The Wilson Audio Subsonic is the fraternal twin of the WAMM Master Subsonic. It features the same subwoofer drivers and the same internal volume. The differences lie in the finish details. On the Wilson Audio Subsonic, the metal work is from Wilson’s main line finish process—the same level of metal finish that has adorned Wilson products throughout the line.

The internal bracing material within the Wilson Audio Subsonic is Wilson’s proprietary HDF, the same bracing material that is found in the Thor’s Hammer.

The Wilson Audio Subsonic bridges the gap between the Thor’s Hammer, a subwoofer that before the WAMM Master Subsonic had no rival in the industry, and the WAMM Master Subsonic.

The Subsonic is the perfect addition to Alexx V or Chronosonic XVX, either configured as a single mono unit, or as a two-channel stereo pair. In either configuration, it offers performance in the 10-30hz range that is only exceeded by the WAMM Master Subsonic itself.

Understanding there is no substitute for volume in reproducing the lowest octaves, the Subsonic stands 65 inches tall (without spikes), a width of 18 inches and a depth of 27 inches. Its frequency response is 10-150Hz, with a sensitivity of 87db and nominal impedance of 4 ohms. Each unit weighs 505 lbs

“The Subsonics added a new dimension of majestic sweep to this recording. The Subsonics also expanded the space and air of the Myerson Symphony Center by resolving very low-level, low-frequency components that cue the brain to the size of the hall. I also heard a greater midrange clarity on the voices with the Subsonics engaged, with more separation between the choir and the orchestra. Pipe organ spectaculars were just that—spectacular. The sense of limitless extension, limitless power, and limitless control, along with the precise sense of pitch with no port artifacts or bloat, was simply stunning. It’s really something you have to experience for yourself. I’ve never heard better bass from an audio system, or bass that extended this low and maintained its quality in the bottom two octaves.”

Robert Harley, The Absolute Sound

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