Perhaps the issue of making a 3 or 4 piece reference system to separate the extreme-low frequencies into another enclosure and just doing "mid-bass" on-up with the main system will almost HAVE TO BE the only practical solution to this problem (i.e. completely effortless Bass). In the WAMM system each frequency band was addressed with
a very specialized speaker- including even an electrostatic driver. each driver could be adjusted in all directions. the configuration i saw had mono block amps
for the front towers and a stereo amp bridged to mono for the two subwoofer cabinets in the rear. even this set-up was revised several times before
Wilson stopped making it, and only a rare few know what exactly those refinements were. but if the company was at least willing to include a wire harness and a crossover control box it might be at the very least a useful experimental model to explore not only "the best we know how to make" but literally "closest to what i heard in the concert hall".
coming back down to Planet Earth for a moment, something is bothering me about Wilson's insistence that if you use MDF and compromise in various areas that don't have a direct effect on the sound, that it would undermine their philosophy (even though it would be MUCH less expensive).
i personally don't care how long the drill bits last making a cabinet- can
you dampen vibrations using a combination of materials that don't cost a fortune to obtain and don't cost as much to assemble? that's just as worthy an approach as any other and $200 grand does not automatically buy you the best SOUNDING loudspeaker. $200 GRAND... to listen to pre-recorded music.
philosophically speaking, i would feel even better "spending the difference" directly supporting musicians that can make great music.
i remember seeing Art Blakey (ATJM) a few months before he died. towards the end of their set, Art asked the audience that if they enjoyed the concert to PLEASE go out and buy some Jazz records, because the sales of straight-ahead recordings were so minuscule and players were struggling to feed their families. imagine an icon of jazz history shamelessly pleading to an audience for financial support.
Hey, i am sorry, but when i get wound up, i can't stop for a while... I love great sounding systems, but i need to look hard at the numbers too.
a very specialized speaker- including even an electrostatic driver. each driver could be adjusted in all directions. the configuration i saw had mono block amps
for the front towers and a stereo amp bridged to mono for the two subwoofer cabinets in the rear. even this set-up was revised several times before
Wilson stopped making it, and only a rare few know what exactly those refinements were. but if the company was at least willing to include a wire harness and a crossover control box it might be at the very least a useful experimental model to explore not only "the best we know how to make" but literally "closest to what i heard in the concert hall".
coming back down to Planet Earth for a moment, something is bothering me about Wilson's insistence that if you use MDF and compromise in various areas that don't have a direct effect on the sound, that it would undermine their philosophy (even though it would be MUCH less expensive).
i personally don't care how long the drill bits last making a cabinet- can
you dampen vibrations using a combination of materials that don't cost a fortune to obtain and don't cost as much to assemble? that's just as worthy an approach as any other and $200 grand does not automatically buy you the best SOUNDING loudspeaker. $200 GRAND... to listen to pre-recorded music.
philosophically speaking, i would feel even better "spending the difference" directly supporting musicians that can make great music.
i remember seeing Art Blakey (ATJM) a few months before he died. towards the end of their set, Art asked the audience that if they enjoyed the concert to PLEASE go out and buy some Jazz records, because the sales of straight-ahead recordings were so minuscule and players were struggling to feed their families. imagine an icon of jazz history shamelessly pleading to an audience for financial support.
Hey, i am sorry, but when i get wound up, i can't stop for a while... I love great sounding systems, but i need to look hard at the numbers too.