702 movie reviews

‘Night of Nights’ Review: A Pandemic Documentary That Plays Like a Horror Movie

Made by anonymous filmmakers, the doc captures the first few months of COVID-19 in Wuhan and Shanghai with unvarnished honesty.

By Murtada Elfadl

Murtada Elfadl

• ‘The Black Garden’ Review: A Sensitive Doc Evokes History by Telling a Contemporary Story 1 day ago
• ‘Immortals’ Review: Thoughtful Doc Treats Young Iraqi Revolutionaries Not as Subjects So Much as Artistic Collaborators 6 days ago
• ‘Two Strangers Trying Not to Kill Each Other’ Review: Intimate Doc Dissects the Marriage of an Artistic Couple  1 week ago

“Night of Nights” throws the audience immediately into the action. A sick man in a wheelchair and his companion are stopped outside a hospital by a security guard. All three men are masked and speaking Chinese. He urgently needs a catheter but is treated with suspicion and without courtesy, a negative COVID test is demanded and the patient is turned away because they can’t provide one. It becomes apparent that this documentary chronicles the early days of the pandemic — and the accompanying existential chaos and horror. It has a no-frills approach, showing what the filmmakers could capture at that time of utter confusion.

With a haunting eerie quality, this documentary does not follow any specific person or subject, just COVID and its repercussions. As the camera captures empty cities, military personnel marching and health workers in full white hazmat suits, everyone wearing masks and gloves, the collective trauma of the pandemic is rendered like a horror film. The audience relives how humanity and compassion were stripped away, as life became about recording names, taking body temperatures, panic and isolation.

The filmmakers allow the scenes time to build, most telling a complete story. Consider such startling yet completely plausible scenarios: a rude emergency doctor chastising a patient for not revealing their status, health workers knocking on doors and forcefully spraying people with disinfectant as if they were insects. The camera rolls in the midst of all this chaos, capturing it in intimate ways. It doesn’t show just what’s happening but also the debilitating fear that has taken hold of everyone. 

As a political statement, “Night of Nights” offers different avenues for interpretation. While it nevers directly implicates any entity, it functions as a record of failure of both people and organizations to deal empathetically with this calamity. A comparison of the differences in how Americans and Chinese people reacted to the restrictions imposed raises interesting questions. Are the people praising the Chinese reaction, especially that of the state, doing it out of conviction or just reiterating propaganda? Perhaps the biggest indictment of China comes from the secrecy surrounding who the filmmakers are and how they made this movie. The film becomes a document recording not just fear of a deathly disease but also the filmmakers’ fear for their lives and for the people whose stories they are telling.

“Night of Nights” is documentary filmmaking at its most raw. A journalistic endeavor that’s also concerned with human attitudes, it captures not just the facts but also the experience. The camerawork might be simple, without much care about how it looks, but it has texture, capturing pain, bewilderment, fear and ultimately survival.

Reviewed at CPH:DOX. Running time: 86 MIN.

• Production: (Documentary) A  Fish and Bear Pictures production. Producers: Anonymous, Violet Du Feng.
• Crew: Director: Truman. Camera: Xiao Ming, Bingjun. Editors: Van Oalt, Isabella.

More From Our Brands

Rolling stone’s future of music showcase at sxsw had stars from around the world and lines around the block, billionaire marc andreessen’s longtime silicon valley estate just popped up for sale at $33 million, lsu’s mulkey threatens washington post with defamation lawsuit, the best loofahs and body scrubbers, according to dermatologists, alice & jack’s domhnall gleeson weighs in on why jack tolerates this ‘tempestuous’ relationship, verify it's you, please log in.

Log in or sign up for Rotten Tomatoes

Trouble logging in?

By continuing, you agree to the Privacy Policy and the Terms and Policies , and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes.

Email not verified

Let's keep in touch.

Sign up for the Rotten Tomatoes newsletter to get weekly updates on:

• Upcoming Movies and TV shows
• Trivia & Rotten Tomatoes Podcast
• Media News + More

By clicking "Sign Me Up," you are agreeing to receive occasional emails and communications from Fandango Media (Fandango, Vudu, and Rotten Tomatoes) and consenting to Fandango's Privacy Policy and Terms and Policies . Please allow 10 business days for your account to reflect your preferences.

OK, got it!

Movies / TV

No results found.

• What's the Tomatometer®?
• Login/signup

Movies in theaters

• Opening this week
• Top box office
• Coming soon to theaters
• Certified fresh movies

Movies at home

• Netflix streaming
• Prime Video
• Most popular streaming movies
• What to Watch New

Certified fresh picks

• Love Lies Bleeding Link to Love Lies Bleeding
• Problemista Link to Problemista
• Late Night with the Devil Link to Late Night with the Devil

New TV Tonight

• X-Men '97: Season 1
• Nolly: Season 1
• In Restless Dreams: The Music of Paul Simon: Season 1
• The Long Shadow: Season 1
• 3 Body Problem: Season 1
• Palm Royale: Season 1
• Alice & Jack: Season 1
• Davey & Jonesie's Locker: Season 1
• Photographer: Season 1
• Top Chef: Season 21

Most Popular TV on RT

• Shōgun: Season 1
• The Gentlemen: Season 1
• Manhunt: Season 1
• Halo: Season 2
• Apples Never Fall: Season 1
• Avatar: The Last Airbender: Season 1
• Invincible: Season 2
• Best TV Shows
• Most Popular TV
• TV & Streaming News

Certified fresh pick

• X-Men '97: Season 1 Link to X-Men '97: Season 1
• All-Time Lists
• Binge Guide
• Comics on TV
• Five Favorite Films
• Video Interviews
• Weekend Box Office
• Weekly Ketchup
• What to Watch

Marvel TV Ranked by Tomatometer

Best TV Shows of 2024: Best New Series to Watch Now

Women’s History

Awards Tour

The Most Anticipated TV and Streaming Shows of 2024: New and Returning Shows We Can’t Wait to See

Renewed and Cancelled TV Shows 2024

• Trending on RT
• Play Movie Trivia
• Best Horror Movies
• TV Premiere Dates
• Best TV 2024

2021, Mystery & thriller, 26m

Rate And Review

Super Reviewer

Rate this movie

Oof, that was Rotten.

Meh, it passed the time.

It’s good – I’d recommend it.

So Fresh: Absolute Must See!

What did you think of the movie? (optional)

You're almost there! Just confirm how you got your ticket.

Step 2 of 2

How did you buy your ticket?

Let's get your review verified..

AMCTheatres.com or AMC App New

Cinemark Coming Soon

We won’t be able to verify your ticket today, but it’s great to know for the future.

Regal Coming Soon

Theater box office or somewhere else

By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie.

You're almost there! Just confirm how you got your ticket.

Room 702   photos.

Detective Sheryl Cortez unravels a 10-year-old case about a haunted hotel room.

Genre: Mystery & thriller

Original Language: English

Producer: Ben Kerr

Writer: Ben Kerr , Jesse Vega

Runtime: 26m

Production Co: Artekai Productions, J-V3GA Productions

Cast & Crew

Alan Berman

Mister Winston

Louis Rosario , John Gunther

Donna Glaesener

Detective Sheryl Cortez

Georgetta Buggs

Madeline Casiano

Mariah(Mistress)

Geana Gomez

Sami Gunther(Pale Rider)

Kenneth Ferrer

Jamey Fuentes (as Kenneth Padilla)

Screenwriter

Executive Producer

Jerry Guiracocha

Cinematographer

Critic Reviews for Room 702

Audience reviews for room 702.

There are no featured reviews for Room 702 because the movie has not released yet ().

Movie & TV guides

Play Daily Tomato Movie Trivia

Discover What to Watch

Rotten Tomatoes Podcasts

‘702 Dixits’ – A realistic mystery filled suspense thriller

• Share via Whatsapp
• Share on Facebook  
• Tweet This  
• Post on LinkedIn 

Man by nature is sensible. But, his  life is variable.  Therefore, he is required to live his life with  irrational certainty . He never knows, whatever is happening around with others, could happen with  him too . We have been hearing about the cases of accidents and  crimes happening in the neighbourhood. But, what if, the same case happens in your house with the person hired by you ?  Produced by  Rohit Jail & Prashant Umbarani and directed by Shankh  Rajadhyaksha, new Marathi film ‘702 Dixits’ presents one such story, based on a real incidence, which took place in Pune, few years ago. Though,  this film is not a ditto version of this real story, they have developed it, so as take the cinematic liberties.

In  the beginning of the film, we notice an unfortunate death of a house maid, working in the house of Dixits,  living on the 7 th floor of a housing society in Pune.  Actually, this maid has fallen from the 7 th floor of the balcony and dies on the spot. Not suspecting an accidental death, the witty Police officer ( Jaywant Wadkar ) , who comes to investigate the case, with a packet of biscuits in his hand, takes along with him Mr. Yash Dixit ( Vijay Andalkar )for investigation, suspecting him as a murderer and keeps him in the police lock up. When Yash’s wife Kavya ( Gauri Nigudkar ) rushes home from office, she doesn’t know, how to react to this situation. So she seeks help from  Yash’s friend Riya Pandit( Pallavi Patil) and both together try their level best to get bail for Yash. As there is no lawyer coming forward to take this case, Riya herself, being a lawyer, decides to fight the case.

Riya plays the dual role of defence lawyer and also an investigation officer, as she does not get help from Senior Police officer investigating the case.   And, we notice, unfolding of mystery, after suspecting  even Yash, Riya and few other suspects.

Actually, the plot of this film is good. But, director Shankh Rajadhyaksha could have developed it further, to make it more interesting than what he has presented. There is no doubt that he has used his editing skills, to use some twists in the screenplay with the help of interesting flashbacks; but few of the happenings are not very convincing, like the Police officer asking the same question repeatedly  to Yash, to admit that he has committed a crime and the large number of witnesses produced in the court, to endorse the credibility  of Yash.

Nevertheless , the performances of the main three characters played by Gauri Nigudkar , Pallavi Patil and Vijay Andalkar are very convincing. Especially, Pallavi, who has performed in her second film,  after Classmates, looks very confident. The selection of supporting cast is perfect, as we notice some good looking youngsters, resembling IT people. Vikram Gokhale is just namesake in this film, playing the boss at Yash’s IT company; but Jaywant Wadkar is impressive in the role of senior police officer.

The film scores on account of  excellent  camera work and apt background music , most suited for this  mystery filled suspense thriller. Moreover, the selection of locations has given a realistic look, to this technically well presented film.  Shankh  Rajadhyaksha has made  a good attempt on his debut, as a director;  as,  it is not an easy job  to present a mystery filled film. But, he has managed well, to hold the suspense, till the climax.  Last,  but not the least, the film also delivers an important message,  of verifying  all the  details of house maid,  employed by people in their houses. You never know, what has been shown in the film, could happen with you.

Leave a Reply Cancel reply

You must be logged in to post a comment.

You may also like!

Ankush chaudhari’s ‘triple seat’ for diwali.

Is Vijay Andalkar emerging as the most promising actor ?

Var Khali Don Paay ( वर खाली दोन पाय )

Bhushan – Prarthana starrer ‘Ajinkya’ to be released on 19th November

MarathiMovieWorld aka MMW – The leading portal of Marathi cinema, Marathi film, Marathi Natak, Marathi Drama, Marathi Serials, Marathi Entertainment, Movies

• Coming Soon Theaters • Online
• Advanced Search
• Collections Top 500
• Recommendations Movies • TV Shows
• Search by Name
• Popular Top 500
• My TV Shows
• My Calendar
• Coming Soon Premieres

Movie's ratings

• IMDb 9.4 16
• Cast & Crew
• Screenshots
• Technical Data

Related Movies There are no related titles yet, but you can add them:

Add a short review

280 characters

Sign up and you will see here friends impressions of the movie.

Friends comments and ratings, trending movies.

The best website for movie search and thoughts sharing with friends

• Browser extension

Bowers & Wilkins 702 S3 Loudspeakers Reviewed

Price: $ 7,000.00

The Bowers & Wilkins 702 S3 floorstanding speaker ($7,000 per pair – buy at Crutchfield) represents the company’s latest take on the largest model in their 700 series line, which resides just below their reference 800 series. In between its predecessor the 702 S2 and this latest version, Bowers & Wilkins also introduced an upgraded, limited-edition version of the 702 S2 known as the 702 Signature. I am very familiar with both the 702 S2 and the 702 Signature having reviewed both versions. I liked the 702 Signatures so much that I purchased a pair and still have them in daily use. So, I was excited to find out from our publisher, Jerry Del Colliano, that I would be reviewing the new 702 S3. It’s not often that reviewers get to directly compare two recent versions of a loudspeaker. Usually, gear is returned before such a comparison is possible.

If you’re a regular reader of Future Audiophile, you know that Bowers & Wilkins is one of the largest  and most respected loudspeaker manufacturers in the world. As I’ve noted in previous reviews, the company is known for its attention to detail in design, investing heavily in research and development. It’s also known for the build quality of its speakers. So it’s no surprise that Bowers & Wilkins loudspeakers are used as the reference monitor of choice in numerous recording studios around the world, from Abbey Road in the U.K. to Skywalker Ranch in California. 

What Makes the Bowers & Wilkins 702 S3 Speakers Special?

• The 702 S3 floorstanding speaker has several technology upgrades taken from the reference 800 series.  These trickle-down technologies narrow the performance gap between the 702 S3 and the entry level reference 804 D4 floorstanding speaker at a fraction of the price, making them a tremendous value.
• The separate, nautilus style tweeter enclosure milled from a billet of solid aluminum has now been significantly lengthened from that of the Bowers & Wilkins 702 S2, with the aim of reducing distortion and ensuring an even cleaner upper frequency presentation.  Bowers & Wilkins has also introduced improved two-point decoupling that better isolates the nautilus tweeter assembly from the loudspeaker cabinet, ensuring a freer and more open soundstage. 
• The six-inch, completely decoupled midrange driver features a biomimetic suspension taken from the 800 series, resulting in astonishing midrange resolution in the new version versus the older 702.  Bowers & Wilkins has replaced the conventional fabric spider found in almost all other loudspeakers to dramatically reduce unwanted noise from the output of the spider as the midrange cone operates. The midrange drive unit assembly, with its aluminum chassis, features tuned mass dampers for reduced resonance.
• The three 6.5-inch bass drivers incorporate the latest generation of Bowers & Wilkins’ Aerofoil profile cone technology  to deliver deep, dynamic bass that is even cleaner and less distorted than its predecessor. 
• The Bowers & Wilkins 702 S3 cabinet has been narrowed and its front baffle has been curved to reduce cabinet diffraction.

Why Should You Care About the Bowers & Wilkins 702 S3 Speakers?

• There is an improved ease of placement with the 702 S3 due to the repositioning of the flow port to now point downward rather than the rear ported design of the previous 702 S2 and 702 Signature versions .  The new 702 S3 can be placed closer to the front wall without concerns about boomy or exaggerated bass.
• Improvements in soundstage size and accuracy have been realized.  This has been achieved through changes in both cabinet design and trickle-down driver technology from the 800 series.
• The 700 series lineup includes timbre-matched center and surround channel speaker options, as well as a matching subwoofer for those wanting to enlist their 702 S3 loudspeakers for  home theater  duty in addition to two-channel audio.

Some Things You Might Not Like About the Bowers & Wilkins 702 S3 Speakers

• The satin black MDF plinths are integral to the speaker’s flow port performance, so they are no longer optional. They must be installed, meaning the speaker requires a bit more floor space to accommodate the size of the plinth. On the plus side, Bowers & Wilkins has redesigned the plinths using a higher density MDF while making them both thicker and smaller in overall dimensions than on the previous 702 S2 model. They now look more integrated into the overall speaker design and less of the last-minute addon they appeared to be on the 702 S2. This is a major safety upgrade for anybody with small children, pets, or less-than-careful cleaning people. 
• The amplification to be paired with the 702 S3 is important, as it was with the 702 Signatures. I used a  Denon AVR-X8500HA  receiver with great results. While not so difficult that you need a flagship receiver or extra beefy  audiophile amp  to realize their potential, I would recommend something more substantial than a $500 entry level receiver. But hey, if you’re considering a $7,000 pair of loudspeakers, you’re not likely to be trying to scrimp on amplification, right? 

Listening to the Bowers & Wilkins 702 S3 Speakers…

The gloss black review samples I received were brand new and really pretty. I set up the speakers in my family room system and spent a bit of time optimizing placement of the 702 S3s, since we had just finished a complete remodel of the room, removing a large fireplace hearth from the front wall and pushing that wall back about six inches to line up with the adjoining kitchen. I spent almost two months casually listening to the new 702 S3 speakers serving up two-channel music on a daily basis, as well providing the two main channels of a 7.1.2 surround system for movies and television. After I had everything dialed in for a period of time, I sat down for critical listening of several very familiar music tracks. I brought my 702 Signature loudspeakers back into the room, too, where they had performed as the two main channels prior to the remodel. Swapping between the 702 S3 speakers and the 702 Signatures allowed for a direct comparison between the two successive models. That’s something we as reviewers seldom get to experience, what with review gear coming and going. I marked the final locations of the 702 S3 speakers with tape on the floor to ensure I placed both models in the same locations each time I swapped them.

I listened to  London Grammar’s “Lord It’s a Feeling” (Orchestral Version – Live at Abbey Road) (Qobuz via Roon, 16-bit / 44.1kHz)  because it’s well recorded, has complex layering, and covers a pretty big dynamic range.  I was blown away by how the 702 S3 revealed all of the minute details of the track. From Dot Major’s simple, quiet keyboard opening joined by softly playing violins to the James Bond-like crescendo, where the full orchestra is playing together, I was amazed at how easily I could detect each individual instrument. And yet, they all blended together so seamlessly.  It was as though I was sitting in that Abbey Roads studio with the performers in front of me rather than listening through speakers.

Imaging had pinpoint accuracy. Hanna Reid’s haunting vocal just seemed to float in the middle of the soundstage, whose width extended well beyond the speakers themselves.  There was appropriate bass weight to the trombones and kettle drums and yet I could still detect small details such as the plucking of the harp’s strings in the middle of these loudest passages.  The three bass drivers played cleanly and went deep when called upon, with no perceivable distortion, delivering the appropriate impact. This helped me be able to discern the higher frequency details even with so much bass weight present. There was so much detail and yet at the same time, so much cohesion to the orchestral instruments as a whole. When played through the 702 Signatures, I heard much of the same, but with just a bit less soundstage width and individual instrument clarity. Imaging was just a bit less precise as well. The 702 S3 speakers have better imaging and clarity, most likely due to their narrower cabinet width and curved front baffle. In narrowing the cabinet but keeping the driver dimensions the same, Bowers & Wilkins mounted the midrange and bass drivers in external pods, similar to the 800 series drivers. And according to Bowers & Wilkins, the narrower cabinet and curved baffle serve to further minimize cabinet diffraction, leading to the baffle having less effect on sound quality. My listening experience confirmed this for me. Through the 702 Signatures, I had to listen more intently to discern some of the quieter instruments when the full orchestra was playing, such as the flute and harp. Through the 702 S3 loudspeakers, the soundstage just seemed to open up, creating a bit more space between instruments.

Listening to  John Mayer’s “Gravity” from his Continuum album (Qobuz via Roon, 24-bit / 96kHz) , the Bowers & Wilkins 702 S3 speakers revealed themselves to be very quick and accurate speakers. Changes in dynamics were instantly and easily portrayed by the 702 S3 speakers. The resonance decay of the guitar strings being plucked was extended and lifelike. The buzz from snare drum rimshots was quick and realistic, as though I was listening to the drums being played live in the studio rather than from a recording. 

The 702 S3s brought out all of the bluesy depth and emotion, providing a sense of the acoustic space that Mayer was playing in. The shimmer of the cymbals felt detailed and realistic. While playing the track through the 702 S3 speakers, the acoustic picture and energy created reminded me of the times I’ve been to Buddy Guy’s Blues club, Legends, on the south side of Chicago. Before I knew it, I had listened to the remainder of the album. When played through the 702 Signatures, the soundstage was just a little narrower, with blending of the drivers a tad less seamless. I’m not talking about a huge difference, but I found the differences to be consistent across the several tracks I used for comparison. 

Do the Bowers & Wilkins 702 S3 Speakers Have Any Resale Value?

Given their quality and price, most owners will likely hold onto their Bowers & Wilkins 702 S3 loudspeakers for at least a few years before thinking about upgrading. So, don’t expect to see too many of them on the resale market for a while just yet. When they do, a pair of Bowers & Wilkins 702 S3 speakers in good condition should fetch a bigger percentage of original retail than less mainstream audiophile speaker brands, somewhere in the realm of 50 percent of retail. One issue is the shipping cost due to their almost 74-pound weight (each) so local resales will likely be the norm when a pair of 702 S3 speakers are offered for resale. 

Who Is the Competition for the Bowers & Wilkins 702 S3 Loudspeakers?

The  Focal Aria 936 K2   ($6,598 per pair)  has a similar driver complement and cabinet dimensions to the 702 S3. Its midbass and bass drivers have an aramid cone material, a modification to the regular Aria line, which utilizes a flax fiber material. It has two front ports and a downward firing vent, so placement should be equally easy to the Bowers & Wilkins 702 S3. The Aria 936 K2 only comes in an ash gray finish with a leather lined front baffle, whereas the Bowers & Wilkins 702 S3 comes in a choice of three finishes, including gloss black, satin white, and mocha, which resembles a highly grained dark walnut. Personally, I prefer the aesthetics of the Bowers & Wilkins 702 S3 over the Focal Aria 936 K2.

The  Sonus Faber Sonetto VIII loudspeaker  ($6,999 per pair) is another well-respected option. The lute-shaped speaker stands a couple of inches taller and is both wider and deeper than the 702 S3 and sports three seven-inch bass drivers, a six-inch midbass driver, and a 1.15-inch tweeter. It’s also bottom vented like the 702 S3.

Final Thoughts on the Bowers & Wilkins 702 S3 Loudspeakers

The performance of the Bowers & Wilkins 702 S3 represents an improvement in clarity of details, accuracy, and soundstage width compared to its predecessors, the 702 S2 and 702 Signature. The S3 represents a significant step forward in narrowing the performance gap between itself and its reference series counterpart, the 804 D4. This is great news for those longing for the 800 Series sound but without the required  budget. To my ears, the Bowers & Wilkins 702 S3 gets you most of the way there for roughly half the price, representing a value sweet spot in the Bowers & Wilkins lineup for speakers designed for medium- to somewhat larger-sized rooms. 

• Bluesound Node Music Streamer Reviewed

Orchard Audio Starkrimson Mono Block…

Mofi masterphono phonostage reviewed, monolith by monoprice m2100x stereo…, pro-ject x1 b turntable reviewed.

How to Creatively Save Money for…

When to make an audiophile upgrade…, exactly how your standard 20 percent…, cambridge audio introduces the evo 150…, three ear health products that can….

Concerning Bob Barrett’s comparison between B&W 702 S2 vs. 702 s3 speakers, he mentioned a slight sound fidelity difference between them. Bob, please indicate if this difference justifies spending an additional $2k for S3 speakers vs. s2 speakers. S2 speakers are selling for $4k on Amazon. Thanks.

As an owner of 802 D4s, you really want the D4 Bowers & Wilkins if you can find them used. I doubt it but worth a try. Maybe a floor sample?

The highs on the D4 is a massive upgrade over D3.

I’ve shot out the 805 and 801 D4s vs. their higher end Signature Models and those are even better.

The 804 is the value play but still tons more $$$ than the 702 which is an even better value but not quite as good. $10,000 more however.

Jerry, concerning B&W 804 D3 vs. 702 S3 speakers, please indicate sound fidelity comparison. Trying to justify buying used B&W 804 D3 selling for $6k. Do 702 S3 sound substantially better than 804 D3. Trying to buy used 800 series speaker at equivalent price of 702 S3 speakers.

Used is a slippery slope. We don’t really deal in used values.

If you find just the right product used then it can be good but buying something for a bargain over making sure that it is perfect for your needs/system is likely a mistake. I would wait and save a bit if needed. Personally, I sell blood to get cash and free donuts. I tried selling my body and nobody would pay. “Walk the streets for money… doesn’t care if it is wrong or right”

Concerning B&W 804 D3 vs. 702 S3 speakers, please indicate sound fidelity comparison. Trying to justify buying used B&W 804 D3 selling for $6k. Do 702 S3 sound substantially better than 804 D3. Trying to buy used 800 series speaker at equivalent price of 702 S3 speakers. Thanks.

Subscribe for Email Notifications Manage Subscriptions

Contact Us Advertising Privacy Policy / Terms of Use Accessibility

© 2024 All Rights Reserved

Categories:

• Audiophile Accessories
• Audiophile Digital Components Reviewed
• Audiophile Headphone Reviews
• Audiophile News, Opinion and Insights
• Audiophile Power Amplifier Reviews
• Audiophile Stereo Preamps Reviewed
• Audiophile Subwoofer Reviews
• Audiophile Turntable and Vinyl Reviews
• Large Audiophile Speaker Reviews
• Small Audiophile Loudspeakers
• Audiophile Dealer Locator
• Audiophile Sweepstakes
• Andrew Dewhirst Reference Audiophile System
• Brian Kahn’s Reference Audiophile Grade AV System
• Jerry Del Colliano’s Reference Audiophile System
• Michael Zisserson’s Reference Audio System
• Paul Wilson’s Reference Audiophile System
• Bob Barrett Audiophile Reviewer Biography
• Eric Forst Audiophile Reviewer Biography
• FutureAudiophile.com Advertising Specs
• Greg Handy’s Reference Audiophile System
• Manage Subscriptions
• Mike Prager Audiophile Writer’s Biography
• Nasim Abu-Dagga Audiophile Biography
• Privacy Policy / Terms of Use
• Steven Stone Audiophile Writer’s Biography
• Sweepstakes Information

You May Have Missed:

• Sonus faber Sonetto V Floorstanding Loudspeakers Reviewed
• How to Creatively Save Money for Audiophile Gear
• Victrola Hi-Res Carbon Turntable Reviewed
• Cambridge Audio Introduces The Evo 150 DeLorean Edition Integrated Amp In Partnership With The Legendary Car Company
• Meze Audio To Release Updated $2,000 Closed-Back Audiophile Headphones With Ties To Ukraine
• Three Ear Health Products That Can Save Your Hearing – But Do They Work?
• Monolith by Monoprice M2100X Stereo Amplifier Reviewed
• When To Make an Audiophile Upgrade and When To Not Upgrade
• Orchard Audio Starkrimson Mono Block Amplifier Reviewed

Laurence Fishburne’s solo show somehow needs more Laurence Fishburne

In ‘like they do in the movies,’ the actor shares anecdotes of his upbringing and rise to stardom but mixes it with too many side characters.

NEW YORK — In his new solo show “Like They Do in the Movies,” acclaimed actor Laurence Fishburne promises a vulnerable evening of storytelling about his family, his purpose and the people who influenced his career. In actuality, he spends it blurring anecdotes about those creative origins with vignettes starring memorable strangers. Some stories are true, some are fiction, some dwell in the murky middle.

He performs all with the precision you’d expect of such an impeccable talent, but the double act — of pulling us into his autobiographical story and then keeping us at arm’s length — is puzzling. Most of us have already spent a lifetime watching him embody others. “Like They Do” is precious time with just him. Why waste it?

The Style section

There is nothing fantastical about the physical presentation. Scenic designer Neil Patel never adorns the blunt, oblong Perelman Performing Arts Center stage with more than a simple desk and a chair or two. Behind Fishburne, an illuminated frame — which chummily mirrors a movie theater screen — floats just above the stage floor. Aside from images of Fishburne’s ancestors, which are sometimes projected, the rigidness of it all does nothing to warm us to his story. The theatrics are reserved solely for the thespian.

Fishburne powers through the dense volume of speech like the charmster he is. He opens the show by detailing his childhood years, toggling between his mentally unstable force of a mother, Hattie, and boisterous Casanova of father, Big Fish. Their eccentricities, and perhaps a pinch of Hattie’s projected fantasies of being a performer, drive Fishburne’s involvement in the dramatic arts.

Fishburne remains spirited and tactile; we see him touching, stroking, lifting objects that aren’t actually present. He is generous with his affability, always asking the audience how we’re doing and softening any TED Talk didacticism with “Reading Rainbow” coziness. We are his friends, his family, even his “baby” for these two hours and 20 minutes. Fishburne keeps up this para-familiarity even when dipping into harder truths, most notably that he was sexually abused by Hattie as a child. Never one to keep audiences perturbed for too long, he repeatedly stopgaps staggering revelations like this with a pacifier: “More on that later.”

“More” is truly the operative word. Because these are not short spews of text Fishburne has penned for us; they are run on sentences and legato soliloquies. Mercifully, director Leonard Foglia (Fishburne’s longtime collaborator) keeps everything moving at a brisk pace, but the challenge is evident. Case in point, at the performance I attended Fishburne called out to a stage manager in the shadows for his next line more than once.

Sharp. Witty. Thoughtful. Sign up for the Style Memo newsletter.

He becomes different races and ages, adopting novel dialects and cadences like the great monologists before him: Whoopi Goldberg, John Leguizamo, Anna Deavere Smith, all of whom Fishburne thank in the show’s program. During a scene involving one of those side characters, he becomes Joseph, a man who withstands unthinkable hardship while trying to escape New Orleans for Baton Rouge during Hurricane Katrina. In real life, Fishburne was a French Quarter resident in 2005, and has fundraised for post-hurricane relief. In another scene, Fishburne becomes Marcus, an American expat in Australia who proudly owns a brothel, traffics in pleasure and marries a beautiful sex worker. In real life, one of Fishburne’s daughters, Montana, worked as a sex worker and adopted the name Chippy D for her adult films. These are lush, thoughtful portrayals, but talent is no longer something he has to prove. And presumably he has some connection to these tales, but Fishburne never makes it clear.

As the play reaches its conclusion, the real Laurence Fishburne returns to us, asking permission to delve back into the story of his parents (as if we haven’t been telepathically begging him to). As he breaks down Hattie’s mental disorder, he descends into a deep squat, and then even lower, sitting cross-legged on the stage floor. He brings us closer to eye level, no longer a Hollywood star or theater titan, but a son enraptured by memories of his complicated, impossible, formidable mother.

That initial pledge of nonstop vulnerability is not completely fulfilled, but Fishburne has poured out a bit of his heart and channeled the stories of others, exactly like he’s always done in the movies.

Like They Do in the Movies , through March 31 at Perelman Performing Arts Center in New York. Two hours and 20 minutes, with an intermission. pacnyc.org .

• Laurence Fishburne’s solo show somehow needs more Laurence Fishburne March 22, 2024 Laurence Fishburne’s solo show somehow needs more Laurence Fishburne March 22, 2024
• This ‘Little Shop of Horrors’ is a bit too cheerful, but don’t overthink it March 22, 2024 This ‘Little Shop of Horrors’ is a bit too cheerful, but don’t overthink it March 22, 2024
• In Broadway’s ‘Water for Elephants,’ circus parts are good, songs are meh March 21, 2024 In Broadway’s ‘Water for Elephants,’ circus parts are good, songs are meh March 21, 2024

AKG K702 Review – Breaking Down their Brilliance

• September 17, 2023
• November 16, 2023

Immerse yourself in the captivating realm of high-definition audio with our in-depth AKG K702 review — a comprehensive analysis of a top-tier headphone causing a stir in the audio industry.

Whether you’re an ardent gamer craving an unrivaled auditory experience or a meticulous music producer striving for precision in mixing — the AKG K702 pledges to deliver extraordinary sound quality.

Comfort and Ergonomics

Sound quality, build quality, headphone amp, akg k702 vs akg k712 pro.

The AKG K702 headphones arrive in a sleek, sturdy box, well-protected by foam padding. Inside, you’ll discover the headphones themselves, a detachable cable, and a 1/4” to 1/8” stereo adapter.

Please note a carrying case or pouch is not included. Additionally, the box contains a user manual and warranty information for your convenience.

The AKG K702 headphones are a dream come true for audiophiles who spend hours lost in their music. These headphones are a snug fit, clamping just enough to stay put on your head, and even deemed as the best fitting headphones by certain users .

They’re often overlooked, but they excel in comfort , detail , airiness , soundstage , clarity , and imaging . Sure, the elastic band might slacken after a few years, but isn’t that a small price to pay for such comfort? And while they might not be everyone’s cup of tea, their lucidity and detail are undeniable.

The K702’s over-ear design ensures the ear cups fully encase your ears, distributing the weight evenly. This is way more comfortable than on-ear or in-ear headphones, trust me.

The ear cups are made from soft velour—gentle on the skin and super comfy. Plus, they help reduce heat and moisture build-up, which can be a real pain during long listening sessions.

The headband is self-adjusting, so it adapts to your head shape and size. No need for manual adjustments! Weighing in at only 235 grams, they’re lighter than many other headphones in their class. This lightweight design reduces pressure on your head and ears, making them perfect for extended wear.

The open-back design circulates air around your ears, reducing heat and pressure build-up. Plus, it provides a more natural and spacious soundstage.

The AKG K702 headphones are the perfect choice for audiophiles looking for a truly exceptional listening experience. Their soundstage, imaging, and treble quality have earned them immense praise, allowing exceptional positional accuracy—making them an ideal choice for gamers. AKG K702’s neutral sound signature allows listeners to experience audio precisely and undistorted.

What’s more, for genres such as classical, jazz, and other forms of instrumental music they are truly superb . However, they might not be the optimal choice for genres like metal, rock, industrial, dark wave, goth, some trance, and most pop, as they can sound a bit harsh.

The K702 possesses a remarkably clear midrange, making it ideal for classical, jazz, and acoustic pieces. Additionally, its impressive separation between frequencies ensures no instrument or sound is drowned out— ideal for genres such as rock, pop, and electronica. Their wide and spacious soundstage maximizes immersion in gaming and movie experiences. Moreover, its high level of detail exposes even the slightest nuances in audio, making it great for classical and jazz pieces. Lastly, its accuracy and consistency—even across devices—make it a trusted option for audio professionals. However, they may not be the best choice for bass-heavy music genres.

Given everything I’ve outlined above, it’s safe to say that the male vocals are superbly reproduced through the AKG K702 headphones, giving you a real sense of presence and space. For enthusiasts looking for a neutral and high-quality sound, the AKG K702 is a fantastic choice.

As an esteemed headphone among studio engineers , the K702’s are known for their impressively wide soundstage—equivalent to the highly regarded Sennheiser HD800S and good sound reproduction in the mid-range, particularly in the upper register. The vocals are sublime, to say the least, which accentuates the nuances in female vocals with striking clarity.

Comparatively, I’ve heard a lot of love for the Sennheiser HD 6xx when it comes to bass, which I find to be warm and full-bodied, but the K702 still maintains high-quality treble.

Where the K702 falters though, is its slightly weaker bass performance. In this regard, the K702 doesn’t fit genres where low-end frequencies are more sought-after. Genres such as Hip-Hop, Electronic dance music (EDM), and Dubstep leave more to be desired in terms of bass for the K702.

The AKG K702 also presents itself nicely as a mixing headphone. Its accuracy over all frequencies is its greatest strength—ranging from super low lows to piercing highs.

The neutrality ensures that all EQ levels are maintained at all stages when you’re tuning your mix. Additionally, the soundstage is exceptionally large for open-back headphones , which simplifies the adjustment of panning levels and harmonies.

Whether you’re professionally mixing or just casually dabbling in home studio recording, I could easily recommend the K702 without hesitation.

For competitive gaming, the AKG K702 presents excellent directional accuracy , allowing you to pinpoint movements in both near and far distances.

Its spacious soundstage and clarity help to heighten the overall quality of the gaming experience, putting you right in the middle of the battlefield.

Games in which the K702 excels include first-person shooters, role-playing games, and horror games. To name a few, Overwatch , Witcher 3 , and Silent Hill come to mind.

The AKG K702 offers such unique qualities for gamers that some even go the extra mile to mod a V-Moda microphone to them.

Two other professional studio headphones viable for gaming that can be compared to the AKG K702 are the Beyerdynamic DT990 and ATH R70X .

The ATH R70X is another mind-blowing open-back headphone for gaming and music. It was once recommended by Crinnicle as a gaming headphone for its excellent imaging and soundstage. Additionally, it’s a fantastic value headphone, frequently compared to similarly-priced headphones like the HiFiMAN Sundara and others.

The DT990 gaming experience is unequivocally unique. These headphones provide enhanced clarity in mid and high frequencies, favored by gamers for their balanced soundstage, fantastic imaging, and pinpointing accuracy.

For movies, deep bass tracks are generally lacking with the K702. It can make for a fun-watching experience given the precise positional accuracy, but for those who crave a rumble experience, there are other headphones that can offer that experience.

Besides that snag, cymbal clashes and other treble details come through the K702 with aplomb, really enhancing the viewing experience.

Whether it’s an action-packed fight scene or a subtle romance moment, the nuance and depth of the movie come through nicely.

The build quality of the AKG K702 is a mixed bag. The headphones have a plastic construction that makes them feel cheap and fragile. In reality, the plastic used is rather sturdy, whereas the thick leather band only loses its flexibility after 5 or more years of constant use.

Simply put, the K702’s overall build quality is above average. While they are sturdy, they are not designed to withstand rough handling or drops.

To weigh in on the top headphones in terms of both quality and build performance, and when it comes to the latter, what can I say? It’s as clear as day that the AKG K702 absolutely delivers.

Their headbands can’t be beaten – supremely comfortable, with lightweight design and reinforced metal and ABS plastic parts. All together, these features deliver maximum comfort (something rarely found when it comes to audio equipment) and dependable protection for the headphone drivers.

But what if your K702 headband takes a hit? Never fear – replacement parts are available! You can get a headband replacement for AKG K702. As a matter of fact, there are a few headband mods you can take advantage of.

When hanging your AKG K702 headphones on a hook or headphone stand, use the plastic frame, not the headband, to avoid loosening it.”

Enhancing the comfort and stability of AKG K702 headphones is totally possible. There are a few things you can do— replace the elastic bands  that support the headphones’ weight, add some padding like memory foam or velour, or even cotton pads , or go all out and replace the headband entirely with a  calfskin headband  or  aftermarket headband .

As a Reddit user  suggested , you can attach a HD600 replacement headband to your K702, while some suggest using a  DIY option  if you wanna go that route. Lastly, the K702 design allows easy headband replacement, so it’s really up to you which modification you’d prefer.

If the idea of replacing the AKG K702 headband with DIY materials doesn’t appeal to you, there’s another option. You can purchase a  hand-woven wool headband  cushion that fits snugly over the K702’s headband. This soft cushioning significantly enhances comfort. Although it may initially resemble something your grandmother might make, you can easily personalize it to reflect your unique style. If the style doesn’t suit you, consider trying this headband pad with zipper installation.

The AKG K702 features a detachable 3-pin mini XLR cable, allowing users to interchange and upgrade for enhanced sound quality and fidelity. These cables’ specifications are as follows:

• A 3.5mm or 1/4″ jack connectors
• 9.8 feet (3 meters) length
• Sturdy yet lightweight braided nylon material

Upgrade to Balanced Configuration

The AKG K702 headphones aren’t designed for balanced cable use out of the box. But don’t worry, with a little work, they can be brought up to snuff. So, if you’re looking to use your K702s in a balanced configuration, then keep on reading.

Upgrading the AKG K702 headphone cable can enhance not only the sound quality but also its durability and appearance, even if the sound improvement is minimal.

If you’re a DIY audio enthusiast with spare parts, you can modify the K702 headphones by adding a fourth channel for balanced operation (L+, L-, R+, R-), as they come with a 3-pin mini-XLR connector. Thankfully, though, compatible third-party cables can provide this fourth channel. Despite the additional work, these headphones maintain their expected audio clarity and depth.

Bottom line: To achieve a balanced setup, you must modify the headphones , using a balanced conversion kit for AKG K702 and replacing the stock detachable cable with a 4-pin mini-XLR cable .

Cable Replacement

If the cable needs replaced, consider cables specifically designed for AKG models, such as the K141 K171 K181 K240 K271 K702 Q701 HDJ 2000 Replacement Upgrade Headphone Cable or NewFantasia Replacement Audio Upgrade Cable .

The Geekria Apollo’s braided nylon aftermarket cable, featuring a 3.5mm/1/4” connector and mini XLR interface, is also a viable option. Constructed from superior copper and thermoplastic elastomer (TPE) with engineered stretching yarn, it guarantees excellent audio transmission and shields against electromagnetic and radio interference (EMI or RFI).

Craftsmanship Issues

In brief, the most common build quality and craftsmanship issues users have encountered with the AKG K702 are:

• The loosening of the headband after several years (4-5 years)
• One side not working (an extremely rare occurrence, if any at all)
• The leather headband design, which is sometimes described as uncomfortable and stiff.
• The earpads of the K702 require a lot of maintenance due to lint accumulation.

The AKG K702 headphones are well-suited for a range of applications and not hard to power , thanks to their 62 ohm impedance and low sensitivity. However, they do need an amplifier.

With an adequate headphone amplifier , you can reach the optimal sound quality for these headphones. Some of the best headphone amps for the AKG K702 include:

• Schiit Audio Magni : A versatile amp with a power output of 2.4W RMS per channel into 32 Ohms.
• Chord Mojo 2 : A robust DAC/amp combo with a 600 mW into 32 Ohms power capacity.
• Sony TA-ZH1ES : A vibrant amp with a 500 mW power output.
• iFi Zen DAC V2 : A premium amp offering 4.4mm Pentaconn (BAL): 330mW at 32 Ohm; 6.6V at 600 Ohm, and 6.3mm S-BAL (SE): 280mW at 32 Ohm.
• JDS Labs Atom Amp : A high-performance amp with a power output of 1W.
• AudioQuest DragonFly Red : A compact and portable DAC/amp combo.

These amps are certainly worth looking into if you’re looking to up your audio game. They’re known for their robust power output, crystal-clear sound reproduction, and low distortion levels.

Personally, I believe 100mW at 62 ohms is more than enough power for even the most discerning listener. But – more than sheer power quantity – what’s essential is having low noise and distortion levels , reinforcing its quality factor.

Selecting the best headphone amplifier for the AKG K702 requires careful consideration of factors such as output power , sound warmth , and budget .

Without an amp, the AKG K702’s sound level is unsatisfactory, making it highly recommended to connect it to one. Use the appropriate cable (3.5mm or 6.3mm), available for separate purchase, to connect the AKG K702 to the amplifier’s output.

The recommended settings for the AKG K702 on an amp are as follows:

• Output: 100mW/channel (minimum)
• Impedance: 16Ω-300Ω
• Gain Setting: Medium gain setting
• Frequency Response: 5 Hz – 40 kHz
• Crosstalk: > -96 dB (at 1 kHz)

How to connect AKG K702 to an amp

Connecting the AKG K702 to an amp is a straightforward process. Plug the headphone’s 3.5mm jack into the amp’s headphone output. Some amps may require an adapter if they use a 1/4-inch output.

When it comes to recommended settings for the AKG K702 on an amp, a good starting point is to set the volume at a moderate level, adjust the bass and treble to neutral, and then tweak from there. Fine-tune to augment, not overwhelm, the headphone’s inherent sound.

In summary, the AKG K702 headphone amp setup can significantly enhance your audio experience. Choose a quality amp, connect correctly, and adjust settings to your liking for the best results.

At first sight, the AKG K702 and K712 Pro appear extremely similar, with their sleek design and professional aesthetic. However, the subtle differences in sound quality and comfort are tantamount to a significant distinction when choosing between the two models.

Let’s examine their technical specifications, mixing qualities, and the differences in their mixing capabilities to better determine which of the two you should choose.

Technical Specifications

The K702 and K712 Pro reference open ear have similar specs, so it bears the question, is the $100 difference between the two worth it?

The AKG K712 Pro is known for its extended treble and emphasized mid-bass, but it has a less accentuated bass response compared to the K702. This makes it an ideal studio headphone for certain music genres or audio tasks.

Conversely, the AKG K702, celebrated for its neutral, precise sound and commendable bang for your buck, is perfect for critical listening, professional mixing, home recording, and even a fun evening of Hi-Res listening.

Both models, made in Austria, share similar build quality, driver technology, and frequency response ranges.

So, is the K712 Pro worth an extra $100? It might be, especially if you value neutral sound, superior treble, and a headphone design that’s more studio-oriented. But, if you favor a neutral but slightly warmer sound and don’t need a coiled cable or carrying bag, the K702 could be a more cost-effective option.

The AKG K702 and AKG K712 Pro are two popular studio monitor headphones for professional recording and mixing.

The K702 is characterized by its exceptional airy and spacious soundstage, punchy and accurate bass reproduction, and pristine mid-range clarity. The K712 Pro features a slightly warmer sound signature than the K702; it offers a wider stereo image, improved low-end impact, and extended treble range. Despite these distinct sonic differences, both models share impeccable build quality and long-lasting comfort.

Though both headphones sound clear and transparent, the choice between them ultimately comes down to personal preference—the K702 is ideal for an open and airy soundstage, while the K712 Pro may suit those looking for a more balanced sound signature.

We’ve digging deep into these headphones. Thus far, I can certainly vouch for these AKG K702 headphones. Not only are they a delight to wear, but this pair of cans adds some serious soundstage spice and clarity, too. It’s going to be a hoot to listen to classical, jazz, and instrumental numbers on these.

The whole is solid, and it is amazingly light, perfect for extended sessions of entertainment. The open-back design is also ideal for making sure your ears don’t get too stuffy. It creates an environment that lets the sound breathe, ensuring a more natural feel and a grander soundscape.

The predicament does not stop here! A wide array of features like the three-dimensional soundstage, detailed sculpted highs, and weighty midbass will surely make for a transcendent listening experience. Plus, they possess an extended frequency response, so hearing everything from the crisp highs to the firm lows is pure pleasure.

All in all, let me say – the AKG K702s will knock your socks off! All types of music fiends – gamers, pros, amateurs – you name it – will definitely love these headphones.

Related Posts

Creative sound blasterx g6 review – top-notch desktop gaming amplifier for gamers.

• November 18, 2023

Marantz HD-DAC1 Review – Probably the World’s Best All-Around Amplifier for Your Desktop

Fiio k3 review – stationary budget desktop amplifier.

site categories

10 things to know about r&b group, 702, and their rise to fame.

By Kyera Singleton

Kyera Singleton

• Share this article on Facebook
• Share this article on Twitter
• Share this article on Flipboard
• Share this article on Pinit
• + additional share options added
• Print this article
• Share this article on Print

This has been the year of reunions for R&B groups. En Vogue released their new album Electric Cafe , Xscap3 dropped their EP  Here For It,  Destiny’s Child surprised us all with a reunion during Beyoncé’s Coachella set, and now 702 is back. Although the group is not often remembered as much as some of their ’90s counterparts, the singing trio had a huge influence on the culture of R&B music. If you’re unfamiliar with 702, they had ’90s music lovers singing the anti side-chick anthem “Where My Girls At?” or in their feelings telling their spouses to “Get It Together.”

Some of your favorite R&B singers were influenced and inspired by their music. In a 2014 NPR interview , Solange Knowles reflected on the group’s influence by saying, “I know that there’s no way to really explain the emotional and physical and mental reaction when you’re at a party in seventh grade and a 702 record comes on.” Their music, often mid-tempo jams, struck the perfect balance between soulful pop and mature fun.

Now that the trio is preparing to head out on tour this year , here’s what every millennial should know about the R&B girl group.

Usher Disagrees With "R&B Is Dead" Narrative, Praises Upcoming Artists

1. 702’s Origin

While in high school at the Las Vegas Academy of Arts, Irish Grinstead, Kameelah Williams, and Lemisha Grinstead formed 702, one of the most successful R&B groups of the ’90s. Originally, the group was a quartet before Orish Grinstead, Irish’s twin sister (who passed away in 2008), decided to leave the group. Despite her departure, her vocals can still be heard on the group’s debut album.

2. About Their Big Break

Irish, Orish, and Lemisha Grinstead were determined to have their talents noticed. Before their classmate Kameelah Williams joined, the sisters often performed in the lobby of Caesar’s Palace in Las Vegas before major events. One day, they auditioned for comedian Sinbad who encouraged them to go to Atlanta to participate in Jack The Rapper’s music convention for unsigned talent. Reflecting on the experience of the music convention, Lemisha told Billboard in 1997 that the members of 702 “were so young we didn’t know what we were getting ourselves into. But our parents really believed in us and let us go to all of these events.” The Jack the Rapper convention would become the group’s big break. Under the direction of Sinbad, they called themselves “Sweeter Than Sugar” and won second place in the music competition.

3. From Sweeter Than Sugar To 702

Although the ladies did not win the talent showcase in Atlanta, they caught the eye of Michael Bivins, who was a member of New Edition, Bell Biv Devoe, and the mastermind behind the career of Boyz II Men. After an impromptu audition for the music mogul, he signed them on the spot to Biv 10 Records. After hearing them sing, Bivins stated  “he had found his Supremes.” In preparing them for commercial success, Bivins changed the group’s name from Sweeter Than Sugar to 702, which is Las Vegas’ area code. They also made their debut on Subway’s “This Lil’ Game We Play” in 1995, which was a Top 20 Billboard hit. The commercial success of the record helped launch their career.

4. The Big Leagues: Motown Records

702 first signed to Biv 10 Records and Motown through a joint venture deal. The group released three studio albums; No Doubt (1996), 702 (1998), and Star (2003) and experienced the type of commercial success that made them a household name in the ’90s and early 2000s. The group had four singles reach the Top 40 on the Billboard Hot 100, with two singles, “Get It Together,” and “Where My Girls At?” peaking in the Top 10. Their debut album, No Doubt , was certified Gold by the RIAA in November 1997 while their self-titled album 702 was certified Platinum in November 2002. The group sold millions of records before they disbanded in the mid-2000s.

5. “Get It Together”

No Doubt hit the airwaves on October 8, 1996. The album debuted at No. 82 on the Billboard 200, No. 1 on the U.S. HeatSeekers chart, and No. 24 on the Billboard Top R&B Albums chart. The second single, “Get It Together,” became the album’s standout track. It dominated the charts throughout 1997, peaking at No. 10 on the Billboard Hot 100, No. 3 on the R&B charts, and No. 7 on the U.S. Rhythmic Top 40 chart. The single went on to sell 800,000 copies in 1997, prompting Billboard to name it one of the best selling records of that year. The RIAA certified the single Gold on April 1, 1997, less than three months after its release. The song, written by Donell Jones, not only provided 702 with a hit record, but it also helped launch Jones’ career as an up and coming R&B singer and songwriter.

6. Cousin Skeeter And The Longevity Of “Steelo”

While “Get It Together” dominated the airwaves, 702’s lead single “Steelo” was not only a hit record but also re-fashioned into a Nickelodeon theme song. The song was certified Gold on February 28, 1997, and reached No. 32 on the Billboard Hot 100 and No. 12 on the Top R&B charts. While fans may remember listening to the Missy Elliott penned track on the radio or by watching the video, 702 recorded an alternate version for Bill Bellamy’s Nickelodeon show Cousin Skeeter , which starred Meagan Good and Robert Ri’chard. If you’re a millennial, chances are you were singing along to 702 while watching that popular show. Throughout the 90s, 702 made guest appearances on TV favorites such as Moesha and Sister, Sister .

Their song, “He Rules,” also found placement on 1999’s  Stuart Little soundtrack.

7. “Where My Girls At?”

If 702 dropped “Where My Girls At?” today, I guarantee it would still be a hit. The song’s beat and chorus are so infectious that you have to rewind it multiple times to fully experience the joy the track exudes. The latter is why the song is 702’s most commercially successful song to date. Written by Missy Elliott, the track was originally intended for TLC’s Fan Mail album. After the group passed on the track, 702 recorded it and the rest became history. “Where My Girls At?” was one of 1999’s biggest selling singles with over 600,000 units sold. The track peaked at No. 4 on the Billboard Hot 100, No. 3 on the Hot R&B/Hip-Hop charts, and No. 1 on the Billboard Rhythmic charts. For over four months, the song remained in the Billboard Top 20, making it one of the most played songs of 1999. The song was not just popular in the United States; it impacted the charts in Canada, Belgium, France, Germany, New Zealand, the Netherlands, Scotland, Sweden, and Switzerland. Due to the popularity of the song, 702 was asked to sing “Where My Girls At?” to begin the 1999 WNBA season. The song helped catapult the ensemble’s career and ranked as the 46th best song by a girl group of all time by Billboard .

8. The Star Era Crafted By Pharrell And The Neptunes

After the success of their self-titled sophomore album, the group took a hiatus before the release of their third studio album, Star in 2003. The album debuted at No. 45 on the Billboard Top 200 Albums roster and No. 22 on the Top R&B Albums chart. While Star did not perform as commercially well as the group’s previous discography, Pharrell Williams wrote several of the songs on the album and The Neptunes produced its two lead singles: the title track featuring The Clipse and “I Still Love You.” In a 2004 interview with The Washington Post , Pharrell listed 702’s “I Still Love You’’ as one of his top ten songs because “it takes him on an emotional ride.” This may be one of the reasons “I Still Love You” is often listed as one of 702’s best songs even though it didn’t reach the same heights as the other tracks in the group’s discography. The song was also featured on the soundtrack of the movie Empire that starred John Leguizamo, Treach from Naughty by Nature, and Fat Joe.

9. The Sample History Of “All I Want”

The third single off of 702’s first album was 1997’s “All I Want.” The song was the promotional single for Kenan Thompson and Kel Mitchell’s classic comedy film, Good Burger . The track sampled The Jackson 5’s “It’s Great To Be Here” song off of their 1971 album, Maybe Tomorrow . The song was a Top 40 hit on the Billboard Hot 100 and peaked at No. 35 on the chart. Fun Fact: the song was later sampled by J. Lo in 2002 for her No. 1 Hot 100 hit “I’m Real” featuring Ja Rule and Ashanti. You can listen to the similarities here .

10. Life After 702 And The Reunion Tour

Kameelah Williams , the group’s lead singer, remained more visible than the other members due to her solo career and television stint. She went on to work with artists such as Macy Gray and Raphael Saadiq. In 2014, she joined the cast of R&B Divas Atlanta and also became an advocate for autism awareness after her son Zac, with fellow singer Musiq Soulchild, was diagnosed with Autism Spectrum Disorder in 2013. Although we have not seen much of Irish and Lemisha Grinstead in the media, similar to many music groups, 702 disbanded so that they could all focus on other aspects of their lives and solo careers.

Now, if you never had the chance to get your entire life at a 702 show, you will finally have the opportunity to live out your ’90s dreams. In November 2017, the group reunited for the first time to perform at the Soul Train Music Awards, which prompted whispers of a reunion similar to that of their peers Xscape (now Xscap3) and SWV . Although the last time 702 released new music was in the early 2000s, the group decided to reunite and go on tour in the upcoming year, giving fans the chance to relive their greatest hits or experience them new for the first time.

Get weekly rundowns straight to your inbox

Vibe is a part of Penske Media Corporation. © 2024 Vibe Media, LLC. All Rights Reserved.

optional screen reader

News expand news menu.

• Movies & TV
• Entertainment

Music Expand music menu

• Music Premieres

Features Expand features menu

• Digital Covers

Lifestyle Expand lifestyle menu

Every 'Ghostbusters' movie, ranked from worst to best (including the new 'Frozen Empire')

Who ya gonna call to rank all the "Ghostbusters" movies? Well ... us!

Ever since Bill Murray , Dan Aykroyd , Ernie Hudson and the late, great Harold Ramis jumped in a tricked-out 1959 Cadillac and saved Manhattan from the Stay Puft Marshmallow Man, the "Ghostbusters" franchise has entertained generations with paranormal adventures and comedy high jinks on the big screen. (Not to mention toys, breakfast cereals, that Ray Parker Jr. music video and the oh-so-cool "Real Ghostbusters" cartoon show.) The latest installment, "Ghostbusters: Frozen Empire" (in theaters now), pays homage to past and present, with the OGs teaming with teen Phoebe Spengler (Mckenna Grace) and her family to deal with an evil threat looking to ice over New York City.

From worst to best, here's how the latest "Ghostbusters" entry compares to the other sequels, the female-centric reboot and the original 1984 classic.

New 'Ghostbusters' review: 2024 movie doubles down on heroes and horror, but lacks magic

5. 'Ghostbusters II' (1989)

Murray called the sequel "unsatisfying" but that's being generous. We're going with abhorrent and dreadful. Five years after saving New York City, the Ghostbusters are barely hanging on financially when they're called back into duty, thanks to the reemergence of 16th-century villain Vigo the Carpathian. He's the pits, there's a baby involved, a sewer full of slime is emotionally charged courtesy of angry New Yorkers, and the Ghostbusters pilot the Statue of Liberty – no, really – in the movie's climax.

4. 'Ghostbusters: Afterlife' (2021)

This "requel" is all about family legacy – it was even directed by Jason Reitman, son of original "Ghostbusters" director Ivan Reitman. The first half is pretty great, strapping a proton pack to quirky Phoebe as the Oklahoma-based heir apparent and adding Paul Rudd as her cool-guy teacher Gary. But then it turns into a forgettable retread, bringing back the old crew and original foe Gozer (this time played by Olivia Wilde) for a finale that at least pays a nice tribute to Ramis.

3. 'Ghostbusters: Frozen Empire' (2024)

The current sequel returns to New York City with a massive cast – the "Afterlife" crew plus OG Ghostbusters – and throwbacks galore. From a nostalgic point of view, it works; in terms of a coherent narrative, not so much. But the emergence of Garraka as the newest big bad, a horned phantom who represents a chilly existential threat to all mankind, is a highlight. So are the returning Slimer, Aykroyd giving new depth to Ray Stantz, Murray being Murray, and Grace's Phoebe befriending a troubled teen ghost (Emily Alyn Lind).

2. 'Ghostbusters' (2016)

Don't believe the online haters or toxic fandom: Director Paul Feig's enjoyably kooky reboot is the closest any "Ghostbusters" film has come to re-creating the snappy humor and go-for-broke attitude of the original. Childhood friends and physicists Abby (Melissa McCarthy) and Erin (Kristen Wiig) team with Egon-esque engineer Holtzmann (Kate McKinnon) and subway worker Patty (Leslie Jones) to prevent a ghostly apocalypse in the Big Apple. Chris Hemsworth is the movie's low-key MVP as crew's hilariously dimwitted receptionist.

Review: Steady new female-led 'Ghostbusters' proves a worthy reboot

1. 'Ghostbusters' (1984)

Not just the best "Ghostbusters" movie – one of the greatest comedies of all time, period. With a mix of adult comedy and kid-friendly antics, the first movie followed four dudes, of all different archetypes, bumbling their way into an ectoplasmic mess, ticking off city officials and still figuring out a way to keep Manhattan from being toasted by an ancient demon and/or stepped on by a ginormous marshmallow guy. The acting is terrific, the visuals still pop 40 years later, but the not-so-secret sauce is really Aykroyd and Ramis' script, one full of memorable lines that finds a brilliant balance between supernatural shenanigans and thoughtful spirituality.

• Cast & crew

In a town, where there are high rollers, fast cars, beautiful people, and at any given moment someone famous could and will walk right by you, there are two groups of high school kids living... Read all In a town, where there are high rollers, fast cars, beautiful people, and at any given moment someone famous could and will walk right by you, there are two groups of high school kids living on the opposite sides of the Vegas Strip. The rich kids, on the Aliante side, have everyt... Read all In a town, where there are high rollers, fast cars, beautiful people, and at any given moment someone famous could and will walk right by you, there are two groups of high school kids living on the opposite sides of the Vegas Strip. The rich kids, on the Aliante side, have everything that money can buy. It is not as easy for the kids on the Eastside. They work for the... Read all

• Hunter Clowdus
• Erika Medina
• Angel Garet

• All cast & crew
• Production, box office & more at IMDbPro

User reviews

• September 10, 2015 (United States)
• United States
• official site
• Las Vegas, Nevada, USA
• Mayfam Productions
• See more company credits at IMDbPro

Technical specs

• Runtime 1 hour

Related news

Contribute to this page.

• IMDb Answers: Help fill gaps in our data
• Learn more about contributing

More to explore

Recently viewed

Room 702 (2023)

Cast & Crew

Movie details, popular romance movies.

Movie Reviews

Follow Moviefone

Movie trailers.

Advertisement

Supported by

‘Limbo’ Review: Pensive in the Outback

Long on atmosphere and short on plot, this stylish Australian noir pulls through thanks to a haunted performance by Simon Baker.

• Share full article

By Elisabeth Vincentelli

Those who know Simon Baker only as the sleek title character on the TV series “The Mentalist” might do a double take when they discover his Travis, a stern detective sent out to close a 20-year-old cold case in Ivan Sen’s “Limbo.” Projecting an austere, old-fashioned gravitas, the actor calmly stitches conventional markers from the Genre 101 textbook (drug habit, terseness, tattoos, broken relationships) into a whole that feels organic and lived in.

Archetypes are very much on the mind of Sen, an Indigenous Australian filmmaker whose best-known movies, “Mystery Road” (2013) and “Goldstone ” (2018), are often called neo-noir, though they’re equally neo-western. At its best, his work lays bare his country’s poisoned roots in striking tableaux. Here, Travis tries to figure out what happened to a First Nations girl who went missing in the titular desert mining town — the movie was shot in Coober Pedy, a surreal outpost where many facilities, including pubs and hotels, are underground, creating a feeling of simultaneous openness and claustrophobia. But the solving of the mystery takes a back seat to Travis’s relationship with the girl’s siblings, Charlie (Rob Collins) and Emma (Natasha Wanganeen), who must navigate their distrust.

Sen, who also handled both the black-and-white cinematography and the editing, has a terrific eye for shot composition and sets a deliberate pace that feels implacable rather than merely slow. Tellingly, “Limbo” is more effective in building atmosphere than in plotting, but it’s hard not to want to know more about the haunted people we barely got to meet.

Limbo Not rated. Running time: 1 hour 48 minutes. In theaters.

Explore More in TV and Movies

Not sure what to watch next we can help..

Despite finding success on the stage in London and New York, Anthony Boyle had landed only minor roles onscreen before this year.  Now, he stars in two historical series , “Masters of the Air” and “Manhunt.”

The HBO show “The Regime” is set in a fictional European country. But our chief diplomatic correspondent recognizes references  to many real despots and failed states.

In the comedy series “Girls5eva,” Paula Pell, at 60, has become the comedy star  she always dreamed of being.

Barry Keoghan, Paul Mescal and Cillian Murphy are among a crop of Irish hunks who have infused popular culture with big Irish energy .

If you are overwhelmed by the endless options, don’t despair — we put together the best offerings   on Netflix , Max , Disney+ , Amazon Prime  and Hulu  to make choosing your next binge a little easier.

Sign up for our Watching newsletter  to get recommendations on the best films and TV shows to stream and watch, delivered to your inbox.

• GTA 5 Cheats
• Print on a Chromebook
• Nothing Phone 2 Review
• Best YouTube TV Alternatives
• Asus ROG Ally vs. Steam Deck
• Gameshare on Nintendo Switch
• Audio / Video

Bowers and Wilkins 702 S2 Review

With sound as sophisticated as they look, these b&ws are a jazz lover's dream.

“If you love instrumental music (and beautiful things), Bowers and Wilkins’ 702 S2 are a worthy investment.”

• Gorgeous design
• Pristine upper register
• Punchy low-mids
• Wide soundstage
• Sensitive to placement and source material

Bowers and Wilkins has been a household name among audio enthusiasts for decades, and that’s largely due to the company’s remarkable consistency. For over half a century, the British manufacturer has been at the forefront of high-end sound, crafting gorgeous gear for affluent listeners around the globe.

As such, it won’t come as a shock that the company’s new 702 S2 model, the flagship of its 700 series speakers, are beautifully made. What will surprise longtime B&W listeners, who know the brand as purveyors of tight, balanced sound profiles, is that these particular speakers can be a bit touchy when it comes to performance. With the press of the shuffle button, the sound can dance between otherworldly and wholly terrestrial.

• Bowers & Wilkins’ pricey flagship speakers get an expensive update

Feed the 702 S2 well-mixed acoustic music from any era — start at Louis Armstrong and move all the way to Robert Glasper — and you’ll fall in love with their incredible passion and dynamism. But if you’re a broader listener who trades in hip-hop as often as Sinatra, the 702 S2 won’t always bring the kind of vibrant energy you desire.

Out of the box

The 702 S2 arrive in large shipping boxes that house the speakers, metal base plates and two sets of feet for mounting — one set rubber, one metal spikes. The package also includes foam plugs for optional bass port dampening, which is a nice touch for those with boom-y rooms. There’s also a manual to help with installing the base plate as well as room placement.

Features and design

One thing we always love about Bowers and Wilkins models is how great they look, and the 702 S2 are no exception. If you’re trying to impress friends and relatives with a single glance, these floorstanding beauties are just the ticket. As gorgeous as anything we’ve seen from the company, the sleek, piano black edition we reviewed (they also come in glossy white and Rosenut wood) look as though they would be right at home in Jay-Z’s (or should we say Beyoncé’s?) living room.

Each 702 S2 features three 6.5-inch bass drivers in black and one 6-inch midrange driver in silver at the front. That silver driver is made from a B&W-developed material called Continuum, a coated woven fabric designed to provide more over the break-up of frequencies than the Kevlar drivers found in the company’s older models. But even with the magical new fabric on prominent display, the standout feature of the 702 S2 is B&W’s signature microphone-style tweeter, extruding from the top of each speaker cabinet like a tiny periscope. The separated tweeter isn’t just for style points, either. It’s designed to keep the tighter, high-frequency sound waves from reverberating inside the cabinet, providing a more accurate and linear response between the midrange and high frequencies.

As expected, the 702 S2 comes with magnetic grilles for the main drivers if you’re worried about grubby handed children and accidents, but we think you’d be a heretic if you used them; the speakers look so good without covers, it’s the only way to fly.

The back side of each tower has dual sets of gold speaker posts for bi-amping, with a small, dimpled bass port above them. Otherwise, the back and sides are clean and glossy, focusing as much visual attention on the front as possible.

Performance

Though we did listen to the speakers via a wide variety of amplifiers and sources, we spent the majority of our time with the 702 S2s listening to high-quality digital audio , via either an Astell & Kern A&ultima SP1000  portable player plugged into a Yamaha A-S2100 , or streaming straight through Naim’s Uniti Atom network amplifier. To the credit of Bowers and Wilkins’ flashy new towers, they’re very amplifier agnostic, reproducing the same source material nearly identically regardless of which amplifier we employed.

The 702 S2 will impress friends and relatives with a single glance.

The first thing you’ll notice when you get the 702 S2s wired up and pushing sound is their vivid high end. Whether perfectly shaping the sound of jazz brushes on Ahmad Jamal’s At The Pershing or perfecting the sizzling electric guitar tone on The Beatles’ Paperback Writer , the woven midrange driver and floating tweeter offer stammering clarity up top. With a frequency response of 45Hz to 28kHz (±3dB), the speakers go well beyond the high range of human hearing (20kHz, for women, 17kHz for men give or take), and the microphone-style tweeter design absolutely seems to benefit the overall sound signature, outdoing the in-cabinet tweeter of the CM8 S2 model  we’ve previously spent time with.

The speakers may lean into the high end of every song, but the rest of the sound signature is actually very tight and controlled — sometimes to a fault. Where we were enamored by their ability to bring jazz, folk, and orchestral string music to life, we routinely found ourselves missing the passionate fizz we expect from pricey floorstanders when reporducing high-energy rock music like the Big Star’s Live At The University of Missouri . On such muddy mixes, the speakers occasionally seemed to get a bit overwhelmed in the upper midrange, pushing those frequencies — often including the upper range of vocals — a bit back in the sound profile. That doesn’t mean you’re going to be thoroughly upset with them when listening to Peter Frampton’s Do You Feel Like I Do on full volume, but we’d perhaps look for a different type of speaker, like the excellent Klipsch Forte III , if you want a more vibrant experience.

That said, if you’re a jazz or classical music aficionado who only occasionally dabbles in other sounds, these may be the perfect speakers for you. We’ve never heard classic ballads like John Coltrane’s After The Rain sound so vast and haunting — due in large part to the speakers’ excellent high-end response — and even more rollicking big band sounds like those on Thad Jones and Mel Lewis’ Central Park North were very well done by the 702 S2.

It’s worth sharing that it also took us a while to find the perfect positioning for the speakers in our home theater room. Where most speakers are fairly simple for us to position in the space, we had to toy with a few options to find the right spot for the B&Ws. Too close to the wall and you’ll get even more highs and too much mud in the bass, too far away and you’ll get too little bass response. Thankfully, B&W included a placement chart gave us a good starting point, and we ultimately settled on the manufacturer-recommended half a meter from the back walls, with a separation between the speakers of about seven feet — the hardest point to dial. Once we had them in the proper place, we experienced a wide stereo image and the proper level of bass response in our medium sized room. Those inexperienced in audio setup may even want to have a professional install them for optimal performance.

Warranty information

Bowers and Wilkins offer a solid five-year warranty on all passive loudspeakers, covering defective workmanship and materials.

The Bowers and Wilkins 702 S2 are a gorgeous set of floorstanding speakers that beautifully recreate instrumental music. But if you’re looking to have a dance party in your living room, they may not be for you.

Is there a better alternative?

When you step into this price range, there are many options worth considering, both aesthetically and in terms of audio performance. If you are after exactly what the Bowers and Wilkins 702 S2 do well — jazz and string music (and hyper-modern style) — they are probably about the best option you can buy. Those looking for something a bit more lively in the $4,000-per-pair region should definitely check out the Klipsch Forte III, which transform every song into a shimmering ball of energy. Another fantastic pair of speakers worth considering are the GoldenEar Triton One, which offer more restrained style but even more vibrant sound in all genres.

How long will it last?

Bowers and Wilkins has a history of manufacturing extremely high-quality products, and the 702 S2 are no exception. These speakers should last a lifetime if maintained every decade or so.

Should you buy it?

Yes, and no – depending on your taste preferences. If you’re a die-hard jazzer or classical music listener who wants a beautiful set of speakers to perfectly reproduce your favorite recordings, the 702 S2 are among the finest you’ll find. But if you want something a bit more versatile and high-energy, this particular Bowers and Wilkins option may be a little more stoic than you desire.

Editors' Recommendations

• Bowers & Wilkins and McLaren launch special-edition Px8 headphones
• What you need to know before upgrading your Sonos system to S2 software
• Product Reviews
• Speaker Reviews

Sony is one of the most trusted names in the audio industry, so if you're looking for headphone deals, true wireless earbuds deals, Bluetooth speaker deals, or soundbar deals, you should check out the available offers involving the brand in Amazon's Big Spring Sale. These discounts are slated to last for a few more days, but we're not entirely sure that they'll still stick around because stocks may run out sooner than you think, especially for the more popular devices. If you don't want to miss out on the savings, you're going to have to finish your shopping as soon as possible.

What to buy in Amazon's Big Spring Sale for Sony audio devices

As someone who listens to Spotify a lot through its desktop app while working, the fact that the world's most popular streaming music service has never had a more discrete, configurable miniplayer you could tuck out of the way has always baffled me. Well, today the productivity gods are smiling upon us, with Spotify announcing the release of its new Spotify Miniplayer feature for its desktop app that allows users to listen to music and watch videos while using other apps and windows.

It's rolling out today and available only to Premium subscribers at the moment. Once implemented, users can activate the miniplayer through an icon that will appear down at the bottom right next to the app's volume slider.

There's something about springtime. We're moving out of winter and slowly making our way to summer. And depending on where you live, you'll get that perfect mix of hot and cold, if you're lucky. But everyone — and we do mean everyone — will find themselves touched in some way by March Madness. That is, the massive college basketball tournament that hits this time every year. Sixty-four (plus) teams. Multiple rounds. One loss, and you're done.

And one more thing that's consistent for all of us — you can watch March Madness on Sling TV. Maybe not all of it, but much of it. (Welcome to the confusing world of Sling TV, folks.)

Welcome to Movies702

Movie reviews.

Welcome to Movies702 where we provide movie reviews and Free Advance Screenings to the hottest and latest movies.

Movies702 is here to provide movie reviews and give access to advance movie screenings, subscribe to stay up to date with the latest news and movies.

• Free Advance Movie Screenings
• Free Movie Tickets
• Help You Promote Your Movie
• Help You Fill-up Movie Theaters

These are movies that we have personally screened!

Avatar The Way of Water

Puss in Boots: The Last Wish

Minions The Rise Of Gru – Review

Subscribe to movies702.

Stay up to date with the latest movies, movie reviews, FREE Advance Movie Screenings, Giveaways and so much more!

Bowers & Wilkins 702 Signature review

A unique finish and audio refinements make for a truly premium package tested at £4499 / $6499 / au$8499.

What Hi-Fi? Verdict

While you'll be paying a premium for the Signature version of Bowers & Wilkins 702 loudspeakers, it does come with a bump in sound quality – breathing new life into your music – and a uniquely stunning Datuk Gloss finish.

Rich and musical

Extended bass and highs

Room-filling sound

Lowish impedance

Why you can trust What Hi-Fi? Our expert team reviews products in dedicated test rooms, to help you make the best choice for your budget. Find out more about how we test.

This review and test originally appeared in Australian Hi-Fi magazine, one of What Hi-Fi? ’s sister titles from Down Under. Click here for more information about Australian Hi-Fi , including links to buy individual digital editions and details on how to subscribe.

I was a great fan of B&W’s 702 loudspeaker design, and of the Series 2 version of it that followed, which was a significant improvement. So I was intrigued when the famous British company announced that it was releasing a special ‘Signature’ version of the 702, because I wondered how such an evolved design could be further improved. I was lucky enough to be given the chance to find out, and what follows is what I discovered.

• Best stereo amplifiers 2020: best integrated amps for every budget

Unique cabinet finish

Extracting the first of my review pair of speakers from its packaging revealed one difference straight away: a new finish, one that I’d never seen before on any B&W speaker (or on any other brand I can think of). It turned out to be a veneer B&W calls Datuk Gloss that is apparently unique because B&W says that the veneers on any pair will be slightly different to the veneers on any other pair, because no two models share the same grain pattern.

B&W sources this essentially “ebony-coloured” veneer from a specialist timber company called Alpi that is based in Italy, and says it sources its timbers only from sustainable forests. Bowers & Wilkins then adds value and improves the appearance by adding nine clear finish coats to the veneer, including multiple lacquers, to give every 702 Signature cabinet a deep, lustrous appearance.

I decided to examine the unpacked speaker very closely before unboxing the other of the pair, and noticed two other small changes, which were that B&W has changed the colour of the metal trim rings around its tweeter and midrange driver from black to silver. Presumably these silver trims rings are also unique to the 702 Signature.

One thing that did surprise me about my examination was that it wasn’t until I looked at the rear panel of the speaker that I discovered a fairly small, unobtrusive and decidedly discreet but quite elegant metal badge with the lettering ‘702 Signature’ and ‘Bowers & Wilkins’ on it. If I’d been responsible for the design, I probably would have put this badge on the front baffle or the grille, so it was more ‘in your face’.

Look as hard as I might, I could not find any other differences between the 702 Signature and the models that preceded it, but it transpired that the other difference were ‘under the hood’, so to speak.

B&W says that it has significantly upgraded the quality of all the capacitors and resistors used in the 702 Signature’s crossover network, increased the voltage rating of the low-pass section’s bipolar capacitor and sourced its bypass capacitors from famous German manufacturer Mundorf.

Tweeter on top

Unlike most loudspeakers, where the tweeter is installed on the front baffle, usually at the top, the 702 Signature’s tweeter is mounted in a separate, acoustically and mechanically isolated housing that sits on top of the cabinet. This housing is made from black-painted aluminium and, including the tweeter, weighs around one kilogram.

B&W started positioning its tweeters like this when the late John Bowers and his research team discovered that the frequency response errors and phase irregularities produced when a tweeter was mounted on a baffle disappeared when it was located separately from the main cabinet.

The 25mm dome diaphragm contained at the front of the housing has what B&W calls a ‘carbon’ dome and a unique construction whereby the front portion of the dome is formed from a 30-micron-thick sheet of aluminium onto which an ultra-thin carbon coating is applied by vapour deposition. This is attached to an inner section of carbon material that’s 300-microns thick and profiled to match the curve of the main dome.

B&W says this dual-layer construction pushes the frequency of the dome’s first break-up mode up to 47kHz, or more than an octave above the highest frequency perceptible by the human ear.

• Best subwoofers: deep bass for music and movies

Fixed suspension transducer

The midrange driver in the 702 Signature is exactly the same as the one in the 702 S2 apart from the difference in colour in the trim rings. However, it’s a driver that is unique because whereas most cone midrange drivers have a flexible rubber or foam surround suspension, this particular B&W midrange driver does not. It is what the company calls a ‘Fixed Suspension Transducer’ or ‘FST’, so-called because the cone is attached to a narrow polymer ring that stretches and contracts to accommodate the cone’s movement.

B&W says FSTs have improved transient response and, because there’s no flexible suspension to reflect energy back across the cone surface, they have less dynamic distortion. The FST’s cone is made from a woven composite fabric B&W calls ‘Continuum’.

As for that trim ring, it’s not just cosmetic, to hide the driver fixings – it does double duty as a tuned mass damper (TMD). 

Also, despite it appearing to be solidly mounted to the front baffle, the 702 Signature’s FST is isolastically mounted so that its performance cannot be adversely affected by cabinet vibrations.

The three 165mm diameter bass drivers on the 702 Signature have cones made using the same triple-layer ‘sandwich’ technique B&W originally developed for its 800 Series, where two outer layers enclose an inner layer. 

The outer layers on the cones of the 702 Signature’s drivers are made from paper and the inner layer from expanded polystyrene (EPS). The company says that the multi-layer construction technique avoids the abrupt transition from pistonic to break-up mode behaviour that usually impairs the openness and neutrality of drive units with cones made from a single uniform material.

As with all recent-model B&W speakers, the flared exit of the 702 Signature’s rear-mounted bass reflex port is made from a dimpled polypropylene material that minimises air turbulence at the mouth of the port… a design trade-marked by the company under the name ‘Flowport.’

As you’d expect of a model in the 702 Signature’s league, the speaker terminal plate facilitates bi-amping or bi-wiring through the provision of two pairs of large, multi-way colour-coded terminals.

Also as you’d expect of any pair of tall, heavy speakers with fairly narrow cabinet dimensions, the 702 Signatures have a relatively high centre-of-gravity. This would normally mean they’d be relatively easy to tip over except that B&W supplies two very substantial base-plates which should be attached to the speakers before installation to improve stability. 

Listening sessions

The rear-firing ports on the 702 Signatures mean that the speakers’ bass response will be affected by their proximity to the rear walls, but it will also be affected if you elect to install the foam port plugs that B&W supplies, which are two-stage types so you can block off a port completely, half-block it or, of course, not use the plugs at all. 

B&W’s Owner’s Manual has an excellent description of the different sonic effects the different combinations will have on the bass response, plus it also has three very good – and very accurate – graphs showing how the low-frequency response will be affected.

I found that no matter where I positioned the speakers in relation to the rear wall, or what port configuration I used, the bass response from the B&W 702 Signatures was impressively extended, so that with music, it easily accommodated the lowest note on a piano (27Hz). And from using them as front channels when watching movies, the movie sound effects proved to me that the low-frequency response went even lower than 27Hz.

The B&W Signature 702s were also capable of playing loud at these low frequencies. I was able to achieve room-shaking levels when playing Bach’s Toccata and Fugue in D Minor , for example. The tonal quality of the bass was also wonderful, with beautifully rich-sounding ‘Ds’ at the bottom of the runs and a resonating chordal sound at the conclusion of the arpeggios.

But it wasn’t just organ music that demonstrated the rich bottom-end sound of the B&W 702 Signatures. The speakers’ bass response also worked wonderfully well for all musical genres – the sound of kick drums was full-fledged and meaty, and the sounds of both double-bass and electric bass were rendered rich and full, with nice detailing. 

This excellent bass response was perfectly matched to the midrange response, so that combined, the two presented a soundfield that presented aurally as a gloriously full sound-stage extending right across the space between the left and right speakers. 

If you listen to Claudia Tellini sing her multi-tracked interpretation of Roger Waters’ classic Pink Floyd hit, Money (from Stazioni Sonore's Who’s Got Its Own ), which has everything from solo vocal to speech to scat as well as ‘harmony’ you can’t fail to appreciate how B&W’s FST midrange driver delivers the sound of her voice to perfection. Its low distortion will also allow you to admire the perfection of Tellini’s articulation and pitching.

I am a huge fan of getting tweeters away from front baffles, indeed removing them from anything that could possibly affect the motion of their domes – and therefore their sound quality – but the sweet, pure and uncoloured treble sound I heard from the 702 Signatures wasn’t just down to the facts that the tweeter is physically isolated and radiates its sound without any interference from the main front baffle; it was also down to that new carbon dome design. 

A great way to test the ability of any tweeter is to play the title track of Norah Jones’ Day Breaks where the tweeter has to simultaneously handle cymbals, violin, pedal steel guitar and Hammond B-3 organ along with the harmonics of the soprano sax… it can get very busy and, if the tweeter is not up to the task, it will sound congested and mushy.

The B&W 702 Signature’s carbon-dome tweeter handled all these sounds in its stride, whilst still maintaining that sense of ‘air’ around the highs that only the finest tweeters can manage. The resolving power allowed me to hear each sound in its own acoustic, with the tonalities of the individual instruments separated from each other. If you listen, make sure you pay attention to the sound of the harmonics of the higher notes of Jones’ piano on the following track ( Peace ) as well as the higher harmonics of Wayne Shorter’s soprano sax.

Final verdict

The best thing about these B&W 702 Signature loudspeakers is that everything you play through them will sound great, because they will make whatever music you play through them sound richer, more musical, and more exciting and, in a way, almost “larger-than-life”, yet at the same time not, because they also deliver true-to-life sound... albeit without monitor-like accuracy.

As to whether you think it is worth paying the premium over the standard B&W 702 S2 to gain the improvement in sound quality, the exclusivity of the Datuk Gloss finish and the cachet of owning a ‘Signature’ version, that will be a matter between you and your wallet.

• Best speakers 2020: budget to premium

Lab test report

The overall in-room frequency response measured by Newport Test Labs for the B&W 702 Signature is shown in Graph 1. Acquired using pink noise as a test signal, this response is not smoothed, but it is averaged to compensate for the inherent random nature of pink noise and for microphone position relative to the midrange driver and tweeter in particular. 

However, although the speaker was floor-standing for this measurement, it was more than four metres from any other boundary, so there’s none of the usual low-frequency boundary effects that would be found in a typical domestic living room.

You can see that the response between 100Hz and 13kHz is very flat and exceedingly linear, so that it can be contained in its entirety with a 2.6dB envelope. So normalised, the response would be 100Hz to 13kHz ±1.3dB. 

However, using the industry-standard deviation of ±3dB, the response as graphed is 44Hz to 20kHz ±3dB, though in this case the upper graphing limit is 20kHz (see next paragraph). This correlates almost perfectly with B&W’s specification for this model of 46Hz–28kHz ±3dB.

In order to more closely examine the high-frequency response of the B&W 702 Signature, particularly above 20kHz, Newport Test Labs switched to a gating measurement technique that simulates the response that would be obtained in an anechoic chamber and allows up to 1Hz frequency resolution. This response is shown in Graph 2, below. 

The increased resolution shows the response between 700Hz and 10kHz is not quite so ‘flat’ as the pink noise measurement suggests, yet the peaks and dips shown in Graph 2 would not be audible to the human ear: it would ‘hear’ the response shown in Graph 1. 

Nonetheless the peaks and dips are still within ±3dB, therefore fall within specification.

You can see that although Graph 1 shows the B&W 702 Signature’s frequency response falling to –3dB at 20kHz, it actually rises above 20kHz to peak at around 30kHz before falling again to –3dB at 38kHz. 

This means that if you combine the results gained from the two tests, Newport Test Labs measured the response of the B&W 702 Signature as being significantly better than B&W’s specification, with a measured result of 44Hz to 38kHz ±3dB.

I was interested to see how the frequency response Newport Test Labs measured of the B&W 702 Signature compared with its measurement of the B&W 702 S2 and they’re to all purposes identical. 

So I feel I can recycle the comment I made about the S2 model at that time, to whit: “Although its frequency response is not as flat as some B&W speakers Newport Test Labs has measured in the past, [its] frequency response is still admirably flat and linear and Newport Test Labs’ measurement of it exceeded B&W’s own specification by a good margin.”

The low-frequency response of the B&W 702 Signature, as measured by Newport Test Labs using a near-field measurement technique to eliminate room effects, is shown in Graph 3 above. 

You can see that the bass drivers’ output rolls off more steeply below about 80Hz to a minima at 26Hz when the cabinet’s ports are not blocked (bass reflex) but less steeply when the port is blocked (infinite baffle).

Interestingly, the peak output of the bass reflex port occurs right down at 20Hz, well below the frequency I’d have expected it to be, namely 26Hz, to coincide with drivers’ minima. This would partly be to ensure better alignment in infinite baffle mode, but I’d guess was also the result of listening sessions, rather than computer sessions.

You can see that B&W’s engineers seem to be allowing the midrange driver’s response to roll off naturally, without any electronic filtering, with the roll-off commencing at 550Hz, but the measurement technique is not reliable at this frequency, so I won’t place too much importance on this. Nonetheless, it is obvious that the midrange driver is flat up to around 1.3kHz, after which it’s rolled off so the tweeter can take over.

Graph 4 (above) shows the impedance of the B&W 702 Signature, and it’s pretty low, with a minimum impedance of 3.1Ω at 120Hz, and staying at or below 5Ω from 80Hz right out to 1kHz. This would seem to be rather at odds with B&W’s ‘nominal’ specification of 8Ω. 

I would personally have put the nominal impedance of this curve as 4–6Ω and if pushed to hang a single figure on it, rather than a range, then 4Ω. It will certainly present a challenging load down at 80Hz, where you can see a 4.7Ω impedance combined with a –68 degree phase angle (the phase angle is shown by the light blue trace).

Impedance graphs are also pretty good for identifying cabinet resonances, and I can’t see anything on these traces that suggests there might be any, so good work on the cabinet.

Allowing for inevitable sample and measurement variances, the impedance of the B&W 702 Signature is identical to that measured by Newport Test Labs for the B&W 702 S2.

As is mostly usual, Newport Test Labs has included a composite graph (Graph 5) that combines the various different measurements to give an overall picture of the B&W 702 Signature’s performance. 

Newport Test Labs measured the sensitivity of the B&W 702 Signature as being 90dBSPL at 1m for 2.83Veq under its standard test conditions, which means this design has well above average sensitivity and also confirms B&W’s own specification of 90dBSPL for this parameter. 

This is exactly the same result the lab measured for the B&W 702 S2 several years ago, about which I commented at the time: “The B&W 702 S2 also met its specification for sensitivity, which is a rare achievement for any loudspeaker.”

Overall, Newport Test Labs’ tests prove the B&W 702 Signature to be a very well-designed loudspeaker whose frequency response is extraordinarily linear and extended (in fact, surpassing its manufacturer’s specifications) whose sensitivity is admirably high and whose 

My only proviso would be to recommend using an amplifier that is completely comfortable driving 4Ω loads.

Australian Hi-Fi is one of What Hi-Fi?’s sister titles from Down Under and Australia’s longest-running and most successful hi-fi magazines, having been in continuous publication since 1969. Now edited by What Hi-Fi?'s Becky Roberts, every issue is packed with authoritative reviews of hi-fi equipment ranging from portables to state-of-the-art audiophile systems (and everything in between), information on new product launches, and ‘how-to’ articles to help you get the best quality sound for your home. Click here for more information about Australian Hi-Fi , including links to buy individual digital editions and details on how best to subscribe.

• International edition
• Australia edition
• Europe edition

Late Night With the Devil review – diabolically funny found-footage horror

Australian brothers Cameron and Colin Cairnes deliver satire and shocks in this gleeful sendup of 70s network talkshows

A malign presence lurks in the corner, insidiously leaking poison into our minds; it’s ubiquitous and addictive. Small wonder that genre film-makers have long toyed with the idea that television is inherently evil.

Late Night With the Devil , a gleefully wigged-out found-footage horror by Australian brothers Cameron and Colin Cairnes, joins a growing list of films tapping into the dark side of the small screen. It’s a list that includes Hideo Nakata’s Ringu , David Cronenberg’s Videodrome , Tobe Hooper’s Poltergeist and the buzzy forthcoming title from Jane Schoenbrun, I Saw the TV Glow . Unlike most of the other examples however, Late Night… focuses not on the passive consumption of television, but on its creation. The film hints at a Faustian pact that trades dignity, honesty, morality and even human lives to claw a share of the ratings figures. Which, when you think about it, is not so very far-fetched.

Smart, cynical and at times devilishly funny, the film delivers a crackle of disruptive static to the demonic possession genre. It takes the form of a long-lost master tape and backstage footage from an ill-fated 1977 Halloween special of Night Owls, a struggling syndicated evening talkshow fronted by host Jack Delroy (a note-perfect David Dastmalchian, all slippery neediness and insincerity). Facing cancellation, Jack and his producer have pulled out all the stops: the fright-night special features a psychic, a cynic and, as the star attraction, a parapsychologist and a demonically possessed 13-year-old girl (an impressively disquieting Ingrid Torelli). The scene is set for a live attempt to commune with the devil. But first, a message from the sponsor…

• The Observer
• Horror books
• Period and historical films

Most viewed