BowersWilkins 703 Brochure
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[Review ] B&W 703 loudspeaker pioneered by the more upmarket Nautilus models, and which provides one of the better reasons for adopting the extra complexity of a three-way, as distinct from the two-and-a-half- way configuration used in the 704. In the vast majority of three-ways, the midrange driver is either the same as, or a scaled down version of, the bass driver. However, the essential difference between a midrange-only unit and any unit required to produce bass (whether bass-only or bass/mid) is that a mid-only driver doesnt undergo significant cone excursion. Whereas the rubber roll surround at the edge of a driver cone normally has to centre the cone, absorb edge-of-cone vibration and permit generous fore n aft excursion, a mid- only driver has no need for the last of these. B&W has therefore come up with a midrange driver with a heavy but unfixed surround that locates the cone but ignores excursion in order to optimise the vibration absorption characteristics, by using a heavy rubber gasket in place of the usual roll. The result, allegedly, is improvement in dynamic range resolution. Thanks to relatively new Klippel distortion measuring apparatus, all the drive units have undergone significant improvements over their predecessors. B&W calls the techniques it has used to make the drive unit magnetic fields more symmetrical and minimise variations in inductance balanced drive. The high frequency extension of the external tube-loaded tweeter has also been improved, avoiding any need for a super-tweeter. There are two bass drivers here, port-loaded and operating in tandem, and each with Kevlar-reinforced paper cones 120mm in diameter. The FST midrange has B&Ws familiar yellow woven Kevlar cone, 140mm in diameter, while the tweeter has a 25mm alloy dome. Just two pairs of terminals are fitted, conveniently low down near the floor. SOUND QUALITY Not unexpectedly, in-room measurements pointed towards free-space siting for this substantial floorstander, though the bass alignment is relatively dry and bungs are provided should close-to-wall siting be unavoidable for domestic reasons. First impressions came as a bit of a surprise, especially as the Signature 805 (see p62) was on site at the time of its arrival, allowing immediate comparisons. The 703 is certainly much less laid back than the baby Signature, and actually sounds much more upfront than any B&W in recent memory. Indeed, the initial judgement was that this speaker was a little too bright and edgy for its own good, with a touch of aggression and harshness that bordered on the unacceptable. This opinion was reinforced by the visible peak at around 4.5kHz, near the bottom end of the tweeters operating range, which was clearly visible on the far-field in-room traces. While this treble strength did seem likely topose a problem at first, after a few days the tendency towards harshness and aggression seemed to have mollified quite significantly. Our samples had apparently had a couple of days of running in before being shipped, but presumably this is a speaker that needs at least a week to get properly settled down. P MULTICHANNEL OPTIONS The 703 is much less laid back than the Signature, and actually sounds much more upfront than any B&W in recent memory. B&W makes centre and surround speakers to fit in-between and around the 703/4/5 stereo pairs for multichannel sound. The £450 HTM7 (for Home Theater Monitor) is the centre-front. Retaining the curved top and external tweeter, this two-way appears bulky, but voice-matches the 703 well enough, albeit without the latters slightly bright top end. (It matches the 704 even better – probably because it shares the same drivers.) One crucial thing to note – the HTM7 should not be placed on top of a large-screen T V set, as close proximity to a large flat surface adds a honky, thickening coloration in the midband. Coming soon, the £900 per pair DS7 surround speaker looks potentially even more interesting. Its switchable between dipole and monopole modes (the former best for movies, the latter for music), and the change can cleverly be effected remotely via a 12V trigger signal from the receiver.
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Once properly in the groove, the 703 showed some delightful characteristics, and an overall standard of performance that stands well out from the two-grand crowd. Theres still arguably a touch too much strength at the top end here – its certainly a dB or two stronger than the 704 here, for example – and this can occasionally prove a trial with bright and edgy recordings, especially if you want to play them loud. But by the same token it often adds some welcome extra bite and clarity to the musical proceedings. It was interesting to have the 704 on hand, and many will prefer the slightly warmer and more laid-back balance and restrained treble of the less expensive model (reviewed next month). But direct comparison immediately highlights the obvious superiority of the 703s FST midrange, which reproduces voices in particular with much greater clarity and expression, with a significantly wider dynamic resolution window. Its not entirely free from coloration – theres a certain amount of nasality here – but it is very expressive, and stereo imaging is beautifully spacious and superbly free from boxiness. A very complex modern composition involving several choirs – Idmen, by Iannis Xenakis, since you didnt ask – came over the BBC airwaves late one summers evening, and the separation and clarity which the 703s brought to the complex vocal parts was really quite transfixing. This is far from familiar or indeed comfortable music for late night listening, yet I was genuinely disappointed when it finished. If the midband is something a bit special, the bass end is arguably even better. Its dry, clean, deep and even, all of which is quite unusual and impressive. Even better, its very, very fast and always agile, bringing truly propulsive momentum and drive to a bass-led album like the Easy Star All-Stars Dub Side Of The Moon. Even an overblown recording like Wyclef Jeans The Carnivalmanaged to sound quite crisp and controlled – and very, very clean and clear. Do check first that this speakers slightly cool, thin and bright balance suits your personal taste and system. If it does, youll be rewarded with a wonderfully analytical and entertaining speaker, with superb agility and an exceptionally wide dynamic range. HF C Paul Messenger SOUND >>91 % EASE OF DRIVE >>66% BUILD >>95% VALUE >>88% RPRO Classy floorstander has artfully shaped enclosure and very advanced drive units. Superb imaging and an exceptional dynamic range, with expressive midband, and fast, clean and deep bass. SCON Sound is dry, cool and a touch thin – the top end a mite strong, giving a character which can become aggressive. CONCLUSION Classy floorstander with very advanced drivers delivers superb imaging and exceptional dynamic range, with a very expressive midband and fast, clean bass, though its bright top end can become aggressive when played loud. OVERALL SCORE 89% >> VERDICT Detail 101cm 23cm Flowport reflex port Alloy dome tweeter is mounted externally, coming with its own loading tube and grille Enclosure slightly narrower at rear than front Solid base provides secure spike accommodation Twin terminals set nice and low, for bi-wiring/ amping POSITIONING For the smoothest and most even bass delivery, this speaker design ought really to be kept well clear of walls if at all possible. If domestic considerations dictate some wall proximity, bungs are supplied to block up the ports. However, the ports here are tuned to a low 35Hz, while close-to-wall bass reinforcement occurs rather higher up, in the 50-100Hz octave, so results are unlikely to be smooth. MEASURED PERFORMANCE B&Ws claim for a 90dB sensitivity is fully justified – even marginally pessimistic perhaps – but the generous figure is compromised by a rather demanding load, which hits a three-ohm minimum at around 100Hz, which is a power- hungry part of the spectrum, and remains low between 80Hz and 350Hz. The in-room far-field averaged responses look very promising, however. With the speakers mounted well clear of walls, and the ports left open, the bass comes across as unusually smooth (+/-4dB throughout, in spite of room modes), and also very well extended (-3dB at 20Hz in-room). The lower midband is a little lean, but strengthens between 500Hz and 1.5kHz. The presence zone is slightly recessed at 1.5-3.5kHz, but then peaks up quite strongly at 4-6kHz, although these trends are obvious enough, both in measurement and audible terms. SYSTEM MATCHING Although this speaker has a decent enough sensitivity, the impedance dips to a low three ohms in the bass and lower midband. Its therefore not really suitable for use with lower power valve amps such as single- ended and direct-coupled types, and is better partnered with solid state amplifiers that have relatively generous current delivery capabilities. SET-UP 0.8-1m0.8-1m 1-1.5m 1-1.5m 2-3m 3-4m [Review ]B&W 703 loudspeaker Q 165mm FST (surroundless) Kevlar cone midrange driver 2x 165mm paper/Kevlar cone/dome bass drivers