Harbeth ls3/5a speaker placement

That could only be performed with a complex crossover network, resulting in a loudspeaker with a relatively low 83dB sensitivity but a benign impedance load in this case, 15 ohms. The Falcon T27 and Falcon B are new production stock. This allows the graded drive units to be matched to the sort of tolerances the BBC first specified and which are still hard to match to this day.

The cabinet is made from Baltic ply with Beech fillets, now finished in a range of veneers, and terminating in a single pair of speaker terminals, and a pair of Tygan grille cloths. And yes, you could also use that Falcon B to repair a Linn Kan. It was designed at a time when postkHz sound was surplus to requirements, and while that might disenfranchise the high-res brigade, the sound of those high-frequencies is so sweet and likeable that they just might not care.

This was the reason they were designed in the first place; as a monitor of speech and music in a small BBC control room. But what not many may know is that this was not actually the first incarnation of the model.

The BBC needed a small monitor suitable for critical assessment of program quality in cramped vehicles and control rooms, and nothing suitable was available commercially. At that time, as a separate project, the broadcast company had developed a miniature loudspeaker that could be adapted for monitoring use.

After 20 units were built and it was decided to build another batch, it became apparent that KEF had altered both drive units sufficiently to affect the way the loudspeaker measured and sounded. This produced such a significant deviation from the original model that it was decided to add the A suffix. The new B bass driver needed to be decoupled from the baffle in order to prevent interaction with the cabinet and when fed from the existing crossover, the new HF unit exhibited significant coloration which required modifications to the crossover, the addition of the familiar protective grille and felt pads.

Fast-forward to today. And so it happens that a single company has in its portfolio both what many people consider the original and the actual original. And as I would find out, they do indeed sound different. In addition, I will also listen to the SUB3 stereo subwoofer system that is designed by Derek Hughes specifically to work with these speakers.

SUB3 stereo subwoofers Employing what is called a novel bass loading technique, the subs are specified to achieve extension down to 35Hz in a compact enclosure. Output is via the front-facing reflex port. There are connections on the rear for the input from the amplifier and output to the main speakers. The SUB3 is a passive system — there are no amplifiers inside. This will allow the system to reach greater replay volumes provided that the amplifier has adequate reserves.

There is also provision for feet or spikes to be fitted to the base of the cabinet.

Placement harbeth ls3/5a speaker 9304 milroy place bethesda

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The reason for that is a characteristic white glue surrounding we will find around the dust cap of the B After that period the different licensees began to deliver a somewhat cheaper quality, which also reflects in a lower price tag, because nobody wanted to pay serious money for such a little speaker except the studio professionals — but on the other hand this little gem was very costly to produce.

The typical British monitor sound was not anymore modern, manufacturers as Dynaudio developed the basic concept to new standards with their Contour 1. The situation changed with the High End audio scene in the far east. Those HiFi fans in the big metropolis share one big problem, and this is space…. It is nearly prohibitively expensive to have a dedicated listening room in the big cities like Tokyo, Hongkong, Kuala Lumpur or Singapore….. At the specific forums dedicated to the little British queen you might find installations were we western devotees rub our eyes in disbelieve.

Ultra quality front end products are used, Micro Seiki turntables with Ikeda carts, tape machines like the little Nagra IVs or top end CD players or DA converters can be observed — amazing…. Sums around ,- US dollars for a pair in mint condition is nothing special in our days — such evolution awakes the industry….

Stirling called their 11 Ohm reincarnation V2, which tells us, that they do not use the original KEF chassis Stirling had also an older version with used the last KEF chassis available. Why is this little dwarf so special??? The miniatured size enables them to sound like a true point source speaker system. Hence these little monsters can disappear completely as a sound source, the instruments as also the center stage enfolds in your room in a fashion, that you might think about magic.

The omnidirectional performance is one of the best I ever found on any speaker. You can almost enjoy them if they are listened with the back of the speaker pointing toward you…. The phenomenal omnidirectional characteristic means also, that you have to listen to them in a acoustical treated room, because such special behaviour of any given speaker will react in a critical way, if too much early reflections are mated with the direct sound pressure level.

If you position them wisely, which I will explain in a minute, you can achieve a bass response you wont believe…. The speed and agility is breathtaking as is the unreal truthful rendering of the whole midrange. The resolution these little speakers are capable of is also astonishing. Mating them with a cheap amplifier and a mediocre CD player does not justice to them!!!!!!! They have the ability to grow with any upgrade you will make in your stereo system — may it the front end, the preamplifier or the amplifier….

If you have a rectangular room at your disposal please choose the long wall to place the speakers on it. In every rectangular room with the speaker positioned at the long wall we will have an energy maxima room mode at 40hz around 1 — 1,5m in front of the long walls.

As the British queen is constructed with a sealed enclosure, the little speaker does not behave like a ported construction, which cuts off its sound pressure level at the resonance frequency of the ports. But if we can place the LS3a in front of the long wall in our listening room a couple of miracles will happen.

So we gain two very important aspects — only with the fact that we choose the long wall of our room — we get bass reinforcement and we get rid of the hz bump. The bass reinforcement is also not comparable to the trick Audio Note UK is proclaiming in which their speakers have to be placed in a corner….

Now lets talk about the distance towards the rear wall…. So we do not start without having any clue — but that said — it is not in any way insignificant to dial in the proper distance. Toeing in The next critical parameter is the angle in which the speaker is pointed towards the listening position. Perhaps needless to say, they were much more satisfying for listening to music as well. This is demonstrably untrue. In other words, as with Dr. The speaker has zero response in the bottom octave, severely compromised response in the 40—80Hz range, and at best problematic response in the 80—Hz range.

The hump also makes the addition of a subwoofer difficult: Bring it in too low, and you still have a lot of missing midbass; bring it in higher, and it makes the hump even worse a rising tide raises all humps! The response actually begins to slope after the hump as it enters the midrange proper i.

Put on Sinatra and you hear the effects of this immediately: The lower range of his voice is accentuated. Meanwhile, though that peak at 1kHz helps project the sound out of the box, it also makes him sound more nasal than he does. With female singers, the voices are generally too light. From 1kHz to around 12kHz the response is most charitably described as a series of peaks and troughs of varying amplitude that is anything but flat, which makes this part of the range sound unrefined and even a little coarse.

As the overall trend is rising, the presentation becomes bright. The response drops as it goes out to 20kHz. How could the BBC, of all institutions, countenance such a speaker for two decades? Well, one answer that immediately presents itself is that the speaker was never intended for very critical listening.

Founded in by Malcolm Jones, a former engineer at KEF and substantially responsible for designing and developing several classic KEF drivers, including the B and T27, Falcon, though a small company, has long been one of the leading British suppliers to the retail DIY market of components and other items necessary for building speaker systems. The history of the B as regards performance, materials, specifications, manufacturing techniques, and the like is so complicated as to resist summary.

But Falcon for its part seems to have done everything imaginable to ensure that current Bs are at once truly vintage, yet of a unit-to-unit consistency, sustainable over time, traits that eluded those of two and more decades ago. This proved a more daunting proposition than it was possible for Falcon to anticipate. It is by several orders of magnitude more difficult to resurrect an old design in all its original integrity as regards parts, materials, construction, and manufacturing processes than it is to build a new one from a clean slate.

There can be no gainsaying the love, dedication, and sheer effort—say nothing of expense—that Bloomfield and Jones invested in the project once they committed to it. For example, like the original Bextrene, certain adhesives that have long since vanished from the scene Falcon had to have reformulated.

They also decided that, as before, the speakers had to be manufactured and assembled wholly in the United Kingdom, which involved considerable effort finding people who still possessed the requisite skill sets.

Cabinets are made from selected grade Baltic Birch Ply with beech battens. Far from idle boasting, the description appears to be the literal truth, and therein consists a decidedly alloyed achievement. For one thing, even if I had the technical expertise, I lack any means of verifying the claim. In pointing this out, my intention is to question neither the honesty nor the veracity of the claims. Who can say for sure? There are two effects that struck me as more pronounced than in previous iterations.

First, an increased edge and nasality in the presence region. I noticed that in at least one published set of measurements, there is quite a mountain around this frequency, about 5dB at its peak, which makes it as high as the Hz hump.

This would account for the edginess—though perhaps a better description might be shoutiness in the presence region—and for the greater nasality. It would also account for why the midrange proper sounds slightly recessed, as the ear apparently keys onto the rises at Hz and Hz. Second, I took the speakers over to my colleague Robert E. Though the level was not loud—it seems to me we could easily converse without much raising our voices—a bass drum transient made one of the woofers emit a sound that resembled a single sharp knock.

Both REG and I assumed this was woofer bottoming, but Jones says that the construction of the B is such that bottoming is impossible. Whatever it was, it occurred just this once, very late in the review period—there was no other indication of misbehavior before or afterward. However good the original KEF drivers were in their day, they have obviously been superseded by a generation or two of much better drivers, especially in the areas of transparency, linearity, and resolution which suggests to me that KEF had good reasons for retiring them.

There were the usual subtle differences among the amplifiers, but nothing that was revelatory or transformative. I settled on the McIntosh for most of the listening since it is in keeping with the retro aspect of the whole endeavor. Its appeals to nostalgia and tradition are obvious and understandable enough.

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