens. It’s a 2D window to 3D. When an improvement in the system reveals subtle details at the far corners of the recording space, this is perceived as more and better 3D.

The effect is not determined simply by speakers, but by every link in the chain.