Audiophilepure

https://www.hifinews.com/content/paradigm-persona-b-loudspeakers

This speaker sounds superb with anything you care to throw at it. The Marshall Tucker Band’s live recording of ‘Everyday (I Have the Blues)’ [The Marshall Tucker Band; 44.1kHz/16-bit FLAC] is ramshackle and riotous, the group at times clinging onto its blues rhythm with levels varying wildly. The Persona B conveyed it sublimely, placing crowd claps and whistles at the back of the soundstage, and capturing every half-pitch bend and leading edge of Toy Caldwell’s guitar playing.

Changing tack entirely, Chase & Status’s dance anthem ‘All Goes Wrong’ [Tribe; 44.1kHz/16-bit FLAC] benefited from the speaker’s precision timing and bass handling. The continuous deep notes that carry the chorus had a purity that spoke of a cabinet and driver working in perfect harmony. Less all goes wrong, more all goes right…

https://www.stereophile.com/content/bowers-wilkins-705-signature-loudspeaker

I always turn to solo piano recordings to judge a loudspeaker’s midrange quality. I recorded Canadian pianist Robert Silverman live in concert in 1992 with a spaced pair of omnidirectional microphones, so the stereo imaging on the subsequent CD (Concert, Stereophile STPH005-2) is diffuse (footnote 2). But Robert’s performance of Schubert’s six Moments Musicaux remains a favorite all these years later. The rich, warm tone of his Steinway that was captured by the microphones was reproduced in almost full measure by the 705 Signatures, only the lowest notes—in the middle section of the first Moment, for example—lacking body. However, the image of the piano was more forward in the low treble than I am used to, both with my Silverman recording and with Murray Perahia’s 2017 performance of Beethoven’s “Moonlight” piano sonata (24/96 WAV file, DG 4798353). This didn’t get in the way of the music, but it does suggest that the 705 Signatures won’t be an optimal match with source components or amplification that themselves have balances on the forward side.

The Klipsch Cornwall IV Speakers

“Addressing tastes of listeners who bought into certain buttoned-down principles promulgated by audio tastemakers who never negotiated the musical sea changes that occurred once the 70s revved into gear, the market overflows with speakers that nail classical, small-scale jazz, low-key Americana, and close-miked vocal music—only to run with their veritable tails between their legs when called to unpack information in dense, complicated recordings. All-rounder designs “are rarer. Cornwall IV excels with rock, metal, R&B, rap, electronic, and jazz. Still, the manners in which it handles classical and acoustic-based fare please, and hint at both delicacy and sophistication.

Not to suggest Cornwall IV suits everyone. It certainly does not—and will not suffice for those exclusively bent on critical listening and/or playing the role of recording engineer. But, if you listen to a variety of genres, place a premium on the sound of live music, value engagement over crack precision, possess the requisite space in your room, or, alternatively, want to construct a second system devised for concert-like experiences, you could do far, far worse—and will likely spend thousands more in the process