A mate (25yrs my senior and now retired in Cyprus - Neil Espley) worked at the BBC throughout the 70'80's90's as an engineer on R1,2,3,4 and ultimately as principle audio/mixing engineer for R3, he used these in outside broadcasts vans and when asked of the idea of the idea of home listening with these his reply was "You could, but why would you want to? - they were voiced for nearfield listening in closed environments to highlight the vocal range".
These speakers are perfect for remote workers. They tend to sit right next to the speakers. I have a pair of those, and they sound great next to my desk. I have a pair of Wilson Sashas for stereo listening instead.
I listened to a pair of Rogers LS3’s about 35-40 years ago when I owned a pair of Yamaha NS2000’s and I was so impressed by thoose small speakers, I have never forgotten them.
Funny. I heard those Rogers at the same time but they were way out of my price range. I too have never forgotten how great they sounded and I regret to this day that I never got them.
Since 1978 I have only owned and listened to two speakers: Rogers LS3/5a, now with my AV system, and Tympani 1D with my big system. Both are driven by ARC tube electronics.
I think it's amazing that a fifty year old design is still competitive today. Mind you I had a pair of Spendor BC1s for more than 35 years. They were just wonderful when in their comfort zone (ie not dubstep or thrash metal!). I might still be using them now if a 'friend' hadn't destroyed them for me!
"I think it's amazing that a fifty year old design is still competitive today." If you go further up-market there are even older designs still on sale. Lowther relatively recently introduced a version of their Acousta. The Original Acousta 115 was introduced in 1962. I listen to a pair made in the early '70s practically every day. I replaced the drivers in 2010 as they don't last forever. If you want to buy the new version it will set you back about seven grand though.
Back around 1980 I became a dealer at my stereo shop for the Rogers LS3/5a speakers after the impression they left me with some years before. A pair retailed for about $650. They were one of my favorite small speakers sonically; they were exceptionally well made. My pair also served as a reference for loudspeaker systems that I designed and built. The KEF drivers were the B110 mid-woofer and T27 tweeter which was modified by the addition of the metal grill.
I have the Falcon equivalent. I play all sorts on them - lots of techno, etc. My room booms at 50 Hz, I'm a relatively low level listener in the near-ish field, not to mention I much prefer a vintage-type aesthetic. Im my space, the best speaker I've had. And yep, I like the heritage and story. Horses for courses...
Nice review John. If you’ve still got them in your listening room try moving them more out into the room so at they are located midfield to your listening position with a lot of space between the speakers and your back wall. Place them right and you’ll get a soundstage and sound that will blow your mind.
I was very lucky to be given(!) a pair of Kef R101’s end last year. Comes quite close to the ls3/5a at least in the units used in that one. I gave it some tlc with new and decent binding posts and a complete recap with a tailor made capset from Falcon Acoustics. They sound absolutely delicious. I also combine vintage with future fi in that I use a Bluesound Node, highpass stereo out to a Rega Brio (which basically functions as a power amp) and the sub out to a Rel HT1003. That makes (my opinion) for a broader range where it works well, not just smaller acoustic music or jazz etc but it works also fine for Infected Mushroom. So don’t dismiss this sort of speakers as pipe and slippers, combine with modern stuff and have the best of both worlds…
My hot tip is the Falcon Acoustics Q7 (ca. £1400/pair with "gold badge" crossover). Same sound signature as the LS3/5a and same drivers/crossover but cheaper. They sounded so very balanced and "right". Needed a sub for pop / electronic music. Resolution wasn't on par with top spec modern drivers. But tonality was so great. Extra good sound in nearfield listening mode btw.
LS3/5a will always be in my top 5, probably even top 3 speakers. Love the Stirling and the Falcons. I can't wait to listen to the Musical Fidelity version. I use a version in a near field configuration and absolutely love them.
I bet those MF LS3/5a speakers are great, but I don't understand the price. If MF based the speaker, crossover and overall design on a 30 yr old plus speaker, why is it $2500? I have heard the R&D is where speakers are made or broken, and if the heavy lifting of this speaker design was already done, why $2500?
Are they made in England? I'm trying to find out, but that's my guess. Just costs more to manufacture there. Definitely not worth it if it's mass produced elsewhere.
The LS3/5A is a cracking little speaker. They don't do everything as good modern speakers do but what they lack in technicality, they make up for in character. I have recapped KEF Concerto, which add a B139 woofer in a rather large 62 liter front ported cabinet. No subwoofer needed as they reach down into mid 20Hz in my room with good control. I really think they should make a newer version of those for people who want big (bass) sound and that classic British mid focussed character all rolled into one.
I've lived with a set of original Rodgers ones bought from the BBC for the last 4 years and i can never picture any circumstances where i would ever willingly part from them for something else. id love a chance to test some of the new breed of them to see how my tired old set match up
I have an early pair of these made by Swisstone(the immediate successor to Rogers). Set about a foot from the wall, seated bout 4 feet away, the sound was incredible, completely drew me in. Setting them up 3-4 feet from the wall, seated about 8 feet, not so much. A vintage pair should have a matching serial number(A&B) on each speaker cabinet, on each driver and the crossover.
I think the BBC should be having words with Musical Fidelity as it seems the use of LS3/5a implies BBC involvement/approval - yet it has apparently not been asked for or given.
had a pair of Rogers LS 3/5a's for 20 years. naturally i had a subwoofer as well and although designed for near-field, they did a great job in a modest sized room. Musical Fidelity may be "playing it safe", but why not considering very few speakers in the bookshelf class are as well rounded.
I've never owned a pair of LS3/5A speakers but an uncle had a pair. They sounded very good in his small listening room. Just a minor point on impedance though. Fifteen ohms may be a gentle load for a solid-state amplifier which is a voltage source expecting eight ohms - but if you use a valve power amplifier, a fifteen ohm load on an eight ohm output tapping is a *harder* load as valve amps are a current source. (If you did physics at school and understand Ohm's law you will see what I mean.) If you buy a used pair from, say the early '80s which has an original crossover and drivers then I am certain it will no longer be to original BBC specification and consequently sound different. The drivers may be OK but I'd wager my next pension payment that the electrolytic capacitors in the crossover are well out of spec. There are professionals out there who will check this out for you and replace duff components but its all extra cost.
Love the channel John . What a finely tuned diplomat you are , So for 2,500 Euros the bass is none existant , the detail is not so good , they're a bit fuzzy around the edges etc etc .. But you do like the look of em and they might suit someone not requiring any of the aforementioned attributes , someone who likes a more muddy take on things . Beautifully put though , one must watch ones P&Qs ...Top channel sir !!!!
I have the chartwell (swisstone electronics) PM55 variant purchased new in the early 80s. Terrific little bookshelf speaker all these years later. Yes they're a bit soft in their presentation and lacking outright bass extension compared to modern speakers, but thats part of their charm, especially with the current fashion for often over etched and fatiguing speaker designs.
I recently sold a beautiful pair of Rogers 15ohm LS3/5As (1979 model) in EX cond. on eBay for a buddy of mine - and they went for serious money I was actually astonished. I have to say they did sound really very good partnered with my Luxman LX-380 and I very nearly kept them myself, but in the end decided against it as I felt they weren’t quite as good as my AE509s - but it was very close!
Hi . All your audio clips and the music you choose to add always sound so cool, Can you produce a sort of play list of your favourite electronic music tunes. Thanks so much
I know this is a massive channel so not sure if you read the comments. But I would just like to thank you for showing me the song see mi yah by rhythm and sound. I would like to put you on or not to a song by groundation called smile or Babylon rule dem. Keep up the great work
These are perfect for high-quality desktop listening. I have Harbeth P3ESR which is a version of the LS35A. My desktop system is my hi-fi system, so I wanted something outstanding. I don't think they stand comparison with other less expensive speakers for more conventional set ups.
I have always preferred stand mount speakers due to my nomad life as a career submarine sailor; my favorite critical 2-channel system is still anchored by the LINN Kan Mk.1 speaker, circa 1984! For Rock & Fusion I lean towards the JBL Studio S38II & KEF Q for my 7.2.4 Yamaha DSP/HT System. SVS 3000 Micro subwoofers in tandem serve LF duties. Don't Fix what isn't Broken is my mantra (BUT I adore the BRX & KEF R3 Meta's!).
I firmly believe that if you like rock music, trying some specific extreme metal albums on speakers and amps is required to hear their full EQ curves. Fuzz pedals, distortion pedals and faster, punchier bass need to be heard before a final judgment on audio equipment.
Every man and their dog has made this speaker! Falcon Audio have got the closest to the originals, the new rogers ones are pants! The best ones were the red ticker tape versions which were made by the guys that made them but there are around a dozen or less in existence. If you want a pair of these, then get the original Rogers and do not buy the 11ohm ones either!
Hi John, I really applaud this review! In my opinion you have an excellent channel, but you focus quite often on - in your own words ‘the level of detail’ and less on the musicality. This is what most reviewers do and this is probably what is expected from the market. Therefore.. reviewing ‘old world’ components like the LS3/5a’s is greatly appreciated by some old school folk like me. Knowing that you look in to the musicality of hi-fi, I was wondering what took you so long! 😂 I’m pretty sure you’d be impressed with the Harbeth M30.x’s too, I have them paired with some customised Croft amps and the midrange is out of this world. Being a bigger box than the LS, it packs some low too. Highs are detailed, but not overly so. Feel free to pm me if you’re curious :)
I had the real ROGER LS3/5A 15ohm 25watts seal box need a goliath subwoofer 2chanel or yamaha subwoofer with it . Great for Jazz & Classical music. great little speakers..bottom end is lacking bass.
1:30 I happen to be watching this at a desk immediately under me da's pair of (currently unused) original Rogers LS3/5as, which he's had since at least the late 80s. Not being ported explains the wall mounting I guess. Still, serendipitous.
Well, 70s vintage amplifiers had more bass than new ones even with the tones in flat position, i never heard Ls3/5s before, but since they have vintage specs i think they will be more balanced with a 70s old Sansui, Pioneer, Quad, or an high quality Grundig, Philips etc... with a low dumping factor since they are seald, European ones at the time had a very pleasant deep bass that i personally really like. best regards, e um abraço desde Portugal.
Jon, detailed, accurate descriptions using nuanced language is never pretentious. (just don't go getting a smoking jacket, pipe and slippers on us, lol)
Ive got a pair of musical fidelity mc2's. The first ones not the crap mk2 which they decided to design and build themselves. The originals designed by an expert. Still sound brilliant. Bought in 1986.
They should remain in place. Else edge diffraction is created altering the HF response. These grilles are meeting the felt frame around the tweeter filling out surface to the cabinet edges.
Nice video, good with comparative components. BUT: Your LS 3/5 are about 2.70 metres apart in width. Consequently, your listening distance is similarly large. Too big. LS 3/5 is a classic nearfield monitor, with a maximum listening distance of 1.80 metres, or even better just 1.50 metres. This is what it was designed for. At a greater listening distance, their qualities are not fully utilised. In this respect, there is a question mark behind your review. I myself have an Ls 3/5 derivative at home, Leema Xen Monitor. And I have tried out the different listening distances. I think 1.60 metres is ideal. With Croft Integrated Amp on massive Dynaudio Stands 4.
Hello, Thank you for bringing these reviews. I'd like to ask you about any portable speakers that you recommend since I travel a lot but I would like to have good quality sound so I can have better sound on the notebook to watch movies and music in general. greetings
I’m trying to find a speaker to place on my desktop for near field, often low volume Hifi music listening, and I want to use my own dac. I also have a sub. I keep hearing that I should give these a look, but in not sure I can afford them. Is there anything else you might suggest for this use case?
Thanks for the video. A few comments. Dr. Müller, the tweeter manufacturer, is a time-honored German company that has always made the beadings for my old Alnico Tannoys, to mention it. Any LS3/5a, no matter what, only works properly with the grill on. That's why it's a bit naive to show it constantly without a grill. When you mention that the MF LS3/5a has a 15 ohm impedance, why don't you say a word about the xover? Is it based on autoformer or on resistive ladder? That is the most essential point when I would do a review of any new! LS3/5a. Another tip for placement. If you “catch” the room modes at around 40Hz on the wide wall side as the front wall of the room, you don't need a sub. You shouldn't place the LS3/5a too far apart, they are small and they make a miniature “wall of sound”. Let's say 2.5 meters. They should be angled in at just 7! degrees. If you follow all of this, the sun can rise on a sound holodeck like you've never experienced before. I've had a Stirling V2 since 2006 and I'm very happy with it. I use it with “Something Solid” speaker stands. If I didn't have it, I'd probably be back in the market for an LS3/5a. I can already sense it again... now you can still get a new Stirling Broadcast from Doug Stirling, you just have to call him personally and he will find a solution (because of Brexit) if you call from Europe. If the Stirling is no longer available, I suspect there will be a new cult wave because the V2 plays lower and can handle higher loads. But that's just a side note. The internet is full of controversial views. Derek Hughes , the son of Spendors Spencer Hughes, has tuned the V2 xover in the same way as he has tuned the newer Graham Audio 3/5a xover.
8:55 John casually flexing that he has an AC in (not just anywhere, but) Berlin! That is even greater degree of luxury than tens of k's in audio gear, lol.
Excellent review, but my issue is with Musical Fidelity who seemingly has ignored the Philadelphia/Delaware High End Audio Market and there are a large number of Audio Stores in this area. That’s an immediate turn-off for me!
Spendor made a bi-wireable version of the LS3/5A in the ‘90s. I had a pair for many years before replacing them with the Falcons. Both in bi-wireable (using Kimber jumpers) and not, I find the Falcons better especially in the highs. Could it be simply the age of the tweeters?
Listening to you on a pair of Malcolm Jones designed Tabor speakers built from kits circa 1980. The design was published in HiFiN&RR magazine & uses Audax drive units. I wonder how these 60s/70s drive units compare with modern designs? The lack of low level detail, you mentioned, is worrying. Assuming all three speakers are 'flat' what is causing that?
I never got the appeal for these speakers. I still don't especially at that price point. For about $800, maybe. Interesting review for sure. Thanks again!
BBC speakers will always feel like playing on hard mode to me as a US consumer. Which identical $3K box is the "right" one? Will I still enjoy Drexciya on them? What if vocal & acoustic instrument reproduction isn't actually my objective and I just want early Commotions records to sound decent? Rogers vs Falcon vs Spendor vs Harbeth vs Chartwell vs Stirling vs Graham. Only available from one distributor that you need to contact via fax, but only if you got a referral from Herb Reichert after he inspected your moving coil cartridge personally. I tell you this sorcery feels impenetrable to us regular adults. 😂
loads of variants on this design online. What makes the Musical Fidelity stick out? Ive had a few pairs of these over the years. Amp pairings is a nightmare. But conversely they like valves.... £2000? Tons of flavour....Its like theyre tuned for music, not some chart in an R and D workshop. I like these like the original Tannoy Gold for the same reason.
But John…What about…Open Baffle? I for one would be interested in your opinion about this different speaker design/concept compared to any more traditional box speakers you happen to have in house.
I think your listening room is still too large for these speakers to sound right. I myself have a pair of Spendor A1 speakers. Close box design and similar in size. They sounded awful in a room about the same size as yours. My room is much smaller, the speakers just about 45cm from the back wall and listening chair 2 meters in front of them. Perfect sound and enough low end (for me anyway).
I would say the Kefs are a much better value proposition, play louder, and are probably, for most, better suited to a wide variety of genres. All that being said, some will prefer the sound of Ls3/5a, saying they have better mids and tonality, are more easy to place without port issues, better aesthetic, etc. If you have the budget, listen to both. Otherwise buy the Kef.
The ls3/5a are WAY more detailed and “natural sounding” whereas the 50’s have some what of cold generic sound. The ls3/5a probably didn’t have the right gear
When I bought the Rogers LS3/5a in 1986 they were €665. Loved them for a decade, even with 25W tubes, until I got tired of them. No bass, no air. The filter is simply too complex. I now built my own interpretation, with an AMT and better drivers with a super minimal filter. No pipe and slippers but super fast, detailed and extended. Not worth this much money.
Of all of the monitors /small speakers/bookshelf’s I’ve heard, NOTHING comes close if you get the 15 ohm version + smooth tube amps (hh Scott, 300 B’s or amps with strong toroidal transfers like a naim uniti atom (trruusstttt me!)
Why not compare these to LS3/a models from Spendor, Linn, Stirling, KEF, Harbeth and Rogers? Is the MF model OEM, or built in house? Who makes the drivers? The A1 is not nearly p-owerful enough to drive any of these speakers, @ 2wpc. It tuns in class A, and doubles as a hot plate or space heater. And NEVER ignor an 82 dB efficiency rating. 16 ohms impedence is 2x less efficeint than an 8 ohm load.
