The LS3/5A versus the Sibelius Loudspeaker

Harley Lovegrove, Technical Director of Pearl Acoustics and the designer of the Sibelius loudspeaker talks about loudspeaker design and compares two completely opposite approaches, from the small, compact, sophisticated crossover of the LS3/5A , BBC monitor, versus the big, very simple, no crossover, pure acoustic transducer. This video explains the history of both with reverence and respect to the BBC's timeless design.
The intro. music is 'Philia' written and performed by Stefan Meylaers, and taken from his piano suite 'The Four Loves'.
www.pearlacoustics.com

[@salvadorrodenas3071]

A delight to listen this man, besides, his accent and way of speaking is very nice and relaxing.

[@macallanvintage]

To ignorant Americans trapped under the same flowerpot, any other Anglo accents are attractive.

[@Luckiestmanalive-bb1mi]

Very interesting chat, thanks! Both speakers employ technology to shape the output and outcome - the Pearl Acoustics approach is to apply technology to the design of the driver and the box while the BBC applied technology to the driver, crossover and the box. Both approaches work and have the advantages and disadvantages.

[@PearlAcoustics]

Thanks for your appreciation and contribution to the topic.

[@kdkd693]

In a Melbourne get together in my home 10 years ago, we found the tiny old LS3/5a was seamlessly and wonderfully integrated with an infloor IB subwoofer. Crossed over 24dB at 70Hz, the voices and imagery were amazing, and the sub just filled in the bottom end beautifully We compared 5 other bookshelf speakers others had brought, and the LS was the standout. A great gtg with good friends, food and wine. We ended the day surfing the floorboards (with the mains and 2 IB subs) with one chap measured 130dB at the throat of the front IB lol

[@PearlAcoustics]

🙏👍😀 nice story. Thanks for sharing

[@hushpuppykl]

I love LS 3/5a ... Had the latest Rogers LS 3/5a Classic and now still have the Harbeth P3ESR. But seeing the Sibelius I think I am in love! Oh man ... I’m dead meat.

[@paulsamson9882]

Absolutely detailed and simple explanation.

[@PearlAcoustics]

Why, thank you Paul! There are more to come soon... if you would like to see more now, you can go to: kzbin.info/www/bejne/iqqXm6yYf9CCsNE Enjoy!

[@torarnekvaly7753]

Fantastic comparison and explanations!

[@PearlAcoustics]

Thanks!

[@jeromemausling6324]

Recently discovered your channel. I really like the high quality videos you produce. It would have been lovely to hear a comparison between the two speakers in this video

[@PearlAcoustics]

Thanks!

[@cristianburton5748]

Thanks Harley for such a clear explanation and honest comparison to the BBC icons. I am sure your Sibelius must sound amazing due to careful design, quality materials and construction. I wish I could hear them live! Regards from Argentina.

[@PearlAcoustics]

Thanks for your very kind message. Hopefully one day you will!

[@keithallsop]

I am a big fan of the tapered transmission line type of speaker, having a pair of speakers exactly to Chris Rogers Pro9TL design in the late 70's, and decades later, a homemade design that I still have with Cabasse carbon coned woofers, midrange, tweeter and real sheep's wool for internal tuning/damping. There is just a natural smoothness in both response and phase through the lower frequencies that is unmatched. I am sure I'd enjoy your Sibelius, the coherence of single driver is also something that once experienced, is special.

[@parthabhatta1963]

Very Very informative video. Thanks for that👍👍👍

[@PearlAcoustics]

You’re very welcome.

[@JukeboxAlley]

I've had 2 different LS3/5a models, they do some amazing things and you just can't stop listening, one of my favorites of all time, I'd like to hear those towers you have, pretty interesting.

[@PearlAcoustics]

Thank you. Hopefully you will hear them one day.

[@jackbarnard1781]

Evening Harley!! I just wanted to tell ya thank you for our conversations. It's fantastic to converse w/ a 100% music lover & audio enthusiast. It got me thinking about the albums that got me into this life long pursuit of the absolute sound. On the recommendations of a friend. I took my week earnings of yard work. 20 dollars 😆 lol. And bought 3. Genesis nursary cryme. Emerson lake & palmer tarkus & black sabbath master of reality. And had money left over for lunch!!! After I listened to all 3. It was like the heavens opened up & the choral sang. Those 3 were ground zero for a lifelong love. Stereo systems now that's a whole other topic. Many many systems. All different

[@PearlAcoustics]

😀👌 ELP, now that takes me back! One Artist that rarely comes up is Rory Gallagher, “Live in Europe”. Very special. My big album, at around the same time, you were buying your 3. Was ‘Yes’ ‘Close to the Edge’. And all this alongside my passion for everything classical (or nearly everything)! 😉

[@jackbarnard1781]

Yes close to the edge is the only yes album I have w/ me now. If you're gonna have 1 that's the one to have. I like Rory Gallagher also. The shadow play. When I discovered classical it was the big 3. Bach beethoven & mozart. From there I expanded out my 1st big rock concert was emerson lake & palmer on the works tour 1977. I feel blessed to have seen them

[@fredmclaughlan7574]

Didn't realize when commenting on your youtube video "how loud is 1 watt" the speakers shown were your design as I've not heard of the Sibelius. I do know I was constantly admiring the sound produced and how lovely these speakers look! That of course is why I went to your Pearl Acoustics website to explore and checked out speaker wires (chuckle) a product I can probably afford. Admire your videos Harley!

[@jackbarnard1781]

Morning Harley !!! I was just thinking. Just how lucky the two of us were growing up at the time & place that we did. Southern California for me & England for you. Especially you. With virtually every hard rock/ progressive rock band on the planet coming from England plus the classical ensembles. You were in the thick of it my friend. I kind of to it for granted because at the time exceptulizm was common place. Oh my word do I miss that era. The singing duo the carpenters were only 10 miles away from my house. In neighboring suburb Downey California. Our local d.j referred to them as. Those crazy kids from Downey.

[@PearlAcoustics]

Good memories

[@andrewcrossley2448]

LS3/5A cost just over £200 in 1978, my Rogers compact monitors from the same shop in Reading were £180. They were also BBC designed but have far deeper bass and a still excellent. However, I should have spent the extra £20 as my interest shifted from a mix of classical and rock to classical, opera and chamber music. In fairness to Rogers they were fully aware of the limitations and so went on to make a matching pair of large bass speakers to put the LS3/5As on. The combination was spectacular but close on £1k at the time so even more than your Sibelius at today’s prices. Having said that, the best speakers I heard when a student buying decent hifi were the Quad electrostatics driven by a 33/303 with a top end Dual turntable and a top Shure cartridge playing Carmina Burana on a DG pressing. In the late 70s this was a very expensive set up. I did buy the album which I still have…..

[@PearlAcoustics]

Thanks for your comment Andrew. Very interesting. Many QUAD electrostatic owners like the Sibelius. They sound very similar in their characteristics. It’s great to hear you still have your original loudspeakers.

[@Rickzolla]

What a lovely presentation and comparison Harley. I own the big brother of the LS3/5a, the Harbeth 30.2. Also the Tannoy Revolution XT 8F floorstanders. And finally, I own a tiny pair of Fostex 1000-BH back-loaded horn speakers with 4 inch drivers. It's difficult finding anyone building loaded horn speakers here stateside. Amplification is by Parasound, Schiit Audio and PrimaLuna.

[@robk5745]

Nice comparison, very happy I discovered your Chanel and your speakers. I have the new Harbeth p3 xd and they are very special, but Sibelius for a bigger room in the future would be lovely!

[@PearlAcoustics]

Thank you

[@vinylrulesok8470]

That's the very pair of speakers I've just ordered. The Harbeths that is. My room is very small and with a very near listening position this Harbeths are magical

[@jp8710]

Great post. I listen in a modest sized living room (semi detached house) with an AVI anniversary integrated amp, new Auralic Altair G1 Streamer via Qobuz through LS3/5A (bi-wire 15 ohm which I have owned for nearly 30 years) + REL SUB (set up perfectly) with Russ Andrews Power Supplies and KCAG interconnects plus 8TC cables bi-wired... doubt I'm missing too much in my setup, as the little monitors do what they need to do and the sub does what it needs to do seamlessly... but I am happy and open to be corrected. I have nothing to lose, 100% agree that the LS3/5A without a sub are woefully lacking, (hence the Rogers AB-1 subwoofers being manufactured) ... but set up perfectly with REL... Mmm not so sure... the soundstage, placement and imaging I hear is jaw dropping, especially the vocals 😉 great post BTW and very watchable... Audiophiles always lust for more! 😂 Thanks for sharing!

[@labalo5]

This is a very interesting speaker. Very simple in design which I like. I’m currently running horns speakers for a dynamic presentation. Though everyone does fall in love with midrange so I will have to try to demo these in my area. Thanks for the explanation

[@PearlAcoustics]

Thank you. Feel free to reach to us via our website if you want to know more.

[@socksumi]

Biggest difference is damping. LS3/5A employed tons of damping in the enclosure, the drivers (bextrene) and even electrical damping in the crossover. Some people think went too far and sacrificed efficiency and dynamics in the process. But once you've heard a speaker devoid of rough edges such as the LS3/5A it's hard to go back to listening to conventional speakers. Complete elimination of listener fatigue is what these and other classic British designs are all about. Something most modern speakers can take a lesson from... sheer listenability. Listen to a pair of classic Spendor BC1s and you can listen all day and night without wanting to shut them off. Can you say the same for most modern designs?

[@PearlAcoustics]

Thanks for your comment, listening fatigue can be a real challenge with many systems - in the pursuit of accuracy and dynamics.

[@yogi9631]

Extreme high frequencies causes listener fatigue. The LS3/5a and many classic British speakers all have softer tone in their high frequency reproduction.

[@socksumi]

@@yogi9631 LS3/5As extend nicely to 20khz. The KEF T27 tweeter they use is capable up to near 30khz. The reason it sounds smoother is a lack of resonances and stored energy. This tweeter has little ringing due to the material it's made from and it's coating. Ringing at any frequency causes listening fatigue. The perforated screen over the tweeter also has a slight muting effect compared to a naked T27.

[@veroman007]

thanks for that education. just watched Thomas review your speaker. sounds impressive!!!

[@PearlAcoustics]

Thanks!

[@jackbarnard1781]

Morning Harley!!! Hey I got a useful & amusing story. The other day I had a checkup at the doctors as I'm recovering from quadruple bypass surgery. Rough stuff anyway while there I had a professional cleaning of my ears. Wow ...i have audiophile ears again. Better than a new set of cables 😆 lol. Cheers yo!!!

[@PearlAcoustics]

😂

[@robmoores6078]

A great video. I currently have LS3/5a's and have been looking for a pair of speakers to give me that extra bottom end without losing the magic of the midrange. The Sibelius looks very intriguing.

[@petersouthernboy6327]

Full Range Drivers like the Mark Audio Alpair might not give you what you’re looking for - but the Pensil cabinet design does get about as much “low end” as possible out of the design. It’s TOUGH to better the LS3/5a for voice.

[@tropiex2097]

Thanks for this beautifull video! Is the Sibelius speaker able to reproduce orchestral or coral works properly? Thanks

[@PearlAcoustics]

Thanks for your kind remarks. As the inventor of The Sibelius and my passion for orchestral music, I like to think so! Especially choral! Of course they can only reproduce what is fed into them! A great orchestral recording is a wonder to behold! For example, Rattle’s last recordings of the seven Sibelius symphonies - is in that place.

[@tonyhodgkinson4586]

I am loving your videos, so easy to understand and relaxed presentation, perhaps like your speakers?

[@PearlAcoustics]

Thanks Tony! Indeed, my life’s ambition has been to be able to capture the sound of live musicians and to have that real sound reproduced in my living room. It took me over 35 years to achieve it.

[@dougedwardsyachts]

I'd love to hear The Sibelius, I'm sure they sound fantastic with all the thought and development behind them. I have Royd Abbot, Royd Minstrel, Royd The Herald and Videoton Minimax speakers. Whilst the Abbot's are the largest enclosures with the largest drivers I still believe my Minstrels (which I bought new back in 1996) are the most 'double bass' like of my collection.

[@PearlAcoustics]

Hi, thanks for your kind comment. If you reach out to us, via our website, maybe we can arrange something for you one day… best wishes

[@rcpmac]

Because people interested in the LS3/5A are watching this I will share my brief story on a find. I was unfamiliar with the units but recognized the value in a speaker pair that had sequential A/B hand lettered serial numbers so I plunked down the asking price at the thrift store. $15. Not kidding. There was one pair that sold on ebay a few years ago for $12,000! also not kidding. i think the typical value is around $2 to 3K

[@PearlAcoustics]

You had some luck there!

[@artiehall7708]

Maybe off topic, but: I would like to see a speaker manufacturer, (like Mark Audio), steal a page from guitar pickup makers. Make two matching drivers. Reverse wind one coil and flip the magnet. Connect them out-of-phase. (Reverse polarity actually). Now the signal would be in-phase, but the back EMF would cancel, thus minimizing, or eliminating, the concern for amplifier damping factor. A Sibelius with this configuration could be sweet. (Not that it isn't already.) 🙂

[@PearlAcoustics]

Thanks for your comment. Indeed, I have seen some amazing designs in my time but never along those lines! food for thought. 😉

[@artiehall7708]

@@PearlAcoustics It's funny, but when you put something down "on paper", so to speak, you can see your own flaws better. Guitar makers do that to eliminate noise picked up by the coils. But if the signal applied is in-phase, then the signal generated by the cones, would also be in-phase. I'll have to rethink this. Waiter, there's a fly in my theory.

[@PearlAcoustics]

@@artiehall7708 😀😉

[@joyoffilming9500]

What a great comparison, especially as to is without blaming competition. Instead explaining the different requirements from BBC and his own. Never heard about Sibelius speakers before, but I love the concept of no crossover between the amp and the speaker coil.

[@PearlAcoustics]

Thanks.

[@jonathansturm4163]

My current speakers are twin 6 inch woofers in a TQWP crossed to a one inch tweeter via a single capacitor. The lack of a complex crossover confers considerable benefits in the quality of sound.

[@mikafoxx2717]

@@jonathansturm4163 Some of these benefits can be had from active crossovers, but it's only a Band-Aid if the speaker isn't designed well to begin with. Most active crossovers don't fix the phase problems associated with the crossover or the driver placement, but some try to an extent, or others use DSP to try their hardest to fix a bad design. One driver with a wide dispersion is the ideal condition, and probably why this speaker is said to sound much like the Quad ESL's.

[@daviddrake6875]

If it in deed sounds like the Quad ESL, which model? Peter Walker was asked if he had not designed his speaker, what other speaker would he have wished to design. He said the Beveridge electrostatic line array with the acoustic lens.

[@daviddrake6875]

I have the Beveridge model 3 without the woofers. From 200 Hz upwards would the Sibelius sound the same?

[@shingnosis]

I'd be interested to try something like a KEF92 sub-woofer with the Sibelius speakers just to see what happens.. clean and natural midrange.. maybe from a tube amp.. paired with low end grunt.

[@s.k.3891]

Is that a Rothko painting in the background?

[@joyoffilming9500]

Dear James, I am quite sure that I saw on one of your videos here on YT nice sacks in the corners of your listening room acting as bass traps (I hope it was in one of your videos, and I am not in error). Would you mind sharing what the inner is made of? I am just optimizing my listening room, and the bass still appears to be a problem - not too big, but big enough to take care of. Many thanks in advance!

[@PearlAcoustics]

Hi. Yes I did talk about sacks for bass traps. That was in my Room Acoustics video. They consist of double thick hessian sewn into a large sack. The diameter of a roll of Rockwall insulation. I placed the tolls into the sacks, one on top of the other and then peeled off their thin plastic wrappers, once they were inside. They are very effective at absorbing bass in corners and this is useful if it is bouncing back into the room out of phase. + they are very easy and ecological to recycle, should you no longer need them for any reason. Hope this helps?

[@johnchapman2197]

This is amazing - such in-depth knowledge. I am currently listening to R3 via a Leak Troughline 2 which I had rebuilt in 2003 and added the OTA decoder - its easily my best source, as opposed to Docet Lector CD player and Garrard 401/SME etc. They are in a room 29 sq m 9 m deep - and play via Glen Croft transvalve amp through Rogers JR149s! early version, on original brackets bolted to a 2 ft rubble wall. Some have said they are LS3/5A's with bass - its true, but hard to tell if the extra octave comes from the room.Your comments about the double bass do ring through - I detect some muddle and bass lift at the bottom end of cellos. Quartets - its like they are in the room but massed strings sound confused. I'm thinking Sibelius . . . and God protect the BBC engineers and live concerts. I did start a project to build a pair of tuned cabs with JX92 and discussed with Eddie Jordan (!!) - they are still in the loft - hey ho. He and they are sadly gone, as is everyone of note at OTA. Love what you are doing

[@PearlAcoustics]

Thanks John. Great addition to the conversation.

[@donkeyshot1]

@9:39 I wonder how many of us have owned or listened to LS3/5A speakers the BBC would've rejected back in the day!

[@PearlAcoustics]

That’s a very good point! I know it was very frustrating for many manufacturers, so perhaps they sold them to a less stringent retail public?

[@donpayne1040]

Wow, great.

[@crazyprayingmantis5596]

Why have a website with a category that says SHOP But don't display any prices. Do you want to sell these speakers or keep them all to yourself?

[@PearlAcoustics]

Sorry if the site is misleading, but if you click on shop and then ‘enter’ you will go to the shop of our global distributor. There you will find the products snd prices. Hoping that helps?

[@yjwu5676]

I just found your lovely presentation of LS3/5A and Sibelius. You also briefly mentioned KEF‘s own version of BBC speakers. How wound you comment on KEF Reference 101‘s approach with no sophisticated crossover?

[@PearlAcoustics]

Hi, very sorry for my late reply, your comment slipped through my filter. As far as crossovers are concerned, there is no simple solution. If a manufacturer can find (or make) two drivers extremely compatible, then a very simple (even two component) crossover can work very well indeed. The big advantage is accurate phasing. I cannot remember the 101’s , but as you probably know, I grew up designing enclosures with KEF and Audax drive units. I’m a big fan of KEF

[@geraldmcmullon2465]

Kef 101 are more efficient and easier to drive than the LS 3/5A. So, back in 1980 it was easier to match a suitable amplifier. When I compared them then I could not understand what the fuss was about. Perhaps, with a better matched amplifier and listening at home I might have revised my opinion. In 1980 they were £180-190 (depending which LS3/5A you got). There were many around that price that have more bass. Currently LS3/5A are around £2750. Second hand original 1980s speakers sell for £750-1200. By inflation the lower end of that is the price match (x4.2 1980-2022).

[@leqin]

Thanks..... it just made me feel so much better knowing that back in the 1980s, when I purchased a pair of the LS3/5a's from Wilmslow Audio, then I was a ELITE person...... mind you I have seen how much they sell for on eBay nowadays, so I wasn't that elite because - like my Linn Sondek/Ittok/Karma and Naim Amplifiers - I sold them for a pittance of what they sell for today.

[@PearlAcoustics]

😉👍

[@ibassnote]

I love that you use a double bass. You did leave out the role of the soundpost. As the top vibrates it transfers that vibration via the post to the back of the bass effectively creating something like a bellow. That is is how the air column is created in the body. Not a critique, I love your video. Just a tweak. Cheers.

[@PearlAcoustics]

Hi Jason, you’re absolutely right. And even the slightest re-positioning of the sound post can make the most dramatic difference in the sound. Thanks for your comment, how silly of me. Glad you enjoy my videos. There are more coming soon.

[@CompetentSalesUSA]

The Rogers was never designed to be a neutral speaker, it is famous for the midrange dip that made voices sound spectacular.

[@PearlAcoustics]

Indeed

[@Detailverliebt]

I was working in a hifi shop here in Germany about 25 years ago and we sold a lot of British hifi especially in the lower price range like Mission, Rega, Musical Fidelity that kind of thing and we were a very good Spendor dealer, my boss at the time loved the BC1 I owned a 15/1 and most of the customers who wanted an even cheaper speaker I sold them Rogers most of the time. At some point I wanted to hear a 3/5 coz we had none and my 3 co-workers told me that I should forget about the 3/5 because it simply sucks. However I asked the sales representative (nice guy) if he could borrow us one and he did. It was one of the worst speaker experiences I've ever had in my life. The 3/5 is nicely balanced but it has absolutely zero dynamics and I mean zero. A Quad ESL is more dynamic than this thing. It kills absolutely everything what people like about music. The only thing what this speaker is good for is to listen to the news and that's pretty much it. And remember what I said in the beginning, I owned a 15/1 myself, that's not a dynamic speaker by any standard at all.

[@kristiantizzard7796]

What do you mean ‘dynamics’?

[@pauldavies6037]

THat is EXACTLY what I found very poor sensitivity does not play loud no dynamics good on speech only and mid band imaging only We compared 4 versions of this speaker they all sounded different in spite of the BBC's tight specs speakers half the price sounded much better

[@brucelavender]

@ Pearl Acoustics I'm a new subscriber and have enjoyed your video productions immensely. Would you know the manufacturer of the speaker stands the LS3/5As on sitting atop?

[@PearlAcoustics]

Thank you Bruce. Very kind. The stands are just some ‘Manfrotto’ lighting stands with a custom screw on plate that I use for my on location ‘Yamaha’ studio monitors. In all honesty, the little LS3/5A’s need very sturdy stands. Find yourself some stands that you can fill the central tubes with dry sand. Or get your local metal worker to make some up with 5mm steel plates (top and bottom) and a scaffold pipe (which you fill with sand from the top). Then you’ll have something amazing for very little money.

[@christopherward5065]

What you described is intriguing on several levels. You've designed a full range speaker and cabinet system which probably lively and pure at the same time. I was trying to work out if it is a transmission line or, a horn loaded system. I think you said horn loaded. So the gain from the horn fills in the low frequencies. It looks incredibly beautiful and zen in the purity of concept and build. I am currently using Kef Reference 103 and that is a moderately large stand-mounted system with the odd distinction that the drive units are mounted on a rotatable plate. These sound neutral and I have ended up renewing the capacitors and some resistors and the internal wiring. They have good bandwidth and open sound with low colouration. The aspect of tuning and voicing seems to be a real problem that needs more than just measurement to solve. Did your driver have falling treble and how did you solve that potential problem?

[@PearlAcoustics]

Thank you for your comment. I remember the Kef Ref 103 very well. The secret of our design is an outstanding drive cone on a quarter wave pipe constructed with very thick dense oak. We can go very low 38hz is the beginning of our roll off point. This shocks everyone who hears it. They can’t believe a little cone can do this. But it’s the enclosure that does the work - giving ultra detailed bass but with a high end that’s performing as well as the best loudspeakers. We do not use any kind of filtration or electrical components. Just like a double bass.

[@christopherward5065]

I will have to go and listen to them in the Spring. Like a quarter-wave transmission line. The drive unit must be very pure sounding in treble and mid-range and phase coherent too!

[@PearlAcoustics]

@@christopherward5065 it certainly is, no worries there! Reach out to [e-mail], if you want to hear a pair.

[@ianoliver3879]

Good sir, a thousand thanks. I've watched quite a few of your pieces now, and admire your presenting as much as your sound knowledge. Both are, of course, brilliant. My very elderly Quad ESL 57s soldier on, but I'm not sure how much longer they'll last. Maybe a new pair is in order, but I believe that your speakers aren't easily available in Singapore. While this plague thing lasts, I can't audition them.I hope I don't insult you by asking how the Sibelius has the crystal clear middle and upper compares with the Quads. Apologies for the long query.

[@PearlAcoustics]

Dear Ian, thank you for your kind words. One of my listening panel experts has a pair of QUAD ESL’s but the bigger model. It’s been a very long time since I heard a pair of 57’s but the sound is not that dissimilar in as much that nothing is ‘over stated’. We have got a customer in Singapore, maybe he would let you listen to his set up? Write us an email to [e-mail]

[@janinapalmer8368]

I once made a comparison between a Rogers LS3/5A and a Kef Coda costing much less and during a blindfold A-B test most people I used for the test couldn't tell the difference..! I often wonder how well the Sebilius speaker would perform if subtle changes to the cone suspension were made and the whole enclosure converted to a less periodic transmission line ...

[@PearlAcoustics]

Maybe this is an interesting project for you to set out to try? Thanks for your comment

[@user-tw2eo8wt3c]

Hi Harley, why have you chose 4.5"?? when you could choose a larger driver from Mark Audio and make changes to the unit?

[@PearlAcoustics]

Hi, thanks for your question. Of course, during our development period, we experimented with a whole variety of drivers, Including the larger drivers that Mark Audio. But they tendency’s have less bass, we’re less detailed and not as fast as the unit we opted for. If you ever get a chance to hear our Sibelius loudspeakers I think you will agree that we have enough bass. (Flat at 38hz) in most settings. Feel free to reach out to us via our website, if we can help you further

[@user-tw2eo8wt3c]

Hi Harley, thank you for the response. I live in Israel and do not think that there is local vendor so can not have any experience with it. I had in the past an California Audio speakers with the 4" Jordan unit that was very nice on the mid's but extremely limited on treble and bass . I have seen most of your videos and find them very informative and interesting and also very honest-somthing that is not very common this days. keep on the good work👌

[@PearlAcoustics]

@@user-tw2eo8wt3c thanks, you’re very kind. I will do my best! Best wishes from Belgium.

[@kristiantizzard7796]

It would be interesting to see some measurements for this speaker. Have you performed any?

[@PearlAcoustics]

Hi, yes indeed... we have done all kinds of tests but what exactly had you in mind? -6db occurs around 32khz (depending on room conditions). Please check our website for more details.

[@kristiantizzard7796]

Pearl Acoustics thanks for replying. Unfortunately your website seems to be down at the moment. I suppose the frequency response on and off axis, indications of horizontal and vertical directivity. The mark audio drivers are quite interesting but I’d imagine hard to implement across the full range with a flat response-I know that you’ve done a lot on the cabinet.

[@PearlAcoustics]

@@kristiantizzard7796 Hi Kristian, I have just checked the site and it seems to be up: try: www.PearlAcoustics.com - if you still can’t see it, please let me know. to answer your question. Without crossovers a perfectly flat loudspeaker is almost impossible (and possibly not desired). The only microphones that I use that have a ‘flat’ response are our B&K test mics. But if you use them for recording music, they sound awful! Over time, all loudspeaker manufacturers have understood that, not always ‘flat’ is best. However, our tests show pretty good off axis, compared with multi-driver systems. Only having one driver, with a shallow cone - really helps produce a wide natural dispersion. Most of our real Human based tests have been done in different locations and performing side by side comparisons (over a wide genre of music) with loudspeakers, such as QUAD ESL’s, Von Schweikert, B&W 800 series, Magnapans etc. We did these with independent listeners, taking into account their views, until we saw that any bias we might have was indeed, in-line with their tastes and our competitor’s products costing 15k EUR and more. We also carried out hundreds of sweep and decay tests - until we ‘got it right’. I know this reply is not scientific but we prefer not to publish our technical results (like most manufacturers) because we open up ourselves for technical criticism, rather than listening criticism. Needless to say, the one thing that everyone is very surprised with is how low our loudspeakers go down to, with clarity and detail - and the fact that all the high frequencies seem to be there in side by side comparisons. Hope this helps?

[@gino3286]

I wonder if playing back low frequencies and mid-high ones with the same driver could lead to some level of IMD expecially at higher SPL

[@mikafoxx2717]

In theory, yes, but in practice is the least of your worries. It's called Doppler distortion. The transmission line reduces the excursion needed from a small driver for the same bass response.

[@marcoserafino835]

I saw that you also mentioned Atc scm7, I own a pair of Atc scm11, what is your opinion about these speakers as far as listening accuracy is concerned? thank you

[@marcoserafino835]

??

[@PearlAcoustics]

Hi Marco, sorry for the late reply. the ATC scm11 is an excellent loudspeaker. I have been a fan of ATC for years. I find them very accurate and revealing. They are also extremely good for using as monitors because they expose every detail. Good choice.

[@marcoserafino835]

@@PearlAcoustics thanks 🙏

[@sportscarnut]

So for full orchestral renditions (tympani, organ) do you recommend a subwoofer?

[@PearlAcoustics]

No, not in the case of our Sibelius loudspeakers.

[@rickgreen6081]

You commented on the fact that there are better "bookshelf" loudspeakers than you wanted to make. Can you comment on which ones you might suggest to listen to (other than the HS7 & ATC SEM7). I am looking at the price point of the Sonas Faber Lumina ll, but could go a bit higher if the sound is significantly better to my ear. I love the technical engineering approach to your videos.

[@PearlAcoustics]

Dear Rick, thank you for your kind words. I am not an expert on bookshelfs, but there are two that spring to mind. Firstly (and you will need to ignore the look and price) The QUAD S2, punches way above its weight and although way cheaper than your budget, it just sounds great to me (only heard it at trade shows). The ATC SCM 11, is also very good, giving excellent detail. But for a small room I would go for the Quad S2. If you ever decide to spend tens of thousands ;-) then the Magico A1. But the pleasure one can have from music with the Quad S2 can be just as much, in the right setting. Hoping that helps?

[@jackbarnard1781]

What an awesome loudspeaker!! I bet they sound fantastic in a medium sized room w/ great electronics. Like cambridge audio & McIntosh. What is the power rating? Cheers from California !!!

[@PearlAcoustics]

Thank you for your very kind message. They can handle peaks of up to 70w. And push out comfortably up to an average of 96db. Ie they play rather loud but not for very loud parties etc. I hope this helps?

[@jimp.7286]

We're more into the world of recording than that of the modern audiophile so thought we'd add to the discussion as best we can.The comment about "if it sounded good on the LS3/5A, it'd sound good elsewhere needs further clarifying beyond just being about the focus on mid-range though that is part of it. For the same reason most studios here in America often used Auratones or Yamaha ns 10's, ( also, both sealed designs ), something else goes on with these small legendary monitors that other small formats don't seem to do and it's hard to explain. For us, they're like a lazer beam into the most important content of a mix. Not just the area of frequency content but the way it's handled? Maybe the sealed box is part of the formula? Others have debated that in the past and a few mixers won't work on anything but. Some small home studios have even employed small realistic sealed bookshelf speakers referred to as a poor man's Auratone. It's not just about sounding good on garbage or trying to replicate an old am car speaker to produce a product that translates. Something else is going on with certain legendary monitors. Hopefully I didn't insult with content that's already well known and discussed. One last point to make. Small recording monitors are often unpleasant to use as casual listening speakers. Obviously, that's not their purpose.I wouldn't use mine that way. The LS3/5A would be an exception. Cheers.

[@PearlAcoustics]

Dear Jim, thanks for your great comment. Totally aligned. As you may have noticed, for recording out on site, we use the active Yamaha’s. They’re great for revealing information from the mics but put them in a domestic listening environment and they don’t sound good at all! Somethings are hard to put ones finger on.

[@michaelcelani8325]

It is really easy for me to put my finger on BS as in Bull Shit. !!!

[@jimp.7286]

@@michaelcelani8325 Explain please.

[@popdufc4139]

Early 80's I realised I couldn't afford mid/large speakers that I liked. The ones I could had uncontrolled bass and lumpy speaker crossover. I tried the LS3 5A but too clinical. Next tried Linn Kans. Even with my basic Linn lp12 they sounded awful ( probably due to my amp) Goldilocks appeared as The Small Loudspeaker. Ported SEAS driver very small speaker. Ticked all my boxes. Many a time I've taken them to compare when looking for an upgrade. Diminishing returns mean I still have them and can sit and listen for hours. Content

[@PearlAcoustics]

Great!

[@Spicycomment1]

Nice speakers, are these 1/4 wave or bass reflex enclosures? Cheers

[@PearlAcoustics]

Thanks. They are more 1/4 wave than bass reflex. Hope this helps.

[@Spicycomment1]

@@PearlAcoustics nope , notcreally for me😁. I know 1/4 wave desihns and BR designs .. is yours an "hybrid" ?

[@PearlAcoustics]

@@Spicycomment1 they work on the principle of 1/4 wave by using an exponential v enclosure.

[@Spicycomment1]

@@PearlAcoustics sounds interesting .. good sales for you

[@PearlAcoustics]

@@Spicycomment1 thank you

[@wechnivag]

Rear loaded not front loaded?

[@jackbarnard1781]

Hey Harley!! Hey I got a question. What are your personal thoughts & feelings regarding sacd. The feedback I've gotten is that it's smooth. Depending if the music being played back is not dreck. I think the music industry made a big mistake by not making sacd the industry standard. Instead of an expensive option. Then develop from there high resolution audio. The public at large would be used to high resolution & hopefully demand it. Also I've been listening to Alberto ginastera piano concerto #1 interesting piece of music

[@PearlAcoustics]

Hi Jack, to be honest, I don’t have many strong opinions in this topic. Except I think sacd was just too problematic, logistically. It was like shops having to hold mono and stereo versions of the same content. Today with high res streaming I think sacd would have suffered anyway. It was good but commercially unsustainable. I always record in high resolution but that’s mostly for editing purposes, so we can go deep into the music and dig out a one hundredth of a second to cut our content (the thickness of a sharp razor blade on a 15” per second magnetic tape) 😉

[@jackbarnard1781]

Harley I would love to hear some of your work as a sound engineer. What ensembles have you recorded? And at what resolution are they recorded? And would the signal be too much information for most stereo systems to deal with

[@PearlAcoustics]

@@jackbarnard1781 hi - Jack, some of my work can be purchased from the Pearl Acoustics webshop but is also readily available on most streaming services. Try ‘Aveline Gram’ The Balmoral recordings. Or Veronique de Raedemaecke and George Tyriard. (It’s all classical. I will be releasing a video on the making of my latest CD / LP in October. Perhaps look out for that.

[@jackbarnard1781]

@@PearlAcoustics wow Harley I just listened to a sampling of aurore dassesse & aveline gram. What lovely artists they are. & wow the resolution in the music. Crisp & clean. Well done lovegrove well done

[@PearlAcoustics]

@@jackbarnard1781 thank you.

[@Ricky-cl5bu]

I’d love to hear a pair

[@PearlAcoustics]

Thanks for your comment. If you email us with your location, we can see if that can be arranged at sometime

[@Ricky-cl5bu]

@@PearlAcoustics thanks

[@may_68]

Many of audiophiles are unaware that Jim Rogers built horn loaded speakers in the early years. Such is the impact of the LS 3/5a. I have a very rare pair of Mk2 Horn enclosures with Lowther PM6 and what information I have surfaced about them has largely been occluded by the LS legacy. Of course the foam has rotted on the Lowther's but I hope to resurrect them in the new year. They're rather large but as J.D. wrote in The Gramophone when reviewing them… 'No one has yet succeeded and as getting a quart out of a pint pot'.

[@PearlAcoustics]

Good luck with the restoration.

[@may_68]

@@PearlAcoustics Thanks, I think I'll need it.

[@mrbillmacneill]

Hello Harley Many years ago we put a pair of Rogers on a bookshelf in my friend's father's law library that he had adjoining the living room. It was a fair big room with wall to wall leather bound law books. We stood about 2 or so meters out and they sounded pretty decent if you were to ask me. I am sure I would like listening to your speakers a lot. I hope I get that opportunity at some point in the future.

[@seano51]

I'd love to hear your take on Ohm speakers.

[@PearlAcoustics]

I really don’t know them. Fun name though. I have never seen them at a European audio show

[@thespotlightkid1011]

That's an Impressive frequency response from the Sibelius, & no efficiency sacrificing x/over components to get down to that room- dependant 37'ish Hz plus i can't imagine any woody- coloration coming from that cabinet, point- source to ...i may buy my 3'rd or 4'th ever lottery ticket so there's a 13.9'million to 1 chance i may want to hear a pair soon!

[@PearlAcoustics]

13.9 m to 1, not bad! 😉 if you reach out to me, via the website, or private message, I’ll see if there is anyone near you where you can hear them. Best wishes.

[@thespotlightkid1011]

@@PearlAcoustics Thanks, i will do that

[@jackbarnard1781]

Afternoon Harley. I got a question. Yesterday I listened/ watched handels messiah. What a complex piece of music. My question is this. Have you ever listened to that on your system ? How did your speakers deal with all complexities?

[@PearlAcoustics]

Hi Jack, sure I have heard the Messiah through my loudspeakers. Many times. It was absolutely fine. I don’t feel comfortable talking about my speakers that much because obviously, I am biased. But the one thing that our customers tell us time and again is their accurate soundstage and intimate detail, on both big and complex works but also small chamber pieces. Hopefully you can get to hear them one day to decide for yourself. Feel free to reach out to us and we can see what can be arranged. Have a good day!

[@jackbarnard1781]

oh that would be splendid. Personally I can't wait to hear messiah on my system. But... All my gear is boxed up. Booo!!! I have to wait til my life is sorted out. I believe in my heart it's gonna be my last system. But you never know 😆 lol. It's an interesting mix of vintage/ modern equipment. A 1979 onkyo tx4500 mk2. A proscan CD transport. Scott 675dm cassette deck. And a pair of pyle pcb4 loudspeakers. The combination is a complete joy to listen too. The top end rolls off nicely at 18kz easy on the ears

[@charleshuguley9323]

Is that a Mark Rothko painting?

[@PearlAcoustics]

It’s a study of one, painted by my late mother.

[@charleshuguley9323]

@@PearlAcoustics Nice! Thanks

[@francogravina7772]

Hello, may I ask one question please? I have a living room (+60 m2) with a ceiling above the speakers 5,50 m in a top with 12 windows around (after and left of the speakers). Acoustic a disaster. But my question is: are they big enough for such a great room? Why don't you create bigger ones with the same quality ?

[@PearlAcoustics]

Hi, thanks for your comment. are you referring to the Sibelius loudspeakers or the LS3/5a’s? The Sibelius should be ok - as they are full range. I guess it depends on how loud you line to play them and how damped you’re room is. Please feel free to contact me via enquiries at pearlacoustics.com and we’ll discuss further. Best wishes Harley

[@francogravina7772]

@@PearlAcoustics Thank you very much. Yes I was talking about the Sibelius speakers. Via your site I asked where I can do a demo. I'm living in Belgium. Have a nice day.

[@PearlAcoustics]

@@francogravina7772 hi Franco, we have a listening room in Tienen, Belgium. It is fully equipped with a whole range of amplifiers. Contact us via the website, and my team will arrange an appointment with you, when I am back from holiday. Or earlier, with one of my colleagues.

[@henrikl1394]

I have a room that is 40m2 but is 4,5m high ...And struggle to find the right speaker. I have 3 pair speakers today. AAD 2002 (by Phil Jones, ) Mordaunt Short System 442 and a pair of Cerwin Vega HED CH 504 R. All of them has their pros and cons. The first two pair has lovely mids and highs and the AAD go down to 28 Hz, but non of them fill the room . That the CV do, but as it is an CV sound quality suffers in mid and highs, still it's one of the better sounding CV:s out there. So I am looking for a speaker that can replace all 3 pairs....Love the Rogers if I had a small room. I would have a pair.

[@PetraKann]

Very tall ceilings can present acoustic challenges, but can also provide opportunities to enhance room acoustics. The relative dimensions and geometry of the room are critical. So tall ceilings over a larger area may or may not present acoustic problems. In my small sound recording studio at home i thought i wouldn’t have any major acoustic issues but this was not the case. In the end i needed bass trap insulation in the corners, a couple of acoustic panels in the rear plaster wall and one cloud panel above the desk. Also a large Acoustic blanket that could be drawn across the window and door. Sometimes its just a matter of lack if sound damping and reflective surfaces in the wrong place. Shifting things around can help. Not just the speakers but heavy coaches and other furniture. Good luck

[@Scottlp2]

A speaker company named Sibelius-how wonderful.

[@PearlAcoustics]

Thank you. The company is Pearl Acoustics ltd and our one (and only) loudspeaker is called after the Finish composer, Sibelius. But you knew that already!

[@user-bn5dy4ih1u]

What about making a cheap version of Sibeblius, say under the 1000 Eur/pair, with an 8 inch coaxial driver?...

[@PearlAcoustics]

Oh I would love to do that! Unfortunately, when reality kicks in and you pay people in mainland Europe a living wage and build enclosures in a safe and comfortable environment, with wood from sustainable sources - prices just begin to rocket. I honestly think the only way to do it, is in kit form. But our enclosures are too complex to glue together without at least 15-20 clamps!

[@user-bn5dy4ih1u]

And would de necessary to move production to other countries where labour hand is much cheaper... I guess still there is the option to make the more powerful version of the Sibelius :) Thank you very much for your reply, Sir!

[@PearlAcoustics]

@@user-bn5dy4ih1u indeed… though not sure why a more powerful version is needed… they go very deep in the bass (flat at 38hz) and play up to over 98db in a normal listening space. Best wishes

[@user-bn5dy4ih1u]

Sorry to bring back that subject again :) Hope I'm lucky to listen to them one day in my life.

[@PearlAcoustics]

@@user-bn5dy4ih1u no apology needed. Feel free to reach out to us via our website. Maybe we have someone best you who might be able to from a pair. You never know!

[@cesargutierrez4999]

Would love to listen to your speakers!!!!

[@5675492]

A small sample here : kzbin.info/www/bejne/jYOwdqCNlquWa5o

[@johnholmes912]

front ported speakers aren't to everyone's taste

[@net_news]

I'd love a bookshelf version of the Sibelious. I would be a must buy for me.

[@Detailverliebt]

a bookshelf full-range speaker is technically more or less impossible to build coz you need a chassis with a good QT to cover higher frequencies but in a small case such a chassis can't produce any low frequencies. The smallest full range speaker is the legendary L'Audiophile LePetite but it is not exactly bookshelf. You can find the construction plan on my (German) website. The plan itself is in French of course. detailverliebt.info/blog.html

[@net_news]

@@Detailverliebt well cutting the bass a little bit let's says at 40hz or 50hz it would be possible... obviously it will not be the same as the tower but It'd allow more people to enjoy the Sibelious sound.

[@Detailverliebt]

@@net_news 50Hz would be an absolutely stunning result but I am talking about cutting the bass below 100Hz maybe 150Hz

[@johngabris9690]

These videos are good, but am not sure who they are aimed at or the point of them. I have watched several videos of these types from vendors (ps audio who waffles a lot). Every vendor states their speaker is great/best not listened to these but how can a single point small cone compete other manufacturers of multiple coned systems. Very few can afford the high end amplification/source to get the most out of many quality spekers. This is especially true when using streaming systems. I have had people in my studio listening to their iphone with the shitty built in speakers saying how wonderful the song/music is. The mixing and recording is so critical that there are only a handful of brilliantly mixed tracks that are true to life. I listen to a large genre of tracks and really appreciate the imaging/soundstage/clear/dynamic range when it has been recorded beautifully. Vocal miking seems to baffle many engineers as some artists seem to have a 6 feet wide mouth rather than a single point floating (I have never met a person with a six foot mouth lol). No speaker in the world can compensate for crappy mixing (Tring label comes to mind). I am sure more would enjoy their system if the original source was better. These are just my thoughts I do agree with your view of the cables.

[@PearlAcoustics]

It’s true, mixing is often a disappointment. Even in the classical world, it’s too easy to accept for a quick substandard result. I like to listen to our first mixes for a few days before settling for a final mix for mastering, and in that time it can change a few times. It’s so subjective

[@pcg3003]

violin or viola?

[@PearlAcoustics]

Viola

[@budgetaudiophilelife-long5461]

🤗🧐 NOW I UNDERSTAND 💡 your speakers are not speakers 🔊 in the normal sense 🤩 BUT REALLY AKIN TO A MUSICAL INSTRUMENT 🎻 WHICH MAKES A LOT OF SENSE 😉😍😍😍

[@PearlAcoustics]

😉

[@dhruvmeena96]

its a quarter wave transmission line and it can go 1/4th of Fs of speaker. why try hiding it, cmon pearl acoustic speaker sound very nice, and quarter wave are hard to design....so its fine to tell us the internal technically, the the column of air adjust the back wave phase in such a way, that it comes out in phase. the bottom vent is same as the driver Sd a quarter wave V horn is, when the sound expand and then compress back as it moves creating a buffer or a lump mode of sound, filtering HF frequency.

[@laika25]

Of all the manufacturers licensed to make the LS3, is Rogers the closest to the original BBC? I've heard the Falcon Acoustics are superb. /It's easy to get lost in the LS3 maze.... (I must add I'd pick your Sibelius over any LS3 ANYTIME no doubt 😉)

[@PearlAcoustics]

Hi, in the early days, there was (or should have been) no difference between the manufacturers… because the drive units all came from KEF and the crossover and enclosure specifications were very tight. In recent years with new companies making the drive units there will be a difference, but this is certainly not a bad thing. The BBC design was great in its day but compared with modern equivalent loudspeakers, I do believe the new ones should sound better. For example. Falcon have massive experience in the loudspeaker driver market - and can source drive units from an extremely wide source of manufacturers. So it will be a matter of listen and compare. They will all be similar but not the same. So glad you appreciate our loudspeakers Best wishes

[@laika25]

@@PearlAcoustics Thank you very much for your reply, very kind of you.

[@sudd3660]

i would never make a speaker that comprise sound quality for extra bass. that's why subwoofer exists. any box should be sealed or use a open baffle design.

[@proffessasvids]

Wonderful! Xx

[@PearlAcoustics]

Thank you! Much appreciated

[@proffessasvids]

@@PearlAcoustics I love your design philosophy sir. I did wonder if the sibelius was a tqwt. I was wondering if the throat was tucked under the vent at the bottom. I always liked the sound from these cabs. Very open and quick! Xx

[@gdevelek]

Why don't you publish the diameter of the single driver? Is it embarrassingly small? Like 5.25" ? Why this secrecy?

[@PearlAcoustics]

No secret. Size has absolutely no impact on the bass performance. In fact you guess about right depending if you measure rim to rim or the cone itself

[@gdevelek]

@@PearlAcoustics "No secret", and yet you STILL won't divulge it. As for drive size impact on bass performance, suffice it to say I wasn't born yesterday.

[@TernaryTrout]

@@gdevelek He clearly displays the labelled rear of the speaker IN THIS VIDEO... It a Mark Audio Alpair 10, 100mm driver...

[@astra004]

Yes we can, but we don‘t want to. A phrase that deserves repetition over and over again.

[@timcain1418]

I don't understand why the LS3/5a is so revered in HiFi circles. It is a near-field monitor, designed for the specific, limited task of providing faithful reproduction of a primarily spoken word signal in very small spaces - an outside broadcast van, chiefly. And it does that very well. What it is not suited to is general-purpose use - reproduction of music over the full frequency spectrum with a high dynamic range. It has miserable bass response, miserable power-handling and terrible efficiency. My father had a pair of Rogers LS3/5a's which I listened to extensively. With opera, the vocals were sublime , faultless, but the dynamics of the orchestra were lost and the lower strings and timpani were distant and muted. Playing modern music (e.g. Steely Dan, which I loved for the complex yet uncluttered arrangements, 1/3 of the music was missing). I think the LS3/5a's popularity coincided with the 80's-early 90's thrust in HiFi to emphasise source above all else. After all, you cannot hear what the source has not provided! We forgot that we cannot hear what the system cannot reproduce... So you end up with systems comprising a top-notch source (LP12, Pink Triangle) and tiny, inefficient standmount speakers such as Linn Kans, Acoustic Energy AE1's and yes, the LS3/5a's. Married together using a "good" pre-amp and a brutal solid-state power amp (Krell KSA-50, for example) to overcome the efficiency - or lack thereof - of the speakers. Such systems signal virtue - "Look, I'm concentrating on the source, how pure and true must my listening ideals be!" I think we've moved on from there and realised that as in most things in life, HiFi reproduction is a balancing act, a negotiation, but there are still some corners where the old thinking lives on and the ridiculous price of the LS3/5a is one of them.

[@PearlAcoustics]

Dear Tim, thank you for your comment. indeed, it is a complete mystery… I agree with you, the LS3/5A’s are over rated by many. I think the cult status came mostly from their success in countries like Japan, where room sizes were often very small. And where ‘British’ and the ‘BBC’ was revered. I compare them with the difference between an Aston Martin DB4 and an e-type Jaguar. Today, the Aston is worth roughly ten times the amount of an e-type. Yet it’s not as nice to drive and no more beautiful (in my eyes). But James Bond drove the Aston and not an e-type and somehow a cult was born. The LS3/5A is, as you say, a nice little speaker for vocals and it can be forgiving on badly recorded music. What it did well was to mimic good quality radios that people might have in their homes, at the time. I used the comparison in my video, simply because it’s mid-range is wonderful, it’s small and most HiFi enthusiasts have heard of it! Plus it is a nice thing to have around but indeed, not to be taken too seriously when appreciating music. One album I like to listen to, to assess a system is Steely Dan’s ‘Two against nature’. On the LS3/5A’s, I agree, there’s just two much missing. But if your room has the right acoustic for them, they can sound deceptively good for their time and age.

[@timcain1418]

@@PearlAcoustics Thanks for the response. Yes the Japan connection makes sense. reading around, the Far East seems to be like a black hole when it comes to LS3/5a's - greedily sucking them up and if you have an ex-BBC pair (thin wall cabinets, asset label intact), you can name your price!

[@rayfordham9230]

M

[@ronniefranks4351]

Sorry, but I’m not buying the idea that that tiny driver produces 36Hz. Maybe at minus 15db level. BTW, throwing out a frequency without referencing the level is worthless.

[@edwardbalboa5528]

Precisely ..... More like -30 dB ... 4" driver is midrange ONLY

[@berlyfredy7153]

Hey Ronnie. I get your skepticism because i had exactly the same thought when i read about mark audio drivers (drivers for sibelius aswell). After doing tons of reading and asking many people i eventually built a frugal horn xl with alpair 11ms drivers. I was skeptical until the moment i fired them up. Once i listened to them oh boy! bass was overwhelming and deep. Not gonna keep on blabbering. If you ever get a chance to hear mark audio alpair 11ms drivers in a frugal horn xl you will be surprised.

[@PearlAcoustics]

Dear Ronny and all those who are concerned about the size of a drive cone and the loudspeakers’ ability to produce bass, please understand that the bass is not related to the size of the drive cone. Strange how it may seam. It is how they push the air through the enclosure. You can hear the deep thump of an acoustic double bass at the back of a concert hall. The size of the double bass’ bridge (the part that transfers the vibration of the string into a downward movement) is only a few centimeters wide and only moves a fraction of a millimeter. The bass is produced by the compression effect of the air in its enclosure. Our drive cones work in exactly the same way as the bridge of a double bass, except, unlike the bridge, they can move several millimeters in a lateral direction. It’s not magic, just acoustics and can be simply explained. I hope we have te-assured you! Trust me, we have never had a client complain about a lack of bass!

[@ronniefranks4351]

@@PearlAcoustics I can appreciate what you’re saying. However, I still note there’s no minus decibel level listed for that 36Hz figure. Without that, that 36Hz figure is meaningless.

[@PearlAcoustics]

@@ronniefranks4351 totally agree. In a well balanced listening room the Sibelius loudspeakers are flat (+/- 3db) at 38Hz. snd are -6db at 36Hz but fall off dramatically after that. Hope this helps?

[@IDontExist14]

Sebalius means snake oil in England

[@davidspendlove5900]

Snake oil , that's a can of worms.

[@darylcross4336]

I know can't hear on here ie not a good medium too , but be nice to actually hear and listen to stuff your talking about

[@PearlAcoustics]

Thank you. Very kind.

[@Peter-ii4xq]

Nice business talk, but a speaker is no musical instrument, and one speaker can never get 30-20.000Hz. It's just a big compromise. Nothing more, nothing less.

[@dhruvmeena96]

markaudio alpair 7ms has Fs = 74.724 Hz theoretically, the speaker with Quarterwave transmission line on paper can go upto 18.681Hz. So, his claim is kinda right on figure of speech 38Hz or 30Hz at f3 point (-3dB from flat freq response) as room are not ideal. if everything is ideal as per theory, these can reach 18.681Hz not supporting him or his brand, just telling the facts

[@ptong4894]

Yamaha HS7

[@patthewoodboy]

Every LS3/5a I have ever heard sucked the life out of the music

[@PearlAcoustics]

Thanks for sharing your opinion and observations on this topic.

[@michaelanzelino5068]

I find this very hard to believe. An 8 inch speaker will not produce a realistic sound level of a contra bass. Period!

[@PearlAcoustics]

Thanks for your comment. But let me explain it this way. There is no correlation between the size of a drive cone and the level of bass. Look at many subwoofers that use 8” or less drivers. We can produce enormous bass from a 3” cone in the right enclosure. Imagine, the reed on the mouthpiece of a bass clarinet. It’s about an inch and a half wide and long, yet when it it is connected to the instrument the vibrations it produces create very low and loud bass notes. It’s how the vibrations are amplified by the enclosure. I hope this helps? Hopefully one day you’ll hear our loudspeakers and discover them for yourself.

[@johnr6168]

As Harley says, the size/area of the drive unit is not as significant as people often think. My TDL Studio 3 speakers (trransmission line) have 8" drive units and their response goes down to just below 20Hz. The problem with using drivers of 10" and bigger is that the mathematics of cabinet sizing and room handling makes them get out of hand from a hifi point of view. Also, larger drivers suffer more from 'cone break-up' (I don't mean ripping apart) whereby the cone flexes in various patterns and of course this creates inaccuracies in the sound.

[@edwardbalboa5528]

Small is small.... Not full range... No point unless your room is tiny

[@PearlAcoustics]

Hi Edward, maybe look on our website and see some of the massive spaces our speakers have been successfully placed in. Just an idea. It all depends on acoustics and expectations. A single violin or flute can fill an entire concert hall, but not an open air festival.

[@marcoserafino835]

?

[@twochaudiomg2578]

Man, every clip you do is a clip trying to sell a Single Driver speaker. One way you could tell who the winner is Go by Sales of both speakers

[@johnholmes912]

my stand-mounts have bigger drivers than the sibelius......

[@MegaEpstein]

Why so many snake oil within audio equipment market

[@AALavdas]

Unfortunately no "wide range" driver can ever sound natural, unless you are only playing human voice or a solo saxophone or something like that through it. In those cases, it's perfect. In other cases, for more complicated material, it's serious flawed. It's a disaster with a symphony orchestra. Nothing to be done about it, it's Physics: mainly intermodulation distortion - among other problems. Reproducing a violin and a tuba with the same membrane at the same time is a recipe for disaster, if one is looking for fidelity of reproduction. I can tell the sound of such speakers when I enter a room, without looking. Of course many people may love this sound - that's another story, hifi is about enjoyment, and different people enjoy different types of sound.

[@locmanw1583]

I would agree with you. If a single driver loudspeaker was the secret to making music then everybody would be making them and multiple drivers be would become obsolete!

[@PearlAcoustics]

@@locmanw1583 I am afraid that’s not strictly true. The problem was that in the past there were no drivers that could handle the full range. In the last decade things have changed. Every speaker design has its compromises. Only by hearing can you draw conclusions. We have had amazing reviews from totally independent people. Even the famous reviewer Paul Messenger bought a pair for his home and this is someone who can have whatever speakers he wants.

[@locmanw1583]

@@PearlAcoustics ok good to know! The previous comment saying can't do it is not revelant. Yes, only audition is proper. I don't listen to classical music anyways. On paper your theory ideal. But I guess we have to order factory direct to try? I went to website but could find the size of the driver you use? Thanks! 😊

[@PearlAcoustics]

@@locmanw1583 the Sibelius speakers are great with all genres, but not for very loud drum and bass or hip pop! We do have a couple of dealers but in the last year, everyone has bought directly from us. We offer a return process but no one has ever used it! 😉 the videos are not about sales - I just wanted to get the truth out there as there is do much nonsense spoken about HiFi.

[@AALavdas]

@@PearlAcoustics Physics is physics. And it hasn't changes in the last 10 years. I have not auditioned your speakers, I am sure they are great and they satisfy many people, but the laws of Physics apply to them, too.

[@johnbb99]

I'm frustrated that the presenter has chosen to put forward some ideas and facts that are misleading if not worse. 3' 55" "In the Sibelius loudspeaker the cone vibrates and pushes a common of air to produce sound out the bottom" that's exactly what every vented cabinet ever made or designed does. Nothing special about that all. 4' 19" Making the cabinet not add or subtract from the output of the driver is the design intention of every cabinet designer worth their salt. Sibelius is exactly like every other loudspeaker designed with any care. 6' 15" "the drive cone takes over...". From what? Nothing else is generating any sound! (Except of course any output from the cabinet walls.) 7' 24" This is actually factually wrong as the crossover frequency is 3 kHz; the b110 will be outputting much higher level than the t27 at 1.5 kHz. But no matter. 7 36. "so that has to be held back and suppressed with filters and crossovers" . Actually if you read the BBC r&d research paper it tells you that the crossover (as well as its primary purpose) adjusts the rising output of the b110 (4dBs between 200 Hz and 2 kHz) and also adjusts for a resonant peak. Frequencies above 70 Hz are not generally "held back or suppressed". Yes, the techniques and technology available at the time were used to compensate for the relatively crude and coloured loudspeaker drive units available at the time. I'm not sure why the presenter doesn't say that his drive unit is very technologically advanced. Huge advances in technology of drive unit manufacture have allowed him to use a single drive unit without any crossover which is a wonderful and very beneficial thing. 9' 30" "every BBC studio..." Simply not true. Most studio control rooms were big enough to accommodate larger speakers which were used in preference. But no matter. The Sibelius loudspeaker looks magnificent and I have no reason to think that it doesn't sound even better. I wish the company well and hope that in future they don't say anything misleading while promoting their product.

[@PearlAcoustics]

Thank you for your very detailed comment. We welcome all contributions. Please let me assure you that no part of this video was deliberately misleading. And was a ‘best efforts’ project that I put together as a talk, a discussion.

[@locmanw1583]

Book shelf should only be used if you have no space or a small room

[@NosTubes58]

I beg to differ........, as I’ve been a mini-monitor lover since returning from Japan ( circa 1975-84 ) and have owned well over 19 pairs of them, where my wife and I’ve lived in open concept lofts | apartments | co-ops which all had listening room spaces as big as 13.5’ wide x 22.8” deep x 8.9” high, where said designs drove our entire home, not just said listening area with ease. We in the states take for gather larger spaces......., whereas 3/4th of the world are limited to smaller rooms, yet understand the quality therein of the better made | commonly sold mini-monitors, try to hear a pair of DeVore Fidelity Gibbon 3XL’s preferably driven by Shindo Labs tube electronics, and then see if you’re able to heard said differences?, but than again not everyone is willing to spend, nor listen to a pair of $4.000 mini’s, not when one is to assume that underdamped - highly resonant cabinet they’re hearing in many under $3.000 floor-standers offer, to hear true low end response cost money........, can you say “ Magico ? “ or “ Rockport? “ where true bass resides, yet one’s perception of bass accuracy in itself remains of greater importance as opposed to something that merely goes boom - boom.

[@locmanw1583]

@@NosTubes58 the only thing I read I like is your mention of Shindo gear. The rest is HiFi. The only small monitor I like will be Harbeth P3ESR or Audio note An-k. But then again it's not truly full range. Of course your room acoustics has to be good so you can have strong bass to 30hz. I give you example one song there is couple of kick drum beats that come in before the singer sings. If you have a monitor you are not going to hear the full power of the bass and air of the recording as it was truly intended in by the engineer. If you are fine with that then that is your choice. I prefer full range sound if I can have it. Depends how serious are in listening to audio right. Some people prefer listening audio through small bluetooth speakers. As long as you enjoy your music.😆

[@Coneman3]

If your speaker isn’t as good as that small one, you’re doing something very wrong.

[@ferdossali6395]

ls3/5a is not a hifi speaker........the xover is crazy because the drive units are very poor....... dont waste your money on these

[@kimngan9581]

dịch

[@trunghoang9429]

All talk and no sound samples? Are we supposed to blindly believe in whatever this guy said?!?!?!

[@Peter-ii4xq]

Five thousend pounds? Are you serious? What for?