Κώστας Φ.
Truth hurts. Here's a teddy bear.
- Μηνύματα
- 8.978
- Reaction score
- 895

-- Michael FremerConclusion
The MAXX 3 did everything well—I mean everything. It correctly—or as correctly as I've heard any speaker manage—reproduced the harmonic and textural structure of every instrument and voice I can think of; it expressed soundstage height, width, and depth as few speakers can; it plumbed the depths of low bass as deeply and cleanly as do all but the monster speakers that go into the subsonic region; it produced unrivaled dynamics at both ends of the scale; and was as transparent as any moving-coil speaker I've heard. But most important, the MAXX 3 integrated all of these performance aspects into an organic whole so complex as to seem to be nearly impossible.
This US-made loudspeaker, built in a well-equipped factory by skilled people earning real wages plus benefits, is expensive to market, build, and ship. Its fit'n'finish, and the attention paid to its every detail, are what you'd expect for $68,000/pair, and from a designer who cherishes Ferrari build quality (and owns at least one of the cars).
While the MAXX 3 is not quite as efficient and probably not quite as responsive and resolving of detail as its twice-the-price big sibling, at least it's "affordable." (Throw shoes at me now!)
-- John AtkinsonI don't measure harmonic or intermodulation distortion for loudspeakers because it is difficult to obtain consistently meaningful results without access to a large anechoic chamber. But one aspect of the MAXX 3's sound that I did notice in my own auditioning was its superb linearity at low frequencies. Couple that to the expansiveness yet solidity of its soundstage, and you will comprehend why I felt these Wilsons produced the best sound overall that I have experienced in Michael's room.
Περισσότερα: Stereophile.com
