Loudspeakers

Loudspeaker brand B&W launched its first Signature model in 1991, in the shape of the (founder) John Bowers Silver Signature, and has intermittently released further Signature editions in the 30-plus years since. Well, I say intermittently - while only four more Signature speakers came in the next two decades, the 700 S3 Signature range, which also includes the 702 S3 Signature floorstander , comes hot on

The Heels Of The 800 D4 Signatures , And Is Not Far Removed From Its 700 S2 Signature Line Of 2020.

These former 'rare' speakers are therefore becoming more common-place, but it no doubt makes good business sense. The existence of Signature variations of two of its three main loudspeaker ranges (there's no 600 Signature - yet) allows B&W to cover more price points. It also perhaps shows the manufacturer is increasingly confident in its ability to fine-tune existing models without recourse to a blank sheet of paper. The Signature mantra is 'small details can make the biggest difference', and this is in evidence when looking at changes between the £2600 standard iteration of the 705 S3 standmount and the £3400 Signature sibling on test here.

Scene And Heard

That shift in price between the two might have you expecting to see marked 'on paper' differences. Yet both speakers have the same 345x192x297mm (hwd) dimensions, quote the same 88dB sensitivity, 3.7ohm minimum impedance and 50Hz-28kHz (±3dB) frequency response figures [see PM's Lab Report, p63], and use the same-sized drivers. As is Signature practice, changes here are - for the most part - behind the scenes.

Perhaps with that in mind, B&W offers two exclusive colourways for the 700 S3 Signatures - Datuk Gloss and Midnight Blue Metallic - in place of the standard model's gloss black, satin white and mocha. Both are so gorgeous that I wonder if some customers might deem them worth the price uplift alone - after all, the difference is not quite as extreme as the £1500 gap between the floorstanding 702 S3 and 702 S3 Signature. My eye was immediately drawn to the Midnight Blue Metallic finish pictured here, while accepting that the luxurious Datuk Gloss is likely to be a better 'fit' with more traditional décor.

Large ‘Flowport’ loads the 165mm Continuum bass/mid cone. Below, the nickel-plated bi-wire/bi-amp terminals, and associated links, are a feature of all 700 Signature speakers

Hidden Gold

Magnetic black cloth grilles are supplied with either option, but while these have little effect on performance they impact the 705 S3's visual appeal when in situ - not least because they have a somewhat bulky appearance to accommodate the protruding 'pod' that houses the speaker's 165mm bass/mid driver. They also cover up its gold-coloured trim ring, which is another Signature upgrade.

The bass/mid driver is one of B&W's Continuum cones, a material first introduced on its 800 D3 series when it replaced the manufacturer's then-familiar yellow Kevlar. As said, it appears identical to that of the 705 S3, but here features a revised spider (the same as that used for the bass units on the 702 S3 Signature floorstander), with a lower resin content to reduce material noise, and is said to deliver a 'cleaner midrange and more extended bass'.

Also new on this model is the mesh grille that protects the speaker's 25mm carbon dome tweeter. Originally developed for the 801 and 805 Signatures, it has a noticeably more open geometry. There's another gold-colour trim ring here too, separating the grille from the speaker's tapered 'tweeter-on-top' housing.

A further element of the 705 S3's Signature revision can be found around the rear [p63], where a new nickel-plated terminal plate, sited below B&W's dimpled Flowport vent, sports a twin set of upgraded binding posts with new cores, collars and locking rings 'to ensure a cleaner flow of signal'. And behind these is a freshly designed two-way (3.5kHz) crossover network where B&W has specified high-quality Mundorf 'MCap Evo SilverGold.Oil' main capacitors, with new 'Angelique' (a silver/gold/copper alloy) lead outs; added improved air core inductors; and doubled-up and rearranged the configuration of the bypass capacitors.

The 705 S3's form factor makes it amenable to mounting on a (deep) shelf or hi-fi unit (for which quartets of adhesive rubber feet are supplied). However, many will consider B&W's FS-700 S3 stands, which sell for £799 a pair in black or silver and raise the cabinet by 26in. Do this and you're less likely to feel the need to short that rear-firing Flowport with B&W's two-part foam bungs, and will find it easier to optimise speaker positioning. Placement guidelines are par for the course, with tweeters at ear height, cabinets at least 50cm from rear and side walls, and toe-in advised if the central image 'lacks focus'.

Dynamic Delight

For a standmount speaker, the 705 S3 Signature puts on a grand show. The size and weight of its presentation often surprises, and this is allied to a sense of dynamism and energy. B&W's 'upgrade' project hasn't resulted in an overtly refined, laidback performance; this is a fun listen, but still with the ability to dig into the music and reveal tonal and spatial characteristics. Do pay heed to B&W's positioning recommendations though - bass performance impresses even without close boundary reinforcement, and space around the cabinets yields the most expansive soundstage.

Connected to a similarly priced Primare A35.2 power amplifier with a Michi P5 S2 preamp/DAC and Hegel Viking CD player as sources, the 705 S3 Signatures delivered a wonderfully evocative and involving rendition of Clarence 'Gatemouth' Brown's 'Sometimes I Slip' [Alright Again!; Rounder Records CD]. The blues singer's slightly reverbed vocal emerged from a wide canvas, clear and distinct from accompanying drums, brass, keyboards and a twangy guitar that also enjoyed precise definition. Midway through, when Brown demands his band 'play me the blues', the following sax solo had a sinewy, reedy tone but plenty of fluidity too.

Grit 'N' Groove

Slash's recent solo album Orgy Of The Damned [Seven.One STRWTCH166CD] is a rollicking set of blues and blues/rock covers, all recorded with plenty of weight and snarl. Naturally, his electric guitar playing is the focal point, but contributions from the session musicians and guest singers are all part of the appeal. The take on Hoyt Axton's 'The Pusher' was excellently rich and thick here, the slightly nasal vocals of Black Crowes singer Chris Robinson showcasing an undercurrent of grit, and the playing of drummer Michael Jerome and bassist Johnny Griparic locked into a deep, weighty groove.

Apparent was the firm control B&W has of its Continuum cone bass/mid driver, which enunciated each bass guitar note and kick drum with a firm leading edge. It was even more in its element on the cover of Howlin' Wolf's 'Killing Floor', which

boogied along at pace, helped by Slash's fast-picked guitar riff being sharp and distinct, as was the solo, one of his finest in years.

Celestial Serenade

The ethereal electronica of 'Celestial Echo', by Boris Blank and Malia [Converge; Universal Music Group 374 186-2], has a complex beginning with echoey drums thumping at either side of the stage, while keyboards punctuate the centre. From this minimalist opening it builds to include Malia's floating vocal, which through the 705 S3 Signatures sounded airy and unconstrained, plus rich layers of keyboards and percussion. Yes, this piece is an audiophile favourite, so should sound superb, but I was still gripped by its delicacy and power.

In his Lab Report [see opposite], PM reveals that B&W's speaker emphasises the presence/treble region, which likely explains the sparkly, forward-leaning presentation that makes for an exciting listen. That's not to say the 705 S3 Signature becomes brash or unappealing as a budget speaker might - it mostly maintains a sense of control even when the going gets tough. The sampled guitar riffs and pitchy rapping on Eminem's 'Lose Yourself' [Curtain Call: The Hits; Interscope Records 0602498878934] didn't become tiring, although I did nudge the level down a touch when faced with the somewhat trebly production of Pantera's Cowboys From Hell set [ATCO Records 7567-91372-2].

On the Eminem track there's a bassline designed to echo a racing heartbeat, and it came through with punch and depth. Other choices, however, were more revealing of the 705 S3 Signature's low-end nous - the tuneful playing of John McVie on Fleetwood Mac's 'The Chain' [Rumours; Rhino Records, 96kHz/24-bit] sounded very well balanced, with plump notes up and down the fretboard, while the acoustic double bass on Jane Monheit's 'Honeysuckle Rose' [Taking A Chance On Love; Sony Classical; CD] was better still, being detailed, textured and lifelike.

Monheit has a remarkably characterful voice that's tailor-made for this album's collection of jazz/big band numbers; scatty one minute, soft and sensuous the next. It's to the credit of B&W's speaker that she sounded 'in the room', while the clarity and expressive delivery of the backing instruments - particularly the sweeping strings on 'In The Still Of The Night' - was all the encouragement needed to just sit back, listen and enjoy.

Hi-Fi News Verdict

The 705 S3 Signature has the sort of all-round performance charm you expect from a B&W speaker, its sound being rich, energetic and suited to any genre. At the same time, the skill with which it crafts detailed, authentic images, and its ability to pick out the tiniest of musical details, makes its premium price seem entirely worthwhile. Design and build are superb too - you just need to pick a colour. Me? Midnight Blue...

Sound Quality: 87%