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The Alexx is a milestone loudspeaker for Wilson Audio in many ways. Absent any context, it is simply a superb transducer. But when viewed as a reflection of Daryl Wilson’s design talents and musical aesthetic, the Alexx also makes a bold statement about the direction and future of this iconic brand.

It would have been safer and easier to simply make minor changes to existing products, and to pursue the sonic qualities that have endeared so many to Wilson Audio’s products over the past 45 years. But the Alexx doesn’t take the safe route, and in the process breaks new ground for Wilson Audio in midrange smoothness, liquidity, low coloration, transparency, and the feeling of musical communication and intimacy those qualities engender. Moreover, the Alexx is the best Wilson yet in the bass, combining greater speed and transient fidelity with tremendous power, weight, and extension. ”

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“Although many loudspeakers have very flat frequency response, the Eminence went a step further by combining tonal neutrality with a colorlessness that served as a blank canvas upon which instrumental timbre could be portrayed with sensational realism and vividness. The speaker didn’t impose its own tincture on tone colors that would have diluted their vibrance. Not only did instrumental and vocal timbres sound more “alive”; they were also differentiated from each other more clearly. The result was that each instrument in an ensemble was its own entity, more vividly present. It was like looking at a multi-hued photograph printed on pure white, rather than slightly grey, paper. This impression was heightened by a stunning sense of openness through the midrange and top octaves. There was a gossamer-like sense of the music existing independently of the speakers, unencumbered, and with the impression that a lid had been removed from the top octave.

The midrange had an electrostat-like directness and immediacy that were sensational. Brass and woodwinds were reproduced with an unfettered dynamic life and visceral presence. Trumpets had a full measure of high-frequency energy without sounding hard, brittle, or metallic. Freddie Hubbard’s instrument on his composition “Byrdlike” from the George Cables album Cables’ Vision was richly portrayed, with just the right balance of immediacy and liquidity. Piano was particularly well-served by the Eminence’s freedom from dynamic constraints, the purity and clarity of its midband, and its exquisite resolution of lower registers. I particularly enjoyed how the Eminence conveyed the way pianist Brad Mehldau’s left hand creates counterpoint with his right, weaving in melodic developments with equal facility in his right and left hands (and sometimes simultaneously) and in the process seemingly improvising an entirely new composition. The colorlessness of the midrange was apparent on vocals, rendering them with outstanding clarity. The Eminence’s reproduction of vocals was a bit understated spatially compared with many other speakers, presenting voices along the loudspeaker plane rather than projecting them forward. It was a more subtle and sophisticated perspective that tended to draw me in.”