There are several show me threads, so thoughts we should have an LS3/5a one to show which model you’re using plus your electronics.
I’ll start with my newly acquired Stirling V3’s in Wild Oak. They are driven by Supernait3 and sources are ND5XS2 and Rega P8/Naim Superline.
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Thats a lovely finish you choosed there.
As I understand the V3 is changes in crossover on V2’s
The circumstances at Stirling made me go for a pair Walnut V2
Really nice loudspeakers which can handle a bit more SPL than LS3/5a with Kef units.
Of course any LS3/5a do have its pro’s and con’s and will never be a final solution for me, they are too compromised overall.
Office setup here.
What I can’t understand is they didn’t offer any singlewire V2 or V3 - a pity to install such a performance reducing link, really not necessary.
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Hi Per
Walnut was my second choice, it’s a great finish.
In terms of end speaker, not sure that exists, not for me anyway. I’m always curious, probably still chasing something (newer) to replace SBL’s.
Yes, biwire is an odd addition, not sure its greatly used.
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They look very nice - well done! As a coincidence, I’ve just been researching LS3/5a speakers. This was all prompted by BK electronics listing pairs of new UK-made LS3/5a speaker cabinets on eBay for very attractive prices. They also list the parts needed to create their own version of the speaker.
During my research a noticed that Stirling Broadcast are doing specials on their models due to impending retirement.
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Thanks Alex.
Yes I bought them due to the offer in place just now, I thought they were worth the punt.
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What do you think of them thus far?
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It took some time to get them ‘run’ in and also placed right. There are a lot of different views on placement and I know every room is different, so takes some trial and error. I feel I have them sounding their best just now.
For the type of music I like, acoustic, jazz and folk they are brilliant. So much mid range, vocals are stunning and plenty of controlled bass for my ears. Soundstage is wide and deep and I just love their intimacy at lower volumes.
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In my early days I inherited a pair of really big Klipsch Horns (nobody else wanted them) . I think that experience was important in discovering a pair of Rogers LS3/5a in the early 80s. Plus of course the review in The Absolute Sound. They were later mostly driven by 32.5, HC and 135s. At the time they were playing either Frank Zappa or the Wagner Nibelungen Ring.
I have just decided to get rid of the Magnepan big panels and go back to LS3/5a. And when reading the review in the Stereophile on the Harbeth Nelson stands/sub I found this nice description by Herb Reichert:
For me, the magic of mini speakers is that they present an endlessly fascinating spectacle, one that treats every music genre equally while giving me the engineer’s view of what the microphones captured and how the album tracks were mixed—exactly what the BBC’s LS3/5a was created to do: show engineers what the microphones were capturing.
Unlike the Voice of the Theatre, which made everything cinema-scaled, the LS3/5a shows off its location-monitor talents by depicting vocal recitals, large orchestras, and grand movie soundtracks in reduced size and loudness but in their original proportions! For me, this is key: The BBC’s smallest monitor achieves its believability with proportionality and strict tone-truthfulness. And that makes for good long-term relationships.
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I also just acquired some Sterling ls3/5a V3 in Wild Oak veneer the same as @carruthersesq. I’m pairing them with Nait 50, NDX, and Nat01. The V3s are sitting on Falcon speaker stands designed for their ls3/5a. They’re working well together.
There are also some Spendor ls3/5a 11 ohm that I’ve owned for 30 years or so in the main system. They are working with some Rogers AB3a active subwoofers. Electronics in this setup are 252/SCDR/250DR, NDX2/XPSDR, LP12, and Superline.
There are some Rogers and Falcon gold badge currently being in the cub board to be swapped with the Spendor occasionally.
I’ve experienced some Sterling V2 and Graham Chartwell too. I’d say that I like the V3 with the Nait 50 pairing the most, so the biwire thing doesn’t bother me. They are so engaging. I can listen to the music all day long. I can hear each instruments and voices very clearly and playing together. I haven’t had a chance to put them on the main setup though since they are on different locations. Will report here later if I have the chance.
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I really do like the Wild Oak finish - an interesting grain pattern without being too much.
The Rogers AB3a - a very interesting design concept which, being both active and sealed, deals with issues related to passive AB1 and 2 - they can be tuned to taste/application via output, phase and crossover points. I am almost certain that BK Electronics have had a major input on these - they might even OEM them. The plate amp is certainly BK and the satin black finish looks very BK too. Interestingly the LS3/5a cabinets that BK are offering look incredibly similar to the Rogers LS3/5a too. The drivers they offer are different though. What do you think of the AB3a?
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I might have to look into these further. I’m sure some LS3/5a designs are superior to others but there is clearly something to the concept.
Our son’s piano teacher (now in his early 80s) has a pair of Audio Master LS3/5a in his music room - I spoke to him about them this week - he’s had them years. Fortunately he knows what he has got and was well aware of what they are and their value. He matches them with a TEAC Reference 500 system including the A-H500i amplifier.
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Both of those look really good in your rooms, Bandit.
To my eye there is something just right about these speakers in small/medium sized rooms.
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It’s interesting about BK electronics. Thanks for sharing. I like the AB3a though. They are flexible about filter and gain setting to match the room well as you said.
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Thank you. The ls3/5a works well in my small room indeed.
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I have been interested in HFi for 40 years or so but can someone explain what an LS3/5a actually is? How come it can be made by different companies? I am aware it has a sort of legendary status but don’t know anything else.
Happy to start a new thread if people prefer.
Bruce
It is a concept/design for a monitoring speaker in small spaces, typically outside broadcast vans, by the BBC that is/was available to build by paying a licence fee, hence the different brands. The theory is that the licence holds makers to close tolerances so they all sound the same.
Search Mark Hennesey BBC speakers for many articles, you can also find the BBC design papers.
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The Linn Kan is a much modified derivative of the LS3/5A, which was quite definitely NOT BBC licenced…!!
Earlier this year I put together a small, non-Naim system:
Source: Wattson Audio Emerson DIGITAL / Roon
Amplification: Lejonklou Boazu
Speakers: Graham Audio/Chartwell LS3/5 BBC Monitors
Wire: Audioquest Vodka Ethernet Cable, Tellurium Q Ultra Black II RCA Interconnects, Micca Pure Copper Speaker Cable
[I apologize for the poor quality of the picture.]
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Thanks for the info folks