Bowers & Wilkins 705 S3, following in the footsteps of the Nautilus

Being able to create an icon that is instantly recognizable around the world is a dream that everyone pursues and very few achieve. The Apple logo, the Nike swoosh, the Mercedes Benz star and... the Bowers & Wilkins tweeter. Since its launch in the legendary Nautilus, this element has become the most recognizable feature of the British brand. Its style, beauty, and personality give substance to any type of speaker that features this element.

To the delight of enthusiasts, it is not necessary to purchase the 800 series to have this coveted element, as the 700 series, with a more modest price tag and accessible to many more budgets, makes it possible. Yes, the beauty of a musical component is as important as its performance. In this sector, enthusiasts sometimes disregard this aspect for no reason. Clocks, jewelry, cars... their main function is to far exceed their primary purpose: telling the time, doing nothing, or moving.

Let me say up front that although I have some monitor stands that provide excellent sound, they are not at all attractive. I'm sorry. The photographs lose some of their impact, although the sound is perfect and fully expresses their ability to create scenes that make you dream with your eyes closed.

Years ago, I had a pair of B&W CDM 7SE speakers for quite some time. I sold them with regret because I loved them, but I needed the money to try other things. That's why I say that I like the sound of Bowers. Their acoustic footprint is clear and transparent. It can be quickly distinguished in their flagship products and, although more difficult to detect, it is still noticeable in other lower ranges.

Small shortcomings that were noticeable in older versions, such as the one I owned, have been refined and nuanced in the current product range. This is what evolution is all about, plain and simple.

One of the most surprising things about the older models and the current ones is that, thanks to the use of new materials in the manufacture of the transducers and minor but significant adjustments to the physics of the speaker structures, the end result is a certain miniaturization of their sizes. My thirty years in the industry mean that my bones ache in the morning, but I have the experience to appreciate, in their proper measure, the improvements made to many components, beyond the idealization that many enthusiasts live in.

The 700 series includes four speakers, from the 702 to the 705, with the typical Nautilus Style tweeter; this is no longer visible on the 706 model. It should be noted that there is a sister series to this one, the Signature, although it does not have as many elements, as it only includes the 702 and 705 speakers. I haven't been able to try them out, so I'm just speculating and not speaking from experience, but if your budget allows, don't hesitate to purchase the Signature version. I say this with confidence because I've been lucky enough to hear both versions of other models.

I recently told you about the new materials that are working miracles for me. The amount of energy that many speakers with very compact dimensions are capable of emitting today was inconceivable not so many years ago. So much energy that they are unable to control it properly, and this is where many designs fall down. Controlling the amount you can deliver is the key. And if you want more bass extension, you need to buy another higher-end model from the same range.

Equipment used in testing

» Cambridge Audio MXN10 (streaming server) Review coming soon
» Roon Labs on dedicated PC.
»Bow Technologies WAZOO XL.
»Bowers & Wilkins 705 S3.
» Wires4Music for cabling:
    » Horus Hybrid RCA interconnect
    »Evolution in speakers and electrical network
» Custom rack

Another argument I have often heard throughout my life is how enthusiasts ridicule the new features that companies introduce model after model. They say, "They keep bringing out the best version of whatever it is, and they always say the same thing." Let's think for a moment about why companies like Bowers & Wilkins are forced to modify their products ad infinitum. We are, to a large extent, the influences and experiences we receive. Our references and our "sound environment" are different. Musicians use different sound banks, voices are digitally altered, video games and action movies have created an ideal of "sound" that has nothing to do with the reality of moving a box, closing a door, or a simple gunshot. This "current" sound has to be incorporated into productions in order to continue competing in a market as demanding as the entertainment industry. In most cases, they do not set trends, but rather follow them, striving to adhere as closely as possible to their founding principles and not lose their essence along the way.

How many auditions have I been to in my life where the room is louder than the speakers, which are pushed to the limit and, instead of cutting out and stopping, try to give what they don't have? I think you've all had this feeling at least once (or several times) and you know what I'm talking about. Let me explain with music.

You by Nils Lofgren on his album Acoustic Live serves as a simple compendium for experiencing the sound of these speakers' midrange and treble; their transition from the lower midrange to the highest treble, with the strumming of the guitar, is conveyed in all its naturalness. His thin, knife-like voice lets you enjoy frequencies that caress your ears, settle in the back of your head, and make you feel happy right away. The brief strums of the pick against the taut metal of the string make the hairs on the back of your neck stand on end with excitement. The rapid scraping of the pick is dynamic and easily transmitted through the speakers. They allow you to experience the moment captured by the microphone.

Allan Taylor and his Beat Hotel hit you in the gut. His voice, deep as a well, emphasizing every verse, presses down on the lowest part of your body. Anyone familiar with this song knows that it's very easy to break sound systems with it. It is likely to generate a ball of bass in the room that muddies everything and turns the music into a vibration similar to a truck engine in a narrow street, completely saturating everything and jeopardizing a pleasant listening experience. This is precisely where the B&W 705 S3 cuts out the excess, presenting the bass without overdoing it, exaggerating it, or inventing it. The voice remains stable even when the frequencies drop to the sub-bass range, without losing any detail in terms of quality and sound, remaining separate from the rest of the instrumentation. You can hear the bass, it's there, although if you want more body (and your room allows it), opt for one of the other versions with more extension and presence, such as the 704 or 703. And if you can (and your room allows it, I repeat), always go for the 702.

This ability to "mark the beats" without hitting them so you don't have to "invent" the sound is... simply brilliant.

The formula for success in the world of sound is to be predictable in the result and never fail. These monitors create a magnificent soundstage, filling the entire room with music. As monitors, they are able to cut off the bass at exactly the right point so that you notice its presence in the sound but not physically, thus avoiding forcing the enclosure and transmitting unwanted resonance to the final result. At no point do you get the feeling of bloated bass or balls of sound.

The transition between midrange and treble is almost non-existent, giving you a sense of continuity in the imaginary line of sound that does not distract you at all from the pleasure of listening to your favorite playlist. The combination of both and their intrinsic characteristics offer you a very satisfying result with any type of music, as they are not highly specialized speakers designed for specific artistic compositions.

I will return to Bowers & Wilkins in the future. It's already decided.

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