Offered by your trusted AudiogoN member... The Dog
Offered is a rare PAIR of the awesome Wilson XS subwoofers.
EIGHT feet tall and they weigh over 700 lbs EACH.
Two 15 inch drivers in each sub
Crazy,,, I know...
Selling for a customer ( see pic of setup)
Rarely seen for sale
They are in very nice condition. I have rated them a conservative 7
I will only sell as a pair..
...and buyer will arrange shipping as each crate weights over 800 lbs.
Interested??? Make me an offer...
Just don't ask me to include shipping... ;-)
Thanks for looking...... The Dog
Excerpts from a review....
There really isn’t a lot to tell you about the XS as it is fairly simple in design, although not simply implemented. The cabinet is a combination of proprietary "X" material and MDF. It is heavily cross-braced with two large aluminum ports, each serving one driver. The drivers themselves are 18" units that reportedly are the finest available. Power handling is rated at 1600 watts and compression is minimal even at extreme sound-pressure levels. The grille is located on a front decoupled baffle board. Two large custom binding posts are located on the rear, near the bottom of the cabinet. One feature that is representative of the quality that goes into the XS is the large brushed-aluminum ring that covers the mounting hardware of each driver. These are huge, with the company’s name engraved near the lower edge. This creates a sandwich for the driver to rest in. Unfortunately, there are no casters or feet available for the XS. Rated frequency response is -1.5dB at 15Hz, but during testing Wilson Audio measured strong response below 12Hz. Nominal impedance is 4 ohms, while sensitivity is 95dB.
The impact that the XS had on the sound of my system was phenomenal. Once the whiz-bang effects were out of the way, like shaking Wedgwood off shelves three rooms away, I listened seriously to as many music selections as I could find with low bass. I’ve come to realize that there is more low bass present in many recordings than I had previously thought -- not only music, but also the resonant character of the acoustic space. This must be extremely low in frequency as much of it escapes even the X-1s. As an example, listen to James Horner conducting the London Symphony Orchestra on the Braveheart soundtrack [Decca 448 295-2]. On the track "Attack on Murron," at about two minutes in, the bass is thunderous. In addition, the soundspace envelops and melts the walls, leaving you with a close approximation of the recorded event. The soundstage expands, exposing the ambient cues hidden in the recording for the first time. More than once I left my seat to look outside, go to the front door, or upstairs to investigate sounds I would have sworn were not coming from the stereo. It was quite spooky.