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While I agree that it comes down to context, that context isn't limited to the instrument. The Weber 10F150-T used in the comparison supposedly parallels the Jensen C10Q in tone. If you look at the (on axis) response graph Jensen provides, there's a jump from around 1.9 kHz to 2.2 kHz in SPL, from 95 dB to 109 dB. To get a better feel, the general sensitivity (SPL per watt per meter) is rated at 95 dB while the 2 - 4 kHz range all holds above 105 dB, 10 dB above, which is twice the apparent volume. The Jensen speaker's drastic boost from around 2 - 4.5 kHz certainly makes sense in establishing its reputation as a bright speaker. That range is also where our ears are most sensitive if you look at equal loudness contours (Fletcher-Munson). I don't believe Weber releases any response graphs, so don't take the numbers literally - we don't know how similar the speakers actually are, but the Jensen graph hopefully is valuable in establishing the trend.

If the Weber response is anything like the Jensen, and they're marketing it as being exactly that, then we should find it bright. They're being advertised as biting while clean and edgy with distortion. Another thing to consider is that the SM57 has a bit of a "presence boost" that starts sloping upwards at 2 kHz and hits around +4 dB at 4 kHz, +5 at 5 kHz, and peaks at between +6 or +7 at 6 kHz. I don't imagine the boost at 6 kHz will do much, but in the area from 3-5 kHz exaggerates the already top-heavy response of the speaker.

The L-45s also likely have a lower inductance at 2 H than the L-200, so the resonance will fall higher. We would have to know the capacitance of the cable, which we could deduce from length in this case, to find where the resonance occurs and how it affects the presentation in the sound samples. Does anyone have figures for the L-200's inductance in all positions?

This is all before figuring in the amp settings and microphone's capture of off-axis angling relative to the speaker.

I agree that it's fair to say that the L-45 will sound comparatively more lively and articulate than the L-200, and that it sounds brighter in the same setup. But trying to maintain the variables from the L-200 to the L-45 in the recording sets up other questions - how does the L-45 sound when the user adjusts the pickup height and tone stack accommodate their preferences? How does it sound outside the context of a bright speaker paired with an SM57? What happens when you change the location of the resonance?

I'm greatful to Vito for providing the sound comparisons, but before we make that comparison for our own assessments, it's important to know what context we're establishing that in. Vito was gracious enough to give us most of the information we need to compare the two

edit: Fixed a typo.