Polk Audio has been making high-quality products since 1972.  Over the last few years, the company has been stepping up its game at the high end of its product line, beginning with the LSiM707 floorstanding speakers, which we reviewed back in issue 42.  The $1,500-per-pair LSiM703 bookshelf speakers reviewed here capitalize on the same technology and driver advances as the larger 707s, but do so in a smaller package.  And like the $4,000-per-pair 707s, the 703s perform well beyond what their modest price tag suggests.

The three-way LSiM703 employs a rear port and Polk’s Dynamic Sonic Engine design, which places the 3.25-inch midrange driver and 1-inch ring radiator tweeter in separate chambers within the speaker enclosure, further isolating the driver units from the acoustic vibrations produced by the woofer.  The midrange and woofer cones are constructed of polypropylene, which is injected with air to form a honeycomb structure that combines the benefit of low mass, stiffness and high damping.  The crossovers include both Mylar and polypropylene capacitors, as well as non-magnetic air-core inductors, which are less prone to electrical-signal disturbance and thus deliver improved transparency.  This construction provides a good balance between sensitivity and smooth frequency response, and is indicative of the speaker’s build quality in general—from the flush grilles, right down to the high-quality jumpers between the binding posts, which can be bi-wired.

Our review samples are finished in an attractive cherrywood veneer.  (Ebony is also an option.)  The speaker’s MDF-based enclosure is exceptionally inert, which a classic knuckle-rap test confirms.  I leave the grilles off for all listening sessions, though they will come in handy wherever prying fingers or noses lurk.  I find that the LSiM703’s bass response and imaging focus benefit from inert stands, and my 26-inch-tall Sound Anchors prove a perfect fit.

Engineering Excellence

The detail paid to the time alignment, transparency and coherency comes through the LSiM703s immediately, allowing the heart and soul of the music to shine, regardless of musical genre.  Malian vocal legend Salif Keita’s album Papa, with its modal melodies and deep grooves, is a magical experience through the compact Polks, which require proper toe-in to create a convincingly holographic presentation.  I suggest the classic equilateral triangle configuration for optimal results.

The Stranglers’ classic track “Golden Brown” is a great reference, combining a dry but well-recorded lead vocal and great melody with intricate interplay between bass and drums.  Lesser speakers homogenize these elements, but the Polks shine, keeping the pace and keeping the individual elements separate from one another.  I put this tune on repeat for more than a few plays.  On the title track of Lisa Hannigan’s Passenger album you can hear every breath and lip purse on her closely miked vocals—a tough accomplishment for a speaker in this price category.

While the LSiM703s are not an overly analytical or strident speaker, they are precise in the way that their realistic presentation draws you into the music, and then holds you there.  Music lovers will have a difficult time using them strictly for background music.  They start and stop transient musical events on a dime, with no overhang, confusion or timing issues.  The Polks sometimes even seem to have the authority and realistic weight in the bass region of floorstanders, with the bass guitar and bass drum having real impact and definition.  The only trade offs that become apparent after extended listening are the sudden falloff of the deepest bass notes and the last bit of midrange refinement that far costlier speakers offer.

To their credit, the LSiM703s always stay out of the way of the music, allowing the distinctions between different masterings of classic albums to come through with ease.  The speakers also spotlight newer recordings that fall victim to the “loudness wars,” and give recordings with excellent dynamic range plenty of breathing room.  In this regard, they remind me of my Thiel CS2.4 floorstanders; that’s pretty good company, considering that the Thiel’s cost four times what the Polks do.

The LSiM703s work equally well with solid-state or tube amplification, making them an easy fit for whatever you have on hand.  I fall smitten when pairing them with the Carver Black Magic 20 stereo tube amplifier I just finished reviewing; combining EL84 tubes and the smoothness of the Polks makes for a seductive, user-friendly system.

A Superb Value

The overall feel of the Polk LSiM703s is one of a more relaxed ease, mixed with high-quality construction; nothing screams budget in their sound or appearance.  That’s the advantage of going with speakers from a company with 40 years of engineering and manufacturing expertise.  Polk has hit the bull’s-eye with the LSiM703, proving that a big company can easily compete with (and even excel beyond) what a smaller artisan company can accomplish, and do so at a moderate price.  These speakers are on my suggestion list for friends on a reasonable budget in the market for quality bookshelf speakers.  We are happy to award the LSiM703s one of our Exceptional Value Awards for 2013.

Additional Thoughts

By Jeff Dorgay

Visiting the Polk factory in 2010 and seeing a full complement of ARC REF components in the demo room, I knew the company was serious about “getting back into the audiophile market.”  Touring the factory and getting a chance to talk to the engineering staff, it’s clear that Polk really wants to make a mark with the LSiM series, which the company has done with great success.  On many levels, I’d even compare Polk to Hyundai in the sense that it is making a reasonably priced product that scores as high or higher than Lexus on the J.D. Power surveys.  Another great parallel is the KEF LS50 mini-monitor.  It’s amazing what big speaker companies can accomplish when they apply their design and manufacturing expertise to a real-world pricing structure.

Before shipping the LSiM703s off to Andre, I was anxious to see just how much of the 707 floorstanders sound was available here.  Because the 707, 705 and 703 all share the same components in their Dynamic Sound Engine driver design, you really only give up low-frequency weight and dynamics as u come down the range, so those listening in a smaller room aren’t really sacrificing much.  In my smaller (13-foot-by-16-foot) room, these speakers really rock the place, and a little bit of room gain goes a long way.

While these speakers can illustrate the differences between amplifiers incredibly well, I share Andre’s excitement for using them with tube amplifiers.  I have excellent results with the PrimaLuna ProLogue Premium integrated, as well as with my vintage Conrad Johnson MV50.  Combining the speakers with the Rega Brio-R integrated amp, a Rega DAC and a Mac mini makes for a smoking system for about $3,500—which is a perfect place to start your audiophile journey, or just stay there happily ever after.  There’s never been a better time to be a music lover and an audio enthusiast.

Polk Audio LSiM703 Speakers

MSRP: $1,500 per pair

www.polkaudio.com

Peripherals

“I’m a stat guy at heart. I wanted that midrange openness and neutrality,” remarks Mark Suskind, Polk Audio’s VP of Product Line Management, as we listen to the nuances in Ginger Baker’s drumming through Polk’s latest creation, the LSiM707 speakers.

Incredibly, the $3,999 pair of floorstanders is right at home in a six-figure reference system, throwing out a wide soundstage that both extends well beyond the speaker boundaries and claims three-dimensionality—each member of Cream takes up a distinct space in the listening room—that paints a vivid picture of a seemingly in-progress live event. Wait: Polk Audio and a six-figure reference system? What gives? Is this a Fringe episode where in an alternate universe Polk Audio rules the world of high-end speakers and Walter Bishop blasts Cream in his laboratory while he investigates the unknown? Nope. Just another instance of TONEAudio exploring exciting possibilities.

In the early 70s, Polk Audio grabbed the audiophile world’s attention with its legendary SDA-SRS speaker system and has since counted a number of significant milestones. The LSiM707 brings the history full circle by leaning on nearly 40 years of speaker-production knowledge. Yes, these are handsome speakers, available in a Mount Vernon Cherry medium wood finish or Midnight Mahogany a black ash wood finish. Slim, magnetic grilles keep fingers, noses, and prying guests away from the drivers, or you can use the speakers bare and showcase the gorgeous gloss-black front panel.

A Serious Audiophile Speaker in Every Way

When introduced in 2001, the LSi series garnered rave international reviews, proving Polk a solid contender in the audiophile speaker market. And you won’t find a more loyal group of speaker owners; take a cursory look at the Polk Audio Owners Group on the Web.

The LSiM707 constitutes a four-way system with many new features, some of which break new ground and some that refine past processes. A cutaway view highlights the attention paid to every facet of the design—from the Dynamic Sonic Engine that incorporates Polk’s latest ring radiator tweeter and Extended Motion midrange driver to the meticulously assembled crossover network, featuring premium capacitors and inductors. And, there are a few things the naked eye cannot see, such as the aerated polypropylene woofer cones and rigid internal cabinet bracing. For in-depth tech explanations of these aspects, visit the Polk Web site at http://www.polkaudio.com/homeaudio/lsim/index.php.

To ensure the speakers would perform at the top level, Polk made substantial upgrades to its in-house listening room. Visiting the company’s Baltimore office reveals a full complement of Audio Research Reference electronics—amplifier, preamplifier, CD player. No surprise, then, that the LSiM707 yields excellent results when plugged into my ARC REF 5 preamplifier and REF 150 power amplifier.

Setup

Placing the speakers five feet from the rear wall, with the tweeters nine feet apart— combined with five degrees of toe-in and a slight rearward rake—proves optimum in my room. The LSiM707s sound good without critical placement, but taking the time to make adjustments to rake angle results in superior imaging. Sure, the process requires a few minutes per speaker, but it’s made even easier with the iLevel Pro app for the iPhone. Or you can go old-school with a traditional level. Just have both speakers raked back at the identical amount and use the supplied wrench.

I utilized three distinctly diverse systems to audition the LSiM707s. The ARC REF gear and dCS Paganini CD player highlight how the speakers perform in very high-end systems. My recently rebuilt (fresh power supplies and full CJD Teflon cap upgrades for both units) Conrad Johnson MV-50 amplifier and PV-12 preamplifier, along with a BelCanto CD player, makes for a great setup that won’t break the piggy bank yet still renders highly satisfying performances. For budget-conscious music lovers that might make the LSiM707s a foundation on which to build, a vintage Pioneer SX-434 receiver and 563 universal disc player only add $200 to the cost of the Polk speakers.

I’ll Take Polk Audio For $4000, Please

The LSiM707s’ slight out-of-the-box stiffness vanishes after about 50 hours of playing time, unveiling speakers much more sophisticated than what’s intimated by their price. A few snooty local audiophile associates experienced the LSiM707s (albeit with the Polk logos hidden from view) in my full ARC system. When asked to guess the cost of the mystery component, they estimated between $10-$20k, a conclusion spurred on by my spinning of well-known audiophile favorites. After the guinea pigs became convinced they were listening to $20k speakers, I finally dropped the bomb by informing them the Polks fetch $3,995 for the pair. Consider the so-called experts successfully duped.

While listening to a $20k pair of speakers reveals the areas in which the LSiM707s fall short, this review isn’t meant as a shootout. Big bucks gear possesses extra resolution and refinement—and that’s how it should be. Comparing the LSiM707s to speaker favorites in the $4,000-$5,500 bracket is more useful and interesting.

The $4k Penaudio Cenya and the $5k B&W 805D both present more upper-range resolution, but only solidly go down to 50Hz. Also, each requires a pair of expensive stands to achieve maximum bass performance. Meanwhile, the $5,500 Magnepan 3.7s color a more grandiose aural picture but don’t really rock. Plus, to be all they can be, they necessitate a $10k high-current, solid-state power amplifier.

A Serious Music Lover’s Speaker

The 50 watts per channel that the CJ amp provides is great for most listening, but the configuration particularly excels at vocals and mellower music, as illustrated by Mobile Fidelity’s 24K CD of Tom Petty’s Full Moon Fever. The album’s multiple layers stay intact, with not only the woodblock in “Face in a Crowd” anchored in space but its timbre and scale sounding exactly right. They seem minor, yet these minute details allow you to forget about the system and concentrate on the music. Gram Parsons’ Grievous Angel and CSN’s Déjà vu supply similar experiences. The LSiM707s unfailingly render subtle shadings without missing the larger dynamic swings.

Swapping the CJ gear for the C500 preamplifier and the 450Wpc MC452 power amplifier, I effortlessly buried the big, blue power meters courtesy of albums from Van Halen, Slayer, and Nine Inch Nails. Todd Martens’ column (on page 88) inspired a maximum-volume romp through The Downward Spiral that left me invigorated and convinced that the LSi707s play at high levels without instilling listener fatigue.

Jazz and classical listeners should be equally enthralled with the Polks. It’s one trick to play really loud, but these speakers possess the necessary finesse to capture the essence of acoustic instruments. With a recent listening session to the mastering of Music Matters’ analog edition of Herbie Hancock’s Empyrean Isles burned in my memory, I eagerly played a test pressing of the LP via the LSiM707s. They did not disappoint. Hancock’s piano and Freddie Hubbard’s coronet blast from between the speakers with great dynamics and zero overhang. Cymbals are natural, and bass is pregnant with texture—no one-note bass here.

Man Up and Grab a Pair

The LSiM707s’ greatest virtue owes to their overall performance level; they have no shortcomings. Honestly. The speakers offer major bass grunt—Polk claims 22Hz-40kHz, with a -3db point at 42Hz. However, when listening to test tones, the 30Hz band remains very solid. Moreover, the smooth high-end is grain-free and the mid-band extremely natural. The well-designed crossover network also provides a top-to-bottom coherence that’s rare at this price.

It would be easy to say that these speakers’ only errors are those of omission, but such a statement sells them short. When used with the ARC REF gear, the LSiM707s easily resolved the differences between the $12k dCS Debussy, $30k TAD 600, and $55k dCS Paganini. Most sub-$10k speakers fail this challenge.

Most importantly, for music lovers on a budget, the LSiM707s still deliver a very musical performance when paired with a garage-sale receiver. No matter with what they’re mated, they put forward such substantial resolution that it will feel as if you acquire a whole new system any time you upgrade your amplification and/or source components. This experience translates to unending fun—and a TONEAudio Exceptional Value Award.

Revealingly, on our way to the airport, Suskind commented that Polk “wants the LSiM707 to be a gateway to the high end on a reasonable budget.” The company accomplished this feat—and much, much more.