Maybe we are just chasing the dream of what was. The Continuum's by Jeff Bagby were inspired by LS3/5A but probably better. You can't expect much from tiny little boxes with a 5in woofer, but these do sound great.
https://meniscus.lightningbasehosted.com/wp-content/uploads/2015/11/Continuum-Writeup.pdf
Too bad the RS28A aluminum cone tweeters are no longer available.
You can listen to a set on this video:
YouTube
https://meniscus.lightningbasehosted.com/wp-content/uploads/2015/11/Continuum-Writeup.pdf
Too bad the RS28A aluminum cone tweeters are no longer available.
You can listen to a set on this video:
YouTube
My version of Continuum still running well sounds good too.
Attachments
At one point I had Neat Momentum , Totem model 1 , Proac Response 1s and Sonus Faber Concertino in small bedroom against Rogers LS 3/5 a 15 Ohm.There wasn't much to compare since old Rogers were much better than the rest of audiofile brigade. Than I got comparable vintage Linn Kann and it was nothing to write about . People get those old boxes on sound basis not nostalgia.They work in closet size rooms.
Falcon Acoustics LS3/5a loudspeaker Measurements | Stereophile.com
Only the high impedance is the interesting. The other measurements...
I think this design is much more interesting, also closed and two ways but very different, bigger and hybrid: GR Research Studio Monitor by Danny Richie
Measures: Tyson's Studio Monitor Review
Measures: Tyson's Studio Monitor Review
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GR Research Studio Monitor
Pictures optimized and clarified
Pictures optimized and clarified
An externally hosted image should be here but it was not working when we last tested it.
An externally hosted image should be here but it was not working when we last tested it.
It was build for a specific purpose wich was not hifi, but as monitor for BBC productions in the field. It's targeted at the midrange wich is the most important part for for vocals (radio), and bass is little with this speaker (but you could use a subwoofer with it).
But many principes that were devolopped there, are used now in very high rated speakers like the Harbeth's.
And i did copy the mass damped lossy cabinet system for the tops i use now (see picture). The driver is a Mark Audio Alpair 10M fullrange in an 11.5L sealed cabinet build following that principle, and it's the best speaker i did hear with this driver (and i did build many already) but it also needs a sub...
And that is what we should do with the heritage of this speaker, use the good things and build more modern interpretations of it, that more fit our goal.
But many principes that were devolopped there, are used now in very high rated speakers like the Harbeth's.
And i did copy the mass damped lossy cabinet system for the tops i use now (see picture). The driver is a Mark Audio Alpair 10M fullrange in an 11.5L sealed cabinet build following that principle, and it's the best speaker i did hear with this driver (and i did build many already) but it also needs a sub...
And that is what we should do with the heritage of this speaker, use the good things and build more modern interpretations of it, that more fit our goal.
Attachments
To add a little to this; the Falcon drivers are made in the UK but quite reasonably they're keeping the source to themselves, last time I looked. Volt make the new LS5/9 drivers for Graham Audio so perhaps there's a connection there or maybe Falcon make them themselves.
The commercial versions pay a licensing fee to the BBC and have to match the specifications rigorously, so each unit may be hand-adjusted, which costs. The license itself won't be cheaper, either, and will add to the cost of each pair. You can get a feel for this by comparing Harbeth (non-licensed) equivalent monitors with any BBC licensed version in current manufacture.
FWIW, after many years of being sceptical about them, I finally got the chance to have a pair of early Rogers (brought back up to spec) and thought they were rather fine.
The commercial versions pay a licensing fee to the BBC and have to match the specifications rigorously, so each unit may be hand-adjusted, which costs. The license itself won't be cheaper, either, and will add to the cost of each pair. You can get a feel for this by comparing Harbeth (non-licensed) equivalent monitors with any BBC licensed version in current manufacture.
FWIW, after many years of being sceptical about them, I finally got the chance to have a pair of early Rogers (brought back up to spec) and thought they were rather fine.
And this is the laugh. None of the LS3/5a made under license actually meet the measurements of the first prototypes that the spec was made from.
I think this design is much more interesting, also closed and two ways but very different, bigger and hybrid: GR Research Studio Monitor by Danny Richie
Measures: Tyson's Studio Monitor Review
Those are nice measurements for sure. I have a lot of respect for Danny Ritchie’s designs. You might be interested in this bookshelf monitor that I just whipped up a simple crossover for the other day. Uses a Dayton RS28F silk dome tweeter in a Visaton waveguide, paired with a Dayton RS180P paper cone woofer and passive radiators.
Simple crossover in XSim:
Here is the measured response of the simple XO:
The waveguide allowed very good time alignment:
But most importantly, a very wide uniform dispersion (roughly 0deg to 60deg):
I have been interested in them because it seems possible to use OB in a normal room. Once you listen to an orchestral mass with OB in a very large room, change your perspective. With two DIY 18" closed subwoofer -> MAGIC.
DIY OB, from 2011. Metal body. Digital crossover with Behringer (without mod). The Ultracurve I think was the main responsible for it being unable to differentiate between MP3 and FLAC. And the DAC and... too many bottlenecks.
For traditional loudspeakers, I just want small KEF 5.25" coaxial or tweeter with a very good waveguide.
DIY OB, from 2011. Metal body. Digital crossover with Behringer (without mod). The Ultracurve I think was the main responsible for it being unable to differentiate between MP3 and FLAC. And the DAC and... too many bottlenecks.
An externally hosted image should be here but it was not working when we last tested it.
For traditional loudspeakers, I just want small KEF 5.25" coaxial or tweeter with a very good waveguide.
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BTW, some of the tricks are written in the 2.
Tyson's Studio Monitor Review
Over a year ago I added mass and cushioning to the KEF Q100 and the improvement was very noticeable.
Tyson's Studio Monitor Review
Over a year ago I added mass and cushioning to the KEF Q100 and the improvement was very noticeable.
Does anybody know how much it costed BBC to develop LS3/5a 's? It must have been a fortune I imagine ?
At that time when I had Rogers critters and the rest of the monitors my friend visited .
He is of the modern audiophile ilk with big expensive Mcintosh system and B&W 802 speakers . He didn't have any problem with selecting LS3/5a as the best with the music of choice . Now , give your favorite designer unlimited budget of a say a few million $ , undisturbed access to a recording facility with life orchestra playing behind the door and direct mic feed and a panel of classically trained audience to discuss and evaluate the progress of the product and the things may start to cook ..
At that time when I had Rogers critters and the rest of the monitors my friend visited .
He is of the modern audiophile ilk with big expensive Mcintosh system and B&W 802 speakers . He didn't have any problem with selecting LS3/5a as the best with the music of choice . Now , give your favorite designer unlimited budget of a say a few million $ , undisturbed access to a recording facility with life orchestra playing behind the door and direct mic feed and a panel of classically trained audience to discuss and evaluate the progress of the product and the things may start to cook ..
I think my recent measurements may have an air leak somewhere in the cabinet or temporary wire holes, as my earlier measurements shows -3dB around 60Hz (close to where the design was supposed to be).
Here was a previous measurement from years ago using DSP and active crossover.
Dali Zensor 1
DALI Zensor 1 loudspeaker Measurements | Stereophile.com
I think it is cheaper to improve a modern speaker with a similar response to LS3 / 5. With a good soft player with minimum phase PEQ you can polish the response, with the peak at 1 kHz. And close the rear bass reflex port.
DALI Zensor 1 loudspeaker Measurements | Stereophile.com
I think it is cheaper to improve a modern speaker with a similar response to LS3 / 5. With a good soft player with minimum phase PEQ you can polish the response, with the peak at 1 kHz. And close the rear bass reflex port.
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I suspect a lot less than you might imagine as BBC had an R&D dept then with all the test capabilities. The design of the miniature monitoring loudspeaker Type LS3/5A - BBC R&D gives the design report which gives you a little insight.
I have been in audio boutiques and listened a similar top of the line Macintosh and 802D system and came away unimpressed. It can get loud and clean. But the articulation and timing was all off and the system did not sound neutral. I also felt that there was a harshness and fatigue that bothered me. I thought it was an anomaly.
But a friend of mine who has an nice Macintosh amp system and same 802D’s listened to my DIY FAST speakers and was immediately smitten. He said to me it sounds better than his system from clarity, imaging, and lifelike presentation, and he asked me if I could build him the same speakers, plus the amp to go with it.
So my guess is that LS3/5A has better neutrality and lifelike presentation. But a totally different speaker than 802’s.