I played different genres from classical to jazz, pop, rock, metal, bluegrass, trans, techo, edm, and dubstep. The Phil-BMRs can play any type of music I listen to. While not comparable to a system with well-integrated subwoofer, the Phil-BMRs can convincingly play bass-heavy rock, edm and dubstep music. It can accurately reproduce vocals, subtle and loud musical instruments, and synthesizers alike. Every twang in the electric guitar solo in “Aerodynamic by Daft Punk” from “Daft Punk” album, every bells ringing in Pink Floyd’s “Time” from “The Dark Side of the Moon” SACD, sounded very convincing.
Both speakers exhibit good frequency extension but neither sound harsh. Although the 705-S2 sounds warmer, the Phil-BMR is smoother at the top end. No doubt, the 705-S2 has more sizzle at the top end. In “Crash Into Me by Dave Matthews Band” from “Crash” album, the percussion and cymbals are present but not as prominent in Phil-BMRs than in 705-S2.
The Phil-BMR’s treble is more airy over a wider frequency range at the top end. This results to more dramatic vocals especially when recorded close to the mic such as in “Blame It On My Youth by Emilie-Claire Barlow” from “Best Audiophile Voices V” album.
Nobody wants to hear sibilance in movie dialogue. Same applies to music. In “So Nice by Stacey Kent & Jim Tomlinson” from “Best Audiophile Voices I” album, Stacey’s signature diction is borderline sibilant. Both 705-S2 and Phil-BMR reproduced Stacey’s enunciation with great realism but never sibilant, Phil-BMR being smoother between the two.
Eric Clapton’s voice is not exactly husky but in the song “Next Time You See Her” from “Slowhand“ SACD his voice sounds gritty. The 705-S2 reproduced that sound as if It had a bad tweeter (sounded like torn paper) while the Phil-BMR reproduced the same verse with no issue.
Last edited by Gyroscopics; 07-14-2018 at 04:53 PM.