Wilson Audio's Autobiography arrived at our Scottsdale reference room this summer — one of seven demonstration pairs anywhere in the world, and one of seven dealers globally chosen to present it. We sat down with Sales Consultant Jordan Thompson, who has been part of the LMC team since 2011 and came up on the technical side setting up systems before moving into sales, for a first-listen conversation on what makes Autobiography its own instrument — sitting above the WAMM Master Chronosonic in the same reference room.
The first thirty seconds — what happens to people physically when the Autobiography starts playing, and what's the first thing out of their mouth before they've had time to think?
One of the first things we see people react to is the sheer sense of scale. There is a texture and a low-end detail that feels new — effectively unparalleled. First words are usually an expletive followed by thoughtful silence. Most people are at an immediate loss of words. Juxtaposed with their size, these loudspeakers truly find a way to disappear.
The Autobiography is built around time-aligning seven drivers. What does that precision actually sound like on a dense orchestral passage or a complicated mix?
When setting the speaker up, like all Wilson loudspeakers, there is a very distinct point where the system snaps in. Even in near-perfect rooms, the Wilson Audio Setup Procedure is key to maximizing the potential and getting the most musical presentation out of the enclosures.
Big orchestral passages are about as close to being there as is currently possible. Many flagship loudspeakers place a performance in the room with you — these give a very convincing facsimile of actually being THERE.
Sitting between this room and the Reference Room's Chronosonic XVX — what does the Autobiography do that the XVX can't, and is it a difference of degree or of kind?
You can identify sonic similarities between the two. The texture in the mid and low bass is significantly better on the Autobiography. And the Autobiography has an unbelievably low self-resonance — the design changes, the construction techniques, and the new constrained-layer construction keep the noise floor very low. It effectively evaporates.
This is a life-purchase. What kind of listener is genuinely right for it, and what has to be true about their room before it makes sense?
Firstly, any music lover is right for Autobiography. We love the opportunity to showcase the engineering and craft of the system, but all that is really necessary is a true love and appreciation for sound.
As for the room: one of my favorite things about Wilson Audio is that with proper setup, great sound is achievable regardless of room orientation.
There are at least four ways to spend seven figures with me, and all of them are stellar in their own right. But there is an occasion in the Autobiography that has no comparison.
What do you put on to prove the Autobiography is worth what it costs, and what does that specific piece reveal that a lesser speaker hides?
“In the Hall of the Mountain King,” by Edvard Grieg. It is intensely dynamic. The Autobiography recreates the liveliness of the concert hall, and simultaneously allows for huge dynamic swings with zero effort. For those who haven't heard that specific work, they can still pick out what these loudspeakers are capable of.
People arrive expecting “loud” or “impressive.” What actually gets them — the dynamics, or the quiet and the low-level detail?
People new to the brand expect dynamic expression, so that is what usually jumps out at them first. But experienced owners, and listeners with time on other high-end manufacturers, are enthralled by the ridiculous amount of detail and micro-dynamics — how clear and present they are even at relatively low listening levels. That is incredibly difficult to achieve. These have it in spades.
When the Autobiography is time-aligned for the room versus a speaker you just place and play, what changes that a first-time listener can hear?
The reason Wilson flies dealers out to learn the setup process, spends large sums on alignment technology, and designs beautiful enclosures is because it makes a difference. The setup and the product are one and the same. This has been their mission statement for fifty-plus years.
Autobiography sits in the LMC Scottsdale reference room, one of seven demonstration pairs in the world. Walk in during business hours or book ahead for an extended session — and the honest comparison, against the WAMM Master Chronosonic and Chronosonic XVX in their own rooms, can be arranged in a single visit.