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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 Β£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 Β£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
