{"id":24338,"date":"2020-07-27T10:12:54","date_gmt":"2020-07-27T08:12:54","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=24338"},"modified":"2020-09-06T13:01:18","modified_gmt":"2020-09-06T11:01:18","slug":"graham-audio-ls3-5-and-ls3-5a-with-sub3-part1","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/loudspeaker-reviews\/loudspeakers-passive-reviews\/graham-audio-ls3-5-and-ls3-5a-with-sub3-part1\/","title":{"rendered":"Graham Audio LS3\/5 and LS3\/5A with SUB3"},"content":{"rendered":"

Review sample supplied by Hexagon Audio<\/a>
\n<\/a>
\nRetail prices in the NL, per pair, including 21% VAT:
\nLS3\/5 or LS3\/5A:
\n-Cherry or Oak finish: 2.400 euro
\n-Rosenut or Walnut (as reviewed) finish: 2.600 euro
\n-Ebony finish: 2.800 euro (as reviewed)
\nSUB3 in Cherry (as reviewed) or Black finish: 2.600 euro<\/h4>\n

The history of the “A”<\/h3>\n

The LS3\/5A a world-famous mini-monitor that is loved by many. But what not many may know is that this was not actually the first incarnation of the model.<\/p>\n

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. Ultimately, this produced the original LS3\/5. Note the missing “A”!<\/p>\n

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. As a result, significant re-engineering work had to be done by the BBC’s Design Department. This produced such a significant deviation from the original model that it was decided to add the A suffix. The new B110 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.<\/p>\n

The small number of loudspeakers from the original batch were now considered obsolete, and the true LS3\/5 was never manufactured commercially. While the revised LS3\/5A sounded very similar to the original, many felt at the time that the original loudspeaker was better.<\/p>\n

Fast-forward to today. Uniquely, unlike any other manufacturers of BBC-licensed speakers, Graham Audio decided to re-issue the original<\/em> LS3\/5’s, using bespoke Volt and Seas drivers manufactured to their specifications and crossover networks developed by Derek Hughes. By popular demand, they later decided to also produce the LS3\/5A’s. And so it happens that a single company has in its portfolio both what many people consider the original and the actual<\/em> original.<\/p>\n

The two LS3\/5 models may share most of the type nomenclature but they have differently-built enclosures, different panel thickness, grill-attachment methods, crossover specifications and drivers. And as I would find out, they do indeed sound different.<\/p>\n

\"\"<\/p>\n

Above: LS3\/5 in Ebony; Below: LS3\/5A in Walnut<\/p>\n

\"\"<\/p>\n

The purpose of this review<\/h3>\n

This article is not intended to be an in-depth review but more of an appetite-whetter in which I will describe the audible differences between the LS3\/5’s and LS3\/5A’s. In addition, I will also listen to the SUB3 stereo subwoofer system that is designed by Derek Hughes specifically to work with these speakers.<\/p>\n

\"\"<\/p>\n

SUB3 stereo subwoofers<\/h3>\n

Employing what is called a novel bass loading technique, the subs are specified to achieve extension down to 35Hz in a compact enclosure. Supplied in pairs they are designed to be placed near to the rear wall, while the main loudspeakers remain in their usual ‘free space’ position. 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.<\/p>\n

The system crosses over at 100Hz, and in doing so, relieves the LS3\/5 or LS3\/5A of frequencies below this point. This will allow the system to reach greater replay volumes provided that the amplifier has adequate reserves.<\/p>\n

There is also provision for feet or spikes to be fitted to the base of the cabinet. Standard spikes are supplied, floor protection discs are not. Being passive, there are no controls to misadjust – the system is designed to be “plug and play”.<\/p>\n

\"\"<\/p>\n

Although their placement in between the Xavians was only the starting position even after removing the other speakers and experimenting with all the possible positions for the LS3\/5A’s, it turned out that the initial placement was pretty much ideal in order to get the best focus and most energetic sound.<\/em><\/p>\n

Listening – LS3\/5A<\/h3>\n

For these comparisons, I will be using the Fezz Lybra 300B P-SET<\/a> amplifier with the Ayon CD-10 II<\/a> as a source connected with FoilFlex<\/a> interlinks and speaker cables. Since the LS3\/5 and LS3\/5A are specified at 9 ohms and 11 ohms both can be used with the amp’s 8-ohm outputs.<\/p>\n

\"\"<\/p>\n

Starting with the “regular” LS3\/5A’s, I hear much of the familiar sound that I know from early on in my career in the audio-video post-production industry. At that time, all the editing suites had a pair of LS3\/5A’s driven by Quad 405-II amplifiers. While the 405-II was itself exceedingly smooth and warm-sounding with “fat” bass, a relaxed midrange and lush treble, the combination led to a very neutral presentation that worked well for the vocal range while offering more than enough resolution to hear what you are doing as an editor.<\/p>\n

\"\"<\/p>\n

With the Fezz amplifier, the LS3\/5A’s have a very similar midrange presentation although, given their small enclosures and tiny woofers, the bass is now actually pretty good. Back then at the post-pro company, the speakers were used as nearfield-monitors near the front wall with the editor sitting very close to them while the rear wall was way back. This illustrates perfectly how a room’s contribution is not always negative but can actually aid the performance.<\/p>\n

Actual full-range speakers such as the Kroma Audio Carmens<\/a> do overpower my secondary room at certain very low frequencies in the bass but with most small to medium-sized speakers the effect is only beneficial and the same goes for the LS3\/5A’s. Despite their tiny enclosures, the speakers do not have a thin<\/em> sound. However, I do find them to sound small<\/em>, dynamically speaking. It’s as if you can hear that the driver is restricted in its movement.<\/p>\n

\"\"<\/p>\n

Above: LS3\/5A; Below: LS3\/5<\/p>\n

\"\"<\/p>\n

While the LS3\/5A’s are, strictly speaking, less colored than the Xavian Perlas<\/a> that I normally use in this room, I feel that they do sound more polite and filtered.<\/em> They’re just not as lively and direct. Of course, these mini-monitors were designed to provide accurate sound in tiny spaces and they were not specced to sound any bigger than they are. When focusing on their midrange, there is a narrow band where the LS3\/5A’s are indeed very linear and very neutral. In this range, the speakers are also very realistic and lyrical and this has the benefit of making certain instruments such as guitars as well as vocals sound especially pure and compelling. Maybe this is what these speakers are famous for? But, I have to say, this is a very narrow area. Further up as well as further down, they quickly start to sound filtered, uneven and upholstered. Another way of putting this is to say that they sound sweet but I feel that it’s different from the larger Graham Audio speakers. These also sound lush and friendly yet much more mature.<\/p>\n

The treble is quite open, not masked but also not very refined and a little uneven with some perceived peakiness followed by less air on top than I am used to. There’s a nice soundstage bubble all around the speakers with good width and no cabinet sound. I just did not manage to get them to focus quite as sharply as can be done with other speakers that I used in this room.<\/p>\n

All things considered, I think I can see the allure of these speakers. They are truly tiny but produce decent bass along with a linear and realistic quality in the midrange. With music that plays to their strengths, the result can be emotionally engaging and quite realistic. But for more complex multitrack music and especially for electronic music, I find them to be less than ideal.<\/p>\n

Granted, the LS3\/5’s may require a firmer grip or a more powerful (transistor-) amplifier to perform their best but taking them to the other room for more comparisons is a bridge too far for the intended scope of this article.<\/p>\n

<\/p>\n

Listening Comparisons – LS3\/5A versus LS3\/5<\/h3>\n

The only differences in the specification list between the two models are that the “A” version uses 12mm plywood whereas the non-A version uses 9mm plywood and the former is specified at 11 ohms and the latter at 9 ohms. In spite of the otherwise identical specifications, there are notable differences in the way that the two models sound.<\/p>\n

\"\"<\/p>\n

Changing from the A’s to the non-A’s, the difference is far from subtle. But because the two models have strengths in different areas, I had a hard time deciding whether I preferred one or the other. Let me start by outlining the differences as I perceive them.<\/p>\n

The first thing I noted is a difference in tonality. The non-A model has a fuller lower midrange with a little bit more punch. This, combined with a more spacious and more 3D sense in the soundstage makes the LS3\/5’s sound comparatively flatter. The LS3\/5A’s, however, counter with a midrange that comes across as more linear and they have a treble that’s a little bit more spicey, although it is not any airier.<\/p>\n

The non-A’s punchiness in the lower midrange makes certain instruments such as jazz guitar more natural and realistic as well as a little bit more expressive. Another way of putting this is that the A-model sounds leaner and the non-A model fuller. Which of the two is the more accurate portrayal remains a matter of perspective.<\/p>\n

The non-A’s treble may initially appear to be less open, maybe a little bit rolled-off after having heard the LS3\/5A’s but I’m more inclined to conclude that the A-model’s treble is a little spikey whereas the non-A model’s treble is smoother. Besides, the LS3\/5’s treble is actually of better quality. It is more refined and more highly resolving, whereas the LS3\/5A’s treble can be a little rough by default as well as less forgiving when there is roughness in the recordings.<\/p>\n

Most of the observed differences take place in the midrange and treble region and the bass seems to be quite similar in character. However, even if the bass unit’s behavior is largely unchanged, the LS3\/5’s upper bass does seem to be a little bit punchier than that of the LS3\/5A’s. Maybe that’s because the tweeter is responsible for the bass frequencies’ upper harmonics. Due to the extra punch in the upper-bass, the bass can initially appear to reach slightly less low, but after having adjusted to the different balance, this evens out and I’d say that the two models reach just as deeply.<\/p>\n

\"\"<\/p>\n

Listening – adding the SUB3<\/h3>\n

With tube amplifiers and combining speakers it’s good to think about impedances. Since the LS3\/5 and LS3\/5A are specified at 9 ohms and 11 ohms both can be used with the amp’s 8-ohm outputs. The SUB3 system is specified at 8 ohms. Normally, when two speaker pairs are electrically wired in parallel, then the following calculation can be used.<\/p>\n

Speaker system A (8 ohms for the subwoofer) multiplied by speaker system B (9 or 11 ohms for the LS3\/5 or LS3\/5A) = 72 ohms. This figure is then divided by total ohms in both speaker systems, which is 17 makes 4.2 ohms or 4.<\/em>6 ohms.<\/em><\/p>\n

However, in the case of the SUB3 addition, the internal crossover is wired such that the combined impedance does not dip below 7 ohms, meaning that the amplifier’s 8-ohm outputs are still ideal.<\/p>\n

\"\"<\/p>\n

Starting with the LS3\/5, even when using different speaker cables between amp and woofers (Foilflex<\/a>) and between woofers and speakers (Audio Note Lexus LX 96<\/a>), the speakers lock-in right away and the sound is immediately appealing. Naturally, the bass goes substantially deeper and also feels more solid. But the biggest surprise for me is how flawlessly the subs pair with the monitors. The crossover point is clearly well-chosen and the transition absolutely inaudible. Tonally, the woofers are also an ideal match. This is the great benefit of using same-brand speakers that are made for each other. You get a natural synergy that you don’t get quite as easily (or at all) when adding a universal subwoofer.<\/p>\n

\"\"<\/p>\n

The entire presentation also becomes bigger and clearly more spacious. Not only in the horizontal plane but sounds now also wash over me much more convincingly than without the subs. With the raised bass crossover, the speakers do not really appear<\/em> any more dynamic than on their own but they do appear larger and more fully-developed.<\/p>\n

\"\"<\/p>\n

I also tried the subs on the monitors’ outsides but that resulted in a slightly less coherent sound<\/em><\/p>\n

While the SUB3 system pairs perfectly with the LS3\/5’s in an anonymous manner, when connecting the LS3\/5A’s, it becomes clear that they are not 100% without character. Of course, how could they if the two speakers sound different? Indeed, the SUB3’s match ideally with the LS3\/5’s and while they are technically also a superb match with the LS3\/5A’s, the subs’ sonority enriches the monitors’ neutral and flat midrange to become slightly fuller and warmer. Is this bad? I say no, not at all. The end sum is still a sound that is technically more complete and emotionally more compelling.<\/p>\n

But I have to be honest. Even if the combined system sounds like a fully coherent speaker pair, the SUB3 woofers do not make LS5\/9’s<\/a> out of the LS3\/5’s. To my ears, the bigger models simply excel in all areas. So, why would one take this elaborate route to achieve a more full-range sound from these mini-monitors? Well, I have it on good authority that there are plenty of music lovers out there who don’t want to part with their beloved LS3\/5’s or LS3\/5A’s and only wish they extended a little bit more deeply. Well, to those, I say wish no longer!<\/p>\n

Conclusion<\/h2>\n

Between the LS3\/5’s and the LS3\/5A’s, I think some people will perceive the newly made 5’s as more natural or organic while other people will prefer the more widely known 5A’s relatively more neutral and linear midrange delivery. Personally, I’m still on the fence and switching from one pair to the other remains a matter of adjusting. The technical perfectionist in me prefers the LS3\/5A’s more neutral midrange while the music lover in me is more passionate about the LS3\/5’s fuller and richer midrange. I say: just listen for yourself!<\/p>\n

The case for the SUB3 subwoofers is not at all ambiguous. They simply provide what one hopes from subwoofers but rarely gets: a meaningful extension of the speakers’ bass range in a seamless and wholly synergistic manner.<\/p>\n

Associated Equipment<\/a><\/p>\n

External Links<\/h3>\n

Distributor for the NL\/Belgium: Hexagon Audio<\/a>
\nManufacturer’s website: Graham Audio<\/a><\/p>\n

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