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Post by Moz on Nov 16, 2007 20:18:01 GMT 7
Well? Anybody care to posit what modern speaker comes close to the LS3/5A's sonic character?  |
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Post by shushu on Nov 17, 2007 3:57:05 GMT 7
Hello
Dealing with the 3/5, I think that we are facing a very high quality level in transmitting the details of the music, a great transparency, clarity, and also a amplitud/frequency that colours a bit the sound (more energy in the treble than in the medium, which is slightly recessed).
For the transparency, may be we should give a chance to the Harbeth speakers? Anybody knows some of them?
There is a lot of controversy about the Stirling ls3/5a V2 in the french forum, but personnally I have not listened to them. Some say that it is very transparent, others say that it does not reach the standards of the real one.......
The typical amplitud/response of the ls3/5a is not very interesting for me, I do not know what to say about it. I use to modify the amplitud/frecuency curve of mines with purely acoustic methods, I use to flatten it, so.....
Good morning from French Guiana, where we are almost preparing to go to bed (after one CD or two of course).
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Post by splendor on Nov 17, 2007 5:18:27 GMT 7
We all know that there are several drop-in replacements so to speak to the LS3/5A. Rogers I believe have ceased their model the Studio 3. Harbeth has the P3 still going. Just heard them recently being driven by a power Accuphase ss amp. The spendor model, thought highly as the closest to the Ls3/5A, the S3/5 first version has been superseded by the S3 which I've also heard.
While all of these speakers sound good to my ears, they donot possess or do exactly as the LS -- good or bad.
The Rogers Studio 3 for instance sounds smooth with less of the "bark" and "squak" of its former rival. While the instructions manual suggest that these speakers should be placed closed to the back wall, I always set-up mine the way the LS is. That's 6 feet apart from woofer to woofer distance at a nearfield listen of course. And way from walls. It sounds a bit lighter without the bass hump (bark), and less airy in the treble without the LS's 'squak." The Studio 3 can play a bit louder than the LS
that I can actually use the same tube amps that I use for the LS, in this case either a fisher x100b or a stromberg carlson 220 or 433 using 6V6 and el84 respectively. I would venture to say that the LS sounds a bit more deliberate, romantic, deeper and soulful despite its known coloration. On the other hand, the Rogers Studio has excellent smoothness in the lower registers up to the midrange with a flatter (slightly bland if you like) modern treble. I haven't experimented with the Rogers using ss amplification.
I used to own a Spendor S3/5. To begin with, the S3/5 seems to have the weight of the LS3/5A giving its sound some of its depth and image holography. I think it also has a very slight rise in treble energy at 7 kHz. making it sound it little pronounced on the "Ss" causing some minor sibilance somewhat. The treble is rolled off at some point giving the S3/5 that beautiful "warm curve" that we always enjoy hearing in concert halls. Like the Harbeth P3, the S3/5 sounds better with ss amplification.
I'm sure there are other modern sounding modern speakers that can trample the LS3/5A like the ProAcs, Totem 1, DB1 Plus from PMC, and the likes from other companies doing small monitors, but none of them will surely exactly "sound" like the LS3/5A.
Take your pick. This is only audio. While our little preferences take precedence over the music, enjoying it is always a state of mind! As Santayana once said: "Music is the highest form of art that serves the dumbest emotion."
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Post by Moz on Nov 17, 2007 6:49:26 GMT 7
Hi Shushu, It's interesting that you are from the French Guiana as I just finished reading Henri Charriere's novel Papillon a few days ago. I now also have the 1973 movie w/ Steve McQueen & Dustin Hoffman. Some critics say Henri Charriere's account is fictional but he claims it's true. I've been checking the historical sites on the net recently as well.
One of these days I'd like to visit your part of the world.
Back to the topic, I think Harbeths like the P3's are built around the tradition of mini-monitors that the LS set. It plays well listening near-field ala LS. It the same tradition, it's midband is clear and resolved but I find the LS to have more warmth while the P3 is more neutral.
I've heard both James' Studio 3's & Spendor 3/5. They are as he describes. It's like the spirit of the LS3/5A with their own slight variation in character. They both belie their sizes and can give full, rich sounds driven correctly.
Another thing I like about the LS3/5A is that it can disappear and just envelope you in the sound.
Enjoy the music!
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Post by splendor on Nov 17, 2007 8:16:58 GMT 7
Right is it that all these speakers can disappear figuratively speaking. The sound really belies their size so m uch so that even ole Gordon Holt said it was laughable they do!
Truth of the matter is that old speakers have a more romantic appeal to their sound when compared to their modern counterparts. It may probably have something to do with the wisdom of the era or age these old speakers were hatched in. A good illustration to this would be the difference in sound between tubes and solid state.
At the end of the day, taste will largely play a part in all our listening -- even if it's the same music the same artists of "which" audio gear. In no case "must" it prevent one from relishing the music, si, yes 'enjoy the music'.
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Post by splendor on Nov 17, 2007 9:59:50 GMT 7
"What modern speakers come close to the sound of the....."
Ken Kessler in June 2004 wondered about the same question and decided to have a shoot out of five differing contenders to the ageing LS3/5A. Here are the scores: ""THe Blue NOte was top in each category. It sounded bigger, fuller and more realistic in terms of soundstage and scale than any of the others. After that it was free-for-all, with the three speakers finishing within a 141-145.5 point spread and the Spendor achieving 151-- not least because all agreed it was the most LS3/5A-like..but it still wasn't an LS3/5A."
Now hold your breath on this!
"Most important two things emerged from the listening sessions. The first thing is that all he loudspeakers in the group were certainly worth considering--o pups in the filter --and it spoke volumes for what is available today's shopper in the small-monitor-for-under-a-grand sector. But the second realisation to merge was that the Rogers LS3/5A is still so vastly superior to the current crop in every area bar maximum output levels that I'm afraid it's business as usual:back to eBay, fellas."
The moral being is don't sell your old LS yet!
The speakers were:
AVI Position
Blue Note A3
Harbeth HL-P3es
Pen Audio Rebel 2
Spendor S3/5se
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odaey
Junior Member
Posts: 62
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Post by odaey on Nov 20, 2007 22:55:37 GMT 7
I won't really call the Rogers studio 7 that modern But it has decended from the export monitor, then the studio 1 and 1a and therefore was Rogers latest variation on the BBC 2 cubic foot monitor theme. I would gladly say that it still does have the traditional BBC sound. Some of my friends who have heard it even prefer it to the Ls3/5a. But thats another story.  |
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Post by splendor on Nov 23, 2007 18:05:31 GMT 7
Come to think of it, the DB1plus is another alternative. I've heard these speakers enough to tell that it has depth, good imaging, resolution of detail, surprising bass, and a good sense of scale that defy's its size. But it still does not sound like the lS3/5A --good or bad. I'm sure KK must have heard the DB1. Had he included it, it still would not sound like the LS3/5A, so meaning apples are not oranges.
Small transmission line monitor speakers from ex BBC engineers. If I can only own one.
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Post by Moz on Nov 25, 2007 20:22:44 GMT 7
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aaa11
Full Member
Posts: 101
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Post by aaa11 on Sept 13, 2008 8:15:35 GMT 7
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