Announces immediate release of  Transparent Generation 6

Transparent Evolution

By virtue of a totally new measurement metric, the just released Transparent Generation 6 represents a higher level of refinement and precision to the Transparent Audio Cable design model.

This new metric not only ensures that every customer will be able to fully realize the design model advancements of the past 6 years, but each product in the audio cable line-up now embodies

a demonstrative evolution of the Transparent musical standard. Generation 6 also heralds a new and more comprehensive approach to using different types of advanced materials

and more mass to eradicate resonant frequencies from within and from without network enclosures.  In addition to a more solid foundation for the music’s lowest frequencies,

the listening result of removing vibration and resonance is a quieter sound field with low-level information retrieval that is capable of revealing previously hidden “you are there” details.

Although every Transparent Audio Cable benefits from the cumulative efforts of our research and development over the past 6 years,

it should be no surprise that the new Generation 6 Connoisseur Collection leads the way in terms of redefining yet another great leap forward.

Connoisseur Collection

 Magnum Opus



MAGNUM OPUS embodies the pinnacle of Generation 6 Technology and provides transcendent music listening experiences in connoisseur level audio systems comprised of the

best components available. The new G6 measurement metric is far more precise than we previously were able to achieve in production. This level of exactitude requires considerably more

production time. The cost of a part as a physical object is no longer relevant when 90% of the best available tolerance of the required parts do not meet the new MAGNUM OPUS specifications.

It takes hours to measure, sort, and label each part for each highly customized channel of a pair of MAGNUM OPUS cables, and it takes many more hours to assemble each channel into a

finished product that measures perfectly across all parameters.

MAGNUM OPUS carbon fiber network housings have not changed, but the design team has gone to greater lengths to eliminate any vibration and resonance.

Similar to the best mass-loaded speaker cabinets, Integrated Flexible Epoxy Resin (IFER) now fills every void. In addition, MAGNUM OPUS Speaker Cable has a newly configured, stiffer,

heavier, more stable, vibration-nulling, polymethyl methacrylate (PMMA) plinth. A 3/16” carbon fiber plate embedded in a cavity filled with IFER stiffens the base and damps vibrations.

This new stiff, resonant-free, platform marries solidly to its epoxy-loaded, carbon-fiber carapace with a thin thermoplastic, sound-damping layer.

Fasteners bore deeply into the IFER mass in the carapace at a specific torque setting to solidify the whole construction.




The new G6 measurement parameters for OPUS Audio Cables are far more precise than what we have previously achieved in production at the OPUS level.

OPUS provides transcendent music listening experiences that approach MAGNUM OPUS in connoisseur level audio systems. Stiff, light, carbon-fiber shells still encase OPUS networks,

and Integrated Flexible Epoxy Resin (IFER) fills every void. In addition, we have preserved the iconic outrigger shape of the OPUS Speaker Cable base, but the new platform is much thicker,

stiffer, heavier, and more stable. Two layers of PMMA now sandwich a 3/16” carbon fiber plate embedded in a cavity filled with IFER. The stiffer, resonant-free, OSC plinth marries solidly

to its carbon fiber carapace with a thin thermoplastic, sound-damping layer, and fasteners bore deeply into the IFER mass that encases the network at a specific torque setting.




XL Audio Cables have undergone a significant physical transformation in addition to more precise and comprehensive network specifications.

XL is an ultimate companion for connoisseur level audio systems that are highly developed. The new XL comes closer to the performance of OPUS than ever before.

Transparent made a hefty investment in tooling to create the new XL Carbon Fiber Composite (CFC) network enclosures.  The new housings are less bulky than the previous generation

machined acrylic enclosures. They also allow more effective vibration and resonance control because they are stiff and light and have larger cavities to house networks and a much greater mass

of IFER. Like OPUS and MAGNUM OPUS, IFER now fills every void in XL Interconnect and Speaker Cable network enclosures. XL Speaker Cable is now mechanically far more stable than

previous generations. The new IFER-loaded XL Speaker Cable CFC carapace sits on a stiff, 3/16” thick carbon-fiber layer which has been embedded in a cavity in the IFER-filled, PMMA plinth.

Between the plinth and carapace there is also a thin thermoplastic, sound-damping layer, and fasteners bore deeply into the IFER mass in the carapace at a specific torque setting.

New XL cable designs have also increased current carrying capability. The new XL cable geometry has greater stability and superior damping characteristics,

thereby revealing all the precision and refinement of G6 network specifications.




In addition to comprehensive Generation 6 network advancements, REFERENCE Audio Cables have also undergone a significant physical transformation.

REFERENCE is an ultimate companion for connoisseur audio systems that are in the first stages of development.

Like XL, REFERENCE G6 network housings are made from Carbon Fiber Composite. The new housings are stiffer and lighter with larger cavities to house and damp networks.

IFER now fills every void in REFERENCE Interconnect and Speaker Cable network enclosures to reduce vibration and resonance more effectively.

“Generation 6 is great news for our loyal customers who have for decades followed the path of continuous performance improvement in their audio systems with Transparent and our

comprehensive upgrade program. With Generation 6, Transparent customers get a chance to trade-in and trade-up while retaining most of the value of their original Transparent investment.

Customers who are new to Transparent have an opportunity to re-invent their systems and re-invigorate their passions for music listening for less than the cost of a single key component.

When it comes time to upgrade their systems, the Transparent Upgrade Program will help them keep pace with their aspirations,” offered Karen Sumner, CEO.

To find out more about Generation 6, contact Transparent or a Transparent Dealer. Visit the Transparent website to find out which stores have

or will soon have a full array of systems linked throughout with Transparent Generation 6.


Announces immediate release of  Alexx V


Announces immediate release of  Chronosonic XVX

In late 2012, Dave Wilson began work on a new WAMM.

His goal was a reference loudspeaker that would not merely be worthy of its namesake—Dave’s industry-changing WAMM from the early 80s—but would redefine the idea of what was possible

in music reproduction. His goal was nothing short of a laboratory-grade loudspeaker that would pass a complex music signal through it with unprecedented accuracy. He knew the new model

would challenge and test his company in new, potentially unforeseen ways. What he couldn’t have predicted was how the project would become fraught with enormous obstacles and severe

personal challenges. As he set out to complete his dream loudspeaker, Dave experienced several setbacks. His health and bad luck seemed to conspire against him.

This perception culminated in catastrophe when, in late 2013, he fell off a roof attempting some minor maintenance to his and Sheryl Lee’s house in Southern Utah.

The fall shattered nearly all the bones in one of Dave’s feet, an injury requiring complex surgery and a very long recovery. Fortunately, he had his wife Sheryl Lee and his son Daryl at his side.

Sheryl Lee attended to Dave’s recovery, and Daryl became Dave’s hands and feet as he continued to work on the WAMM. By this time, Daryl had been working with his father for many years,

learning from the master. He had become a formidable loudspeaker designer in his own right, leading the designs for the Duette Series 2 and the Sasha Series 2—among several others.

While Dave focused on the WAMM, Daryl tandemly headed design efforts for the rest of Wilson’s main product lineup. Over the course of five years (total development time for the WAMM),

Daryl completed design work on the Sabrina, the Alexia Series 2, and the Yvette. Most significantly, he began work on a MAXX replacement—the ALEXX—which he developed alongside his

father’s WAMM. Father and son provided feedback on each other’s designs. As Daryl followed his father’s progress with the WAMM, the seeds for his own flagship were planted. However,

subsequent to the WAMM’s completion, a new upgrade to the Sasha platform demanded his attention and would occupy his time for the following year.

As Dave’s life challenges and health issues  became increasingly acute, he felt the time was right to hand Daryl his baton. He now managed duties once the bailiwick of his father.

Dave promoted his onetime protégé to Vice President of New Product Development—and ultimately to CEO of the company itself. It was a stressful time for the Wilson family at Wilson Audio.

As his father focused on his health issues and WAMM, Daryl’s already formidable design and leadership skills were further forged in the furnace of adversity.

Each new loudspeaker from Daryl’s pen engendered critical and commercial success. While all of the models developed under his direction are undeniably excellent, his latest design,

the Sasha DAW, introduced in 2018, is arguably his greatest triumph. “DAW” was a reflection of Daryl’s desire to honor his mentor, friend, and father,

who passed away just before Daryl began the Sasha project. The cost-no-object WAMM Master Chronosonic (currently retails for $850,000 U.S.) will always remain as

Dave’s statement on music reproduction. From the outset, he understood and even stipulated that its production would be limited to a small number of pairs.

For Daryl and all of us at Wilson Audio, each WAMM is a symbolic reminder of Dave’s organizing passion—to categorically redefine the possibilities of music reproduction without any

consideration of cost or practicality. Since he was a young child, Daryl has been immersed in this perfectionist culture. The central ideals of which played a significant role in molding his

uncompromising principles and standards. It should come as no surprise, then, when the time was right, Daryl began design work for his own statement loudspeaker. In 2018,

having completed work on the Sasha DAW, he knew it was time to push his and his engineering team’s skills, passion, and expertise to further limits and extremes—just as his father had

with the WAMM. From this inchoate desire, he began formulating ideas for his new flagship loudspeaker. Ideas that, in turn, launched an unprecedented wave of research and innovation

within his design, engineering, and manufacturing teams.

The fruits this intensity have now culminated in a new category of loudspeaker, one that sits comfortably alongside his father’s masterpiece.

Introducing Chronosonic XVX

The format of the flagship loudspeaker fits Daryl Wilson’s attitudes and convictions perfectly. He is extraordinarily compromise-adverse.

Removing any constraints of price or practicality within the design equation felt liberating to Daryl. If Daryl had one advantage his father lacked, it was the WAMM itself.

Some of the technology developed for the WAMM now resides in the Chronosonic XVX in a simpler form. More than in any other previous loudspeaker, Wilson will introduce more technology,

features, and manufacturing processes in the Chronosonic XVX. Short of the WAMM itself, no other loudspeaker reproduces music as realistically or communicates the emotional power

of the artists so eloquently. Following is a partial list of innovative details.

All-new Alnico (ALuminum, NIckel, CObalt) QuadraMag™ Midrange Driver

The sound of unamplified, live music has always resided at the heart of Wilson’s driver development. Just as Wilson’s current midrange driver finds its origins in the great concert halls of the

world (chief among them the Musikverein in Vienna Austria), the new Wilson midrange driver’s development was driven by a passion for the authentic sound and emotional experience of live

music. Originally co-developed by Dave Wilson (his last design project) and Vern Credille, the new QuadraMag midrange combines Alnico magnets in an entirely re-imagined geometry

Since early in his career, Dave was attracted to the natural beauty exhibited by many drivers using Alnico magnets. Not surprisingly, older Alnico drivers did not meet the desired technical or

sound quality requirements Dave demanded. They fell well short of Wilson’s current proprietary midrange driver. Working directly with Wilson’s driver partner, Dave and Vern began

experiments and research to answer this question: Could a driver combine the apparent virtues of Alnico magnets in a design that also offered extreme resolution and dynamic expression.

The engineers systematically altered motor geometry and magnet configuration through the course of several experimental prototypes.

Vern engineered a series of unusual and technically advanced solutions. After a year of research and development, the engineers produced a design Dave felt met his goal of transcendently

beautiful and accurate midrange reproduction in conjunction with the dynamic expression and penetrating resolution of his current design. Vern and Daryl then conducted further design work

and modifications for the driver’s implementation within the XVX. The new driver utilizes four separate magnets arranged in an innovative quadrature geometry, which improves efficiency

and lowers distortion. Wilson’s new mid combines all the warmth and natural timbre of this classic magnet formulation in a thoroughly modern design.

The new Alnico QuadraMag driver brings together unparalleled natural beauty, harmonic integrity, musicality, low distortion, and ultra-high resolution in a single design.

It possesses a distinctive admixture of musical and technical virtues heretofore unrealized with any other previous design.

MTMM Upper Array Geometry

The Chronosonic XVX array is configured using an unusual MTMM (midrange, tweeter, midrange) arrangement. Wilson’s engineers further refined and

perfected the proprietary two-way midrange system first develope in the WAMM and subsequently utilized in a simplified form in the ALEXX. The all-new QuadraMag driver joins forces with

a modified version of the 4” midrange from the WAMM to form the lower section of the array. A second QuadraMag midrange driver at the top of the array flanks a Convergent Synergy Mk.5

tweeter, completing the MTMM geometry. The construction of the Upper Array of the XVX consists of an open-architecture Gantry system constructed from X-Material reinforced,

ultra-high-grade aluminum. The Gantry’s primary function is to provide an extremely rigid architecture for all the moving elements and modules that enable the system’s accurately adjustable

time-domain. The design team paid particular attention to the triangulated cross-bracing and the strategic use of X-Material composites to improve both rigidity and critical damping.

The new scalloped finish on the aluminum elements is both beautiful and functional, acting as a diffuser to further minimize the XVX’s sonic signature within the room. A new magnet system

secures the decorative Gantry grille covers, which enables quick and easy attachment or removal of the grille.

AudioCapX—New Wilson Designed and Manufactured Crossover Capacitors

Wilson Audio recently moved its capacitor design and production in-house to control and improve

quality and build upon its already industry-leading crossover-to-crossover consistency. Wilson has long been the leader for ultra-tight tolerances in its crossovers, combining the best

components available with extremely meticulous execution and testing. Since its inception nearly a year ago, Wilson’s capacitor division resides at the pinnacle of innovative capacitor technology

and empirical (music-centric) development. Within the Chronosonic XVX’s crossover, Wilson debuts the all-new AudioCapX-WA (application- specific, bespoke versions of our AudioCapX).

AudioCapX-WA capacitors advance the already state-of-the-art harmonic beauty and low noise floor— and simplify the method for even tighter tolerances within Wilson’s crossovers.

Coolfall® Lighting System

A new, fully integrated lighting system aids critical setup of the Chronosonic XVX’s time-domain array. When designing this portion of the upper Gantry,

Daryl and Jarom turned to American lighting experts Coolfall, the world’s leading manufacturer of exotic custom flashlights. The custom system—the Sono 1—was designed in collaboration

with Dave Livingston, owner of Coolfall, incorporates a precision solution for broad-gamut lighting during the critical adjustment of the complex time-domain mechanisms.

Livingston, who is an audiophile himself, resonates with Wilson’s passionate approach. His custom design work for this element of the Chronosonic XVX is a product of his perfectionist mindset.

The Chronosonic XVX Micrometer

When developing the WAMM, the ultra-precise and minute adjustment of the modules in the time domain required more time and resources than any

other single element. After more than a year of engineering time, Wilson completed the WAMM Master Chronosonic Micrometer system—a mechanism that facilitated the exact movement of

the critical elements within the array. Like the WAMM, the goal for XVX’s time-domain accuracy was to approach the theoretical ideal, with adjustment increments in the two-millionths-of-

asecond range with greater ease and simplicity. The result is an array capable of exceptionally accurate adjustability. Daryl and Blake implemented two Micrometer units within the XVX upper

array—one for the upper QuadraMag driver and the Convergent Synergy tweeter, the other for the second QuadraMag and the 4″ midrange. In turn, each of those modules is individually

adjustable in relative position within the array. This complex mechanism resides at the heart of the Chronosonic XVX’s time-domain accuracy and facilitates the loudspeaker’s optimization for

nearly any soundroom and listening geometry. Only the WAMM matches the XVX’s real-world time-domain accuracy, which in most rooms deviates less than 5-millionths-of-a-second driver

to driver. The technology would be academic were it not for the extraordinary musical results it produces. Transient speed, dynamic and harmonic expression, spatial resolution, micro detail,

and extreme silence between the notes are all products of the XVX’s time-domain accuracy.

Convergent Synergy Mk.5 Tweeter

Daryl has continued to refine the geometry and other aspects of  the Convergent Synergy driver. Daryl spec’d the Mk. 5 version for the Chronosonic XVX

The Convergent Synergy tweeter works seamlessly with the QuadraMag midrange. The coherency and the musicality of the combination set new standards. The rear-firing ambiance tweeter is

also a Mk. 5 Convergent Synergy unit. For the first time, the rear-firing tweeter will feature adjustable 0dB to minus 37dB attenuation to enable fine tuning of this element for each installation.

Woofers From the WAMM Master Chronosonic

Wilson Audio originally developed the ten- and twelve-inch woofers appearing in Chronosonic XVX’s in conjunction with the WAMM Master Chronosonic project.

Vern Credille designed the two woofers from the ground up to complement each other. He individually optimized the drivers for both speed and authority.

Chronosonic XVX’s woofers incorporate all of Wilson’s latest thinking on accurate and musical low-frequency music reproduction. Chronosonic XVX’s volume-optimized, ultra-low resonance

woofer enclosure is the perfect home for these state-of-the-art bass drivers.

The holistic totality of the various elements significantly raises the bar for bottom octave musicality and accuracy—performance exceeded only by the WAMM

Cross-Load Flow Port (XLF)

As most audiophiles have experienced, various architectural details within a home affect the way a loudspeaker loads bass into the room. In rooms featuring several large windows, for example,

a loudspeaker well-extended in the bass in typical situations can sound lean. Dave Wilson originally conceived of the Cross-Load Firing Port as an effective remedy for this real-world problem.

An elegantly simple idea, the Cross-Load system allows the user to choose either a front or rear-firing port configuration. On the front of the XVX, below the woofers,

a plate covers a plug for that (one-of-two) port. The port in this configuration is on the rear of the bass enclosure. In rooms where the rear-firing option would tend to overload the bass,

it is merely a matter of removing the plate and port plug, switching those items to the rear, and attaching the low-turbulence trim to the front,

moving the port exit to the front of the Chronosonic XVX.

Composite Enclosure

Wilson continues its now decades-long research and development into the latest composites. While most loudspeaker designers typically focus on a single material, whether it is a

favored formula of aluminum, an exotic wood, or the newest trend in composites, Wilson has long recognized the need for specialized materials for different enclosure applications.

Materials research into the actual factors that improve musical accuracy has been the critical focus of Wilson’s ongoing efforts to push the envelope of loudspeaker performance.

Wilson uses the latest cutting-edge development tools, including its remarkable Laser Doppler Vibrometry system. With state of-the-art resolution, this measurement technique is capable of

revealing the most minuscule of enclosure resonances—music-destroying vibrations undetectable using traditional measurements methods. Like the WAMM, the XVX’s cabinets and modules

are constructed using a combination of the company’s proprietary X- and S-Material composites, and aerospace aluminum. Daryl and his team are currently working on several

Chronosonic XVX painted in Premium Olympia Pearl Continue to the Next Page Chronosonic XVX painted in Premium Saffron Pearl composite innovations for Chronosonic XVX

they are not ready to reveal at this time. As Daryl and the design team finalize their research, details will follow.

Other Important Design Details

The crossover housing is now constructed from carbon fiber. An all-new Wilson-designed connecting spades now join Wilson’s proprietary binding posts as a unified connection system.

The quick-release time-domain adjustment bolts first developed for the Sasha DAW are utilized in the XVX. The tuning and protection resistors are located on an easily accessible portion

of the rear cabinet. Each is mounted to a carbon fiber substrate. Changing resistors is a simple matter of removing a quick-release glass cover and removing the hardware from the heatsinks.

New WilsonGloss™ Premium Pearl

WilsonGloss is a multi-stage process. It starts with a proprietary protective gel coat layer.

This is followed by several layers of base color. Next, clear or satin coats are applied to the finish surface.

Lastly all the paint surfaces are meticulous hand polished. The final finish is unrivaled—even by the world’s great automobile manufacturers. In conjunction with Chronosonic XVX’s launch,

Wilson has pushed its paint process to even greater heights. In addition to our standard and custom processes, we have added a new category of premium colors.

WilsonGloss Premium Pearl includes five new options, which involves additional paint steps. Premium Pearl reflects light in a nuanced way—enhancing the depth of color, which changes

depending on the angle of view. WilsonGloss Premium Pearl represents the ultimate expression of sophistication and beauty.


Enclosure Type Midrange Modules:  Rear Vented, X&S-Material

Enclosure Type Tweeters:  Sealed Enclosures, X-Material

Enclosure Type Woofer Module:  XLF Ported, X-Material

Woofers:   10.5 inches (26.67 cm) & 12.5 inches (31.75 cm) Paper Pulp

Upper Mid-Range:  4 inches (10.16 cm) Paper Pulp Composite

Lower Mid-Range:   (2) 7 inches (17.78 cm) Paper Pulp Composite

Forward Firing Tweeter:   1 inch (2.54 cm) Dome Material: Doped Silk Fabric (Mk5)

Rear Firing Tweeter:  1 inch (2.54 cm) Dome Material: Doped Silk Fabric (Mk5)

Overall Dimensions:  Height: 73 5/8 inches (187 cm) w/o spikes Width: 16 1/2 inches (42 cm) Depth: 33 inches (84 cm)


  Announces immediate release of  Alpha DAC Reference Series 3

Breakthrough DAC Technology Redefines Digital Audio Quality

  • Unequaled PCM audio quality from 32 kHz to 192 kHz
  • Unequaled MQA Rendering audio quality to 384 kHz and above
  • Ultra low phase noise conversion clocking
  • Ultra low distortion variable output attenuator
  • Outputs can connect directly to power amplifiers

Product Highlights

The Alpha DAC Reference Series 3 has breakthrough technology that redefines the potential of digital audio quality. Experienced industry listeners who have heard

the Alpha DAC Reference Series 3 are unanimous in their praise, saying that the Reference Series 3 clearly outperforms any other DAC they have heard, including those

with six figure retail prices, and even the much admired DAC portion of the Pacific Microsonics Model 2 studio ADC/DAC. In addition to its unprecedented PCM audio quality,

the Alpha DAC Ref. 3 also features MQA Rendering of unequaled audio quality. Manufacturing each Alpha DAC Ref. 3 to its full performance potential required development

of a new hyper-accurate test and alignment procedure that is unique in the industry. This new test and alignment procedure allows extremely precise and repeatable production

of the Alpha DAC Ref. 3. The original Alpha DAC Reference Series was a breakthrough product that reduced noise, particularly in the time domain, to levels significantly lower

than any audio D to A converter previously available. The result was an immediacy and presence of music reproduction  that was closer to the microphone feed than ever before.

The unprecedented resolution of the original Alpha DAC Reference Series allowed and demanded further development and perfection of digital algorithms and analog circuitry

that otherwise would not have been possible. Now, the unmatched time domain resolution, low noise digital processing and highly accurate analog circuitry of the

Berkeley Audio Design Alpha DAC Ref. 3 combine to provide unprecedented audio quality with all PCM and MQA recordings. The presence and sonic reality of the Reference Series 3

is also made possible by tremendous electrical and mechanical noise isolation coupled with extreme time domain stability. Ceramic aerospace circuit board materials are used

in all critical areas and the enclosure is carefully engineered to minimize electrical noise and maximize mechanical and thermal stability. The Reference Series 3 weighs 14 kilogram

and the entire enclosure is precision machined from solid billet 6061-T6 aluminum alloy. A high output metal IR remote control with direct input source selection is provided

with the Reference Series 3. Careful consideration was also given to providing the highest possible fidelity reproduction of DSD files by the Alpha DAC Ref. 3.

99+% of modern DAC’s, including the Alpha DAC Ref. 3, use multi-bit D/A converters because they provide better performance than 1-bit converters – even DAC’s

who advertise “native” DSD compatibility. So, at some point, the 1-bit DSD stream must be converted to multi-bit for all of those DAC’s. We could, like many other manufacturers,

convert 1-bit DSD to multi-bit within the Alpha DAC Ref. 3 and show “DSD” in the front panel display. That would be the easiest approach from a marketing standpoint

and would also be very simple and low in cost to implement. But that approach would also mean increasing the amount of processing in the DAC during playback which

would degrade audio quality, and audio quality is the reason the Alpha DAC Ref. 3 exists. Virtually all reproduction of DSD files using external DAC’s is with a computer

based music server as the source. If 1-bit DSD to multi-bit conversion is done first in the computer it can be performed with extremely high precision and superior filtering

that preserves all of the content of the DSD file. Computer DSD to multi-bit conversion can be at least as good as that performed in a DAC and without adding processing

noise near or in the D/A converter chip. Also, conversion of DSD to 176.4 kHz, 24 bit AIFF or WAV files can be done ahead of time using a software app. as JRiver Media Center

resulting in no conversion processing occurring during playback. Another advantage of computer based DSD to PCM conversion is that

if higher performance DSD versions such as DSD 4X appear in the future, they can be easily supported with a software upgrade.


  • Input sampling rate:  32k Hz to 192 kHz
  • Input word length:  24-bit
  • Ultra low phase noise Precision Clocking;  at 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz and 192 kHz sampling rates ± 100 ppm
  • Two channel analog stereo outputs:  XLR balanced with pin 2 positive and RCA unbalanced
  • Digital Inputs:  AES – XLR, 110Ω; SPDIF1 – BNC, 75Ω; SPDIF2 – BNC, 75Ω; TOSLINK – Toslink optical connector
  • MQA rendering:  automatically detects MQA Core decoded signals and performs MQA rendering to 384 kHz and above
  • HDCD decoding:  detects 16-bit flag at 44.1 kHz or 24-bit flag at all sampling rates
  • Multiple digital filter options
  • Balanced analog output level:  +18 dBu (6.15 Vrms) maximum, +12 dBu (3.1 Vrms) or lower recommended
  • Unbalanced analog output level:  3.25 Vrms maximum, 2 Vrms or lower recommended
  • Digital volume & balance control:  0.1 dB/step with .05 dB/step L/R gain trim, 60 dB range
  • Frequency response at ≥ 88.2kHz sampling rates:  ± 0.1 dB from < 0.1 Hz – 35 kHz,  – 3 dB – 59 kHz for 176.4 kHz & 192 kHz
  • Distortion at recommended levels:  all products ≤ -120 dBFS
  • THD+N at maximum level:  < -110 dBFS
  • Firmware is upgradeable through signal inputs
  • Enclosure dimensions:  9 cm.H x 44.5 cm.W x 32 cm.D
  • Weight: 14 kg.
  • Mains power:  100/120/240 VAC, 50/60 Hz
  • Power consumption:  25 W


Announces immediate release of  Sasha  DAW

Design Details October 24, 2018 Shipping November 2018

The original WATT began not as a response to a perceived market need. It was not the product of focus groups. Dave Wilson never intended it to be a commercial product at all.

Dave designed the WATT in 1985 as a tool for himself. He was a recording engineer who needed a loudspeaker he could take with him to on-location recording venues,

a location monitor that spoke the same language as his revolutionary and revered WAMM reference monitor, a precision tool that aided him in his efforts to make recordings that sounded

indistinguishable from the unamplified live event. In other words, Dave was literally designing the loudspeaker he wanted to own. There was a certain freedom this approach afforded Dave.

He was not governed by business-school notions of market need. He was not hamstrung by considerations of an acceptable price point or perceived value. Without these considerations,

he was unrestricted to design and build a loudspeaker that specifically fit his desire for a portable location monitor that was completely without compromise,

crass cynicism, or commercial concerns of any kind. As a direct consequence of Dave’s pure intent and his idealistic approach, a masterpiece was born. The WATT was unlike any loudspeaker

that came before it. Dave’s attention to the details of panel resonances formed the basis of an enclosure that was heroic beyond even what the most jaded audiophile considered sensible.

Dave used materials in the construction of the cabinet that until that point had never been used in the application of loudspeakers. In his landmark book on loudspeaker technology and design,

Martin Colloms referred to the WATT’s enclosure as a near perfect example of “the most perfect exposition of cabinet construction.” The WATT’s time-domain accuracy,

made evident by its sloped baffle, was a product of the original research Dave conducted for the WAMM, and was the beneficiary of his patented time-alignment measuring technique.

The drivers were selected to perform well together, and to serve Dave’s demands in the areas of dynamic and harmonic expression, as well as the physical constraints presented by

his other design choices. The WATT entered the commercial market almost by accident. Dave had no interest in selling the WATT to the public.

Dave’s interest nothwihstanding, he simply didn’t believe there was a market for an extremely diminutive—and extremely expensive—loudspeaker like the WATT.

At the Consumer Electronics Show in January of 1986, Dave demonstrated his WAMM in the main room of the Wilson’s exhibit. In the adjoining room, Sheryl Lee Wilson employed a pair

of  WATTs to provide the sound for her display of Wilson Audiophile records, a small system to which attendees could listen to while waiting for Dave’s next WAMM demo.

She was selling records, not displaying Wilson’s latest loudspeaker. Dealers and international distributors who listened to the WATT for the first time were collectively smitten. Various dealers

expressed a strong interest in selling the speaker in their stores, several of these were ready with their checkbooks and purchase orders. Sheryl Lee explained the WATT wasn’t for sale;

it was Dave’s location monitor. With so many dealers pressuring the Wilsons to sell the WATT, Dave reluctantly relented and agreed to build, sell WATTs to a select group of high-end retailers.

The WATT joined the WAMM, which, up until that point, was Wilson Audio Specialties’ sole product. The WATT went on to enjoy surprising (at least to Dave) market success.

It was the introduction of the WATT’s companion woofer, which Dave and Sheryl Lee affectionately called the Puppy, that really took the audio world by storm.

The combination “WATT/ Puppy” went on to become the best-selling, high-end loudspeaker priced at over $10,000 in the history of audio. All of which started with a loudspeaker Dave never

intended to sell. The Sasha is the lineal descendant of the WATT/Puppy. When approaching the design of the original Sasha, Dave eschewed the modular, two speaker approach of the

WATT/Puppy, and instead treated the loudspeaker as a single integrated design. Without this limitation, imposed by the fact that the WATT itself existed as a standalone monitor with its own

integral crossover, Dave was free to explore the new platform in ways not possible with the WATT/Puppy. The Sasha’s performance established a new elevated standard for what is possible for

hyper-performance, compact monitors. When it came time to upgrade the Sasha, then in its Series-2 iteration, Daryl Wilson was mindful of what his father had accomplished.

In the wake of Dave Wilson’s recent passing, Daryl was all the more motivated to ensure the Sasha would honor his father’s achievements, and yet look to the future for an even greater level

of performance than was possible when Dave designed the original Sasha. An All-New Sasha: Daryl decided a fresh look at the Sasha was in order. He approached the Sasha as if it were an

all-new loudspeaker, taking the elements that very clearly worked in its design and, at the same time, applying the myriad technologies generated by Wilson’s design team since the advent of the

Series 2 nearly five years ago. The result is the largest upgrade in the history of the WATT/P and Sasha platforms. In recognition for the man who started it all, the Wilson team felt it apropos

to dedicate this most ambitious iteration of the Wilson compact loudspeaker in its history to the visionary who first imagined it thirty years ago. Introducing the Sasha DAW. DAW for David

Andrew Wilson, an homage to the man who started it all. Complete Redesign of the Woofer Module: Led by Vern Credille, the team designed a new woofer for the Sasha.

Based on the 8-inch driver found in the Alexia Series-2, the new woofer was redesigned for the specific needs of the Sasha. When Dave designed the original Puppy, speed and

dynamic impact were priorities, as well as optimizing the bass extension. He found that two smaller drivers allowed him to optimize both. This strategy has been refined over the years.

The latest Sasha represents the largest leap in bass performance since the platform’s inception and resets the bar in the areas of transient honesty and impact, linearity, and timbral resolution.

To further augment bass performance, Daryl and his team redesigned the Sasha’s bass enclosure from the ground up. Thicker X-material panels further reduce (the already vanishing low)

panel resonances. Enclosure volume increased by 13.3%, which allows for greater bottom-octave authority and reduced distortion. The blades on the top of the module, where its companion

midrange/tweeter rests, have been strategically redesigned with openings, which reduces cavity pressure in the space between the upper and lower modules. Finally, a new, ultra-low-turbulence

port reduces already low unwanted windborn noise. All-new Upper Module: For the design of the upper module, Daryl Wilson worked closely with Jarom Lance, one of Wilson mechanical

engineers. Thicker panel sthrough out the module reduce resonance. An all-new pattern is cut into the inside of the enclosure, which mitigate internal reflections.

Enclosure volume was increased by 10.2 %  for increased dynamic range and efficiency. Th e midrange and tweeters are the same units uset in the WAMM Master Chronosonic ,

and an all – new crossover blends the entire recipe together. Vern and Daryl worked to improve the frequency linearity of the platform.  Al-ready the industry leader in the areas of

ultra – low distortion and vanishing noise levels , the team found ways to reduce both . Most importantly, the latest Sasha provides a remarkably direct conduit to the numinous beauty of music.

The Best Materials: The material to which a driver is mounted provides the “launch pad” for cone excursions. Years of empirical listening trials and materials testing,

most recently with Wilson’s Laser Vibrometer, have shown that dissimilar materials provide optimum baffles for different drivers. Wilson’s proprietary composite,

X-Material, is the ideal material for woofers and tweeters. The research surrounding the original Sasha led to the development of S-Material, designed specifically to increase midrange accuracy

and beauty. Wilson Audio remains at the forefront in the world of enclosure composite development. Using the most sophisticated test equipment,

not least of which is the human ear, Wilson’s team have raised the bar again with the Sasha DAW. The team’s attention to detail and nuanced approach to enclosure design contributes

substantially to Sasha’s unique blend of resolution, dynamic contrast, timbral accuracy, and musical beauty. On Time: Since the original WAMM, designed in the early 1980s,

all of Wilson’s loudspeakers accurately correct the individual drivers in the time domain. Like its bigger siblings, Sasha DAW is a modular design, which allows the drivers to be specifically

aligned for each installation. In the Sasha DAW, a beautiful and functional calibrated “ladder” facilitates extremely fine adjustment within the time domain. For each installation,

the midrange/tweeter module is adjusted in relation to the woofer drivers below, such that the four drivers are precisely aligned for that particular environment.

Other Important Details: The Wilson Engineering Team revisited the binding post. The outgoing binding post, designed entirely in house, set the industry standard for sound quality.

Daryl Wilson and Blake Schmutz, Wilson’s lead mechanical engineer, found ways to improve the older connector ’s performance and ergonomics.

The new binding post is easier to tighten by hand, and also features a banana plug option. Debuting on the Sasha DAW, the new Wilson Audio connector resets the bar for reliability and

sonic integrity. In the DAW, Wilson has enhanced the user interface of the group-delay mechanism, which now features a knurled knob, enabling the adjustment to be facilitated without tools.

Additionally, the woofer baffle is now angled back, which more correctly integrates the bass drivers with the upper module in the time domain. The Resistor Plate Cover is now removable

without the aid of tools. It provides easy access to the resistors , which act as an extremely high-quality protection system for the drivers. The resistors also enable the fine tuning of the

driver blend in those rare installations that benefit from this adjustment. A tempered-glass cover is elegantly integrated into the plate.


Enclosure Type Upper Module:  Rear Vented Midrange, X&S-Material

Enclosure Type Woofer Module:  Rear Ported Woofer, X-Material

Woofers:  Two – 8 inch (20.32 cm)

Midrange:  One – 7 inch (17.78 cm)

Tweeter:  One – 1 inch, Dome (2.54 cm)

Sensitivity:  91 dB (one watt at one meter at 1kHz)

Nominal Impedance:  4 ohms / minimum 2.48 ohms @ 85 Hz

Minimum Amplifier Power:  25 watts per channel

Frequency Response:  20 Hz –30 kHz +/- 3 dB room average response

Overall Dimensions:

Height:  44 3/4 inches (113.67 cm)

Width:  14 1/2 inches (36.83 cm)

Depth:  22 15/16inches (58.26 cm)

Sasha DAW Weight Per Channel:  236 lbs (107.05 kg)

System Shipping Weight (approx.):  710 lbs (322.05 kg)


  Announces immediate release of 1160 Stereo Power Amplifier

June 27, 2017 | Louisville, Colorado – Boulder Amplifiers is pleased to announce the immediate release and shipment of the 1160 Stereo Power Amplifier.

The 1160 is the successor to the 1060 Stereo Power Amplifier and the first product in the new 1100 Series to debut. The 1100 Series is Boulder’s mid-level product line,

combining new technology and exceptional performance with reduced size, power and cost. The 1100 Series offers a substantial advancement over the previous 1000 Series,

with improvements in sound qualityby way of better thermal management, ground paths, noise floor, and circuit layout. The increased use of surface-mount technology,

manufactured on Boulder’s own surface-mount manufacturing machines and ovens, has also yielded improvements in noise radiation, propagation delay, parasitic capacitance and the

elimination of lead inductance in affected circuits. It also offers improvements in unit-to-unit quality and consistency and long-term reliability.

Also new for the 1160 is the use of a 64-bit, multi-core ARM (Advanced RISC Machine) processor for all supervisory functions, including management of protection circuits, AC line monitoring,

power, thermal detection, error notification, and HTML- or IP-based external control. This ARM processor will also enable the use of Boulder Net, an IP-based unit-to-unit detection,

system layout, and communication architecture available to external control systems such as Savant or Crestron and application-based system controls.

For units that are network connected, an HTML setup and control page is available by simply logging into the amplifier’s IP address via a browser.

Gain stages within the 1160 are Boulder’s proprietary 983, which are unique to the 1100 Series. 983 gain stages feature surface-mount mechanical design with board-mounted heatsinking and

provide the initial 20 dB of gain in a multi-stage design for exceptionally wide bandwidth. They combine discrete and monolithic design with a high-current output. The 1160 utilizes 56 bipolar

output devices (28 per ch.), 48 filter capacitors and 2 toroidal power transformers to generate power output of up to 300 watts per channel into any load, enabling massive current swings and

the ability to drive any loudspeaker to realistic audio levels. The physical design of the 1160’s external casework has evolved, with the heatsinks’ hard corners and chamfers being replaced with

small radii and curves. The front panel has also been changed to reflect Boulder’s local geography. The layered front panel design is actually a reproduction of the topographical map of Flagstaff

Mountain, located directly west of Boulder, Colorado. Continuous power output of the 1160 is 300W per channel into 8 ohms, with peak output power doubling into 4 ohms (600W),

2 ohms (1200W). All audio circuitry is full differentially balanced. Outputs include dual connections for bi-wiring.


Continuous power, 8, 4, 2 OHMS:  300W

Peak power, 8 ohms:  300W

Peak power, 4 ohms:  600W

Peak power, 2 ohms:  1200W

THD, 8 ohms, 300W:  20-2 kHz: 0.0009%, 20 kHz: 0.0048%

THD, 4 ohms, 300W:  20-2 kHz: 0.0016%, 20 kHz: 0.0071%

THD, 2 ohms, 300W:  20-2 kHz: 0.002%, 20 kHz: 0.0130%

Equivalent Input Noise (EIN), 20 kHz BW:  1.5 μV

Magnitude response, 20 to 20 kHz:  +0.00, -0.04 dB

Magnitude response, -3 dB at:  0.015 Hz, 150 kHz

Voltage gain:  26 dB

Signal-to-noise ratio (RE: 300W/8Ω):  -127 dB, unweighted, 20 to 22 kHz

Input impedance: 

Balanced:  100k ohms

Unbalanced:  50k ohms

Common mode rejection (balanced only):  60 Hz: 90 dB, 10 kHz: 70 dB

Input connectors:  3-pin balanced XLR

Output connectors:  Two sets of 6 mm / .250-inch wingscrews

Crosstalk, L to R or R to L:  Greater than 120 dB

Weight:  Amplifier, 140 lbs. (63.5 kg); Shipping, 220 lbs. (99.8 kg)

Power requirements:  100, 110-120, 220-240 VAC, 50-60 Hz

Power consumption:  15W Standby, 240W Nominal, 3600W at Maximum output