Wilson Studio 7 Test – Hi-Fi . Class

The Wilson Studio 7 floor stands are equipped with a two-way symmetric speaker system – we’ve checked how that translates into sound quality.

The offering of dynamically developing Polish brand, Wilson, has been expanded with a new Studio series, based on two designs: Studio 3 wall-mounted speakers (recently tested), and Studio 7 stand-alone speakers. Wilson commissioned a famous company from Denmark to design his amplifiers, but it has not been determined exactly. In any case, it has long been known that Danish specialists know how difficult it is for anyone to know the sound. So we can be sure that no matter what Danish producer had a hand in, experienced and passionate people are responsible for this project.

Already while testing the Studio 3’s smaller stands, I found that these relatively inexpensive speakers outperform most other speakers in this price range. They showed good balance, cultured and I would even say a mature and refined sound for their price.

Creating cheap and good sounding speakers is a big challenge for every manufacturer, because you have to make many compromises in order to stay within the assumed budget. But as Wilson points out, these compromises don’t have to mean giving up on good sound, which may appeal even to a lot of knowledgeable people who appreciate good sound quality.


The Studio 7 differs from the previously tested Studio 3 monitors, not only in a much larger box, but also in a different speaker system. In their case, we are dealing with a bidirectional symmetric system. Obtained by adding another mid-woofer to the trumpet tweeter and middle tweeter (Design Studio 3 screens), this is how the Studio 7 model was built.

Between the middle speakers there is a trumpet tweeter, creating a symmetrical vertical arrangement with them. The Studio 7 speakers feature a woofer and, as well as a 28mm-diameter soft silk dome, are fitted with a large round tube with a gentle curvature. The circular tube increases the efficiency of the loudspeaker dome and improves its efficiency in terms of the width of the sound wave radiation. The mid-woofers are equipped with fiberglass cones. It is a good material for diaphragms due to its low weight and high hardness, and is responsible for a neutral and dynamic sound.

In contrast, the symmetrical speaker system used in the Studio 7 speakers is to make the sound stage clearer and wider. It is also worth noting that the Studio 3 and Studio 7 speakers use crossovers built on the basis of high-quality components.

The coil in the path of each of the mid-woofers is wrapped with thick copper wire to reduce losses on the low-pass filter. On the other hand, capacitors are polypropylene only. The horn tweeter filter has a low distortion air coil. As you can see, the designers, despite the limited budget, did not come up with the cheapest components that deserved recognition.

Wilson Studio 7

The boxes are made of solid and rather thick MDF panels with internal reinforcements, thanks to which the side walls of a larger surface are more resistant to resonance. The packaging is only available in two types of vinyl veneer: black and walnut, which successfully imitate the natural wood equivalents.

The problem of grilles was solved in a very interesting way, as one speaker contains up to three small circular grilles, which can be used to modify the appearance of the speakers, but also the sound (to a limited extent). I tried all possible variants and liked the setup with only the horn speaker open. Then it is aesthetically interesting, moreover, the speakers sound a little better in the treble range.

Wilson Studio 7

The back panel features a gently defined output from the bass reflex tunnel and input terminals that are solid and very aesthetically pleasing.

The kit also includes screws – silver or gold, depending on the color version of the box finish, and spike pads to protect the floor from scratching.

sound quality

Given the price of the Studio 7, they sound better than good. The treble is softened a bit for the mid and low notes, reminding me of the sound of some Italian Chario models. It has many advantages, but not everyone has to like it either. The advantage is that the meager treble sound makes many albums sound too bright. On the other hand, for many audiophiles, the most important thing is to raise the volume of the powerful treble.

Wilson Studio 7

Despite the dark treble sound, Studio 7 can play effectively and dynamically with rhythmic and responsive bass. An important role is played by the open and unrestricted middle group in their case, because thanks to them the sounds are more present in the listening room, and at the same time they sound more natural and more believable. In this aspect I could see the studio character that the manufacturer of these loudspeakers was trying to achieve. This was possible not only by skillfully suppressing the mood of the trumpet tweeter, but also by subtly emphasizing the mid-tones.

In terms of bass, if I were to compare the floor-standing Studio 7 to the Studio 3 bookshelf stands, the differences are obvious. While the Studio 3 places more emphasis on showing individual instrument bodies operating at this range, which is typical of stand designs, the Studio 7 delivers a much stronger sound with a deeper range. I found it, for example, in Jan Garbarek’s music from the album “In Praise Of Dreams” and in Schiller’s repertoire, where the bass line is effectively completed in the low parts.

The middle group performed by Studio 7 has the characteristics of a British school, that is, the middle band is more exposed. Combined with the beefy full bass, the midrange seems to dominate. But a lot depends on the type of music being played, and most of all on the quality of the production. For example, the artist’s album “Wonderful Life” under the pseudonym “Black”, vividly, even clearly perceived in the trio, sounded very impressive.

Wilson Studio 7

The Studio 7’s speakers showed a balanced and pleasant sound. The sounds and all the instruments operating in the mid-range were performed on stage in all their glory. Analytical speakers in the treble range make this album unnaturally bright. On the other hand, the Studio 7, thanks to their playing style, managed to civilize this exaggerated treble, aligning it well with the midrange, which simply resulted in a better and more enjoyable sound.

In terms of build quality, looks and above all sound quality, the Studio 7 speakers should be considered attractively priced.

It’s the triple range of Studio 7 that can evoke the greatest emotions. However, it is surprising that despite the trumpet tweeter, the treble does not dominate the mid-tones and bass. It’s quite the opposite, because mid-range and bass have the biggest say here. While in the case of the smaller Studio 3 there was a certain compromise between the amount of treble and its clarity in relation to the midrange, in the Studio 7 there is a slight shift in the sound balance towards the mid-bass range. However, the treble still plays a role in sound creation, so it shows well the mass of the cymbals and other treble details when needed. The triple layer has been toned down, but certainly not just simple expressiveness. Yes, they lack the typical brightness of trumpet speakers, for example from Klipsch, but they cannot be accused of filtering the music out of the details. It is simply not presented with the same power as in the case of Klipsch amplifiers – for some it is an advantage, for others it is a disadvantage.

One of the Studio 7’s strongest features is the space. Stereo picture features accurate, clear and deep sound stage. This is not a level, for example, Fyne Audio, which is equipped with coaxial speaker systems, but it is close, and nevertheless the price difference is significant.

Wilson Studio 7

The symmetric loudspeaker system also ensures the same sound characteristics that just go beyond the listening point, the so-called sweet point. So we don’t always have to sit still in one place to get the best sound. Despite the studio’s flair for displaying surround sound, it has no problems reproducing the breadth of sound, especially from discs whose sound depends primarily on spatial impressions. For example, in the music of Mike Oldfield and Jan Garbaric, I had a stereophonic experience that transcends the distances between these speakers.


If you have in your collection brightly colored realized albums with exposed treble, you will definitely like the style of the Studio 7 speakers, because they will arrange them in order. Because the balance of the notes is shifted slightly towards the mid- and low-range components, the higher tones are less aggressive, and therefore do not “hurt” the ears in the case of exaggerated musical productions.

So Studio 7 has its own sound recipe. Through them, music takes on morals and culture, and the sounds that emerge in the treble scale are identified with pharmaceutical precision. This style of sound suits me because it encourages long listening sessions that don’t cause ear fatigue.

In terms of build quality, looks and above all sound quality, the Studio 7 speakers should be considered attractively priced.

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