Falcon LS3/5a vs Sound Artist LS3/5a

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Falcon LS3/5a (£2,475) vs Sound Artist LS3/5a (£495)​

Review by Martin Virgo

Introduction​

A couple of years ago I decided that I needed a better pair of speakers for my nearfield system and naturally my thoughts turned to the BBC LS3/5a. I then noticed that the Chinese manufacturer Sound Artist had their version of the LS3/5a and looking at the modest, in LS3/5a terms, price decided to take a punt.

Our editor asked if I fancied putting pen to paper about them, but I didn’t. The fact is that I have had damned little exposure to the LS3/5a and I felt for such a piece to be AT ALL worthwhile the elephant in the room had to be addressed, does it deserve the LS3/5a appellation at all.

When I went over to Guildford Audio to listen to the SME Model 60 a few weeks ago I mentioned this to Trevor Martin, owner of Guildford Audio. He told me that he had a store of interesting equipment and thought he might have a pair of Falcons I could borrow …..and so it proved. THANK YOU Guildford Audio.

I won’t retread the LS3/5s history, there are LOTS of articles covering this, including:

Wikipedia;
Stereophile Review;
Falcon Acoustic LS3/5a.

Falcon Acoustics sell speaker parts, kits and cabinets. They decided to build a fully licensed version of the BBC’s LS3/5a. At the other end of the spectrum, you have Sound Artist, they have produced something which echoes the size and the type of parts used by the BBC design, but not something that could be licensed in its current form, but it is 25% of the price.

Is the extra eighteen hundred pounds worth spending?

Of course, ANY speaker can only perform in the context of the system into which they are placed. It is here that many aficionados of these speakers may complain, a solid state amplifier system, perhaps even WORSE a CB Naim 140 power amp. Not a valve in sight! All I can say is that this is the near-field system that I use and I don’t currently have any valve amps at home.

Test Tracks: The Good, The Bad and the Bright​

The tracks were selected to allow:
  • Comparison of local and Qobuz sourced versions of the same tracks;
  • Comparison of standard and remastered versions of the same track;
  • Comparison of older and modern tracks, with their different mastering priorities;
  • How problem tracks were presented.
Qobuz Playlist: https://open.qobuz.com/playlist/12708363
Problem Files: https://open.qobuz.com/playlist/12623970

Falcon LS3/5a​

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These are a nicely made pair of speakers that come in Baltic Birch Ply. The whole speaker looks and feels solid and well made.

The specs:
2-way infinite baffle (sealed box)
Freq Resp: 70Hz - 20kHz ± 3dB
Sensitivity: 83dB. 2.83V, 1m
Impedance: 15 ohm
Dimensions (HWD): 305 x 190 x 165mm
Weight: 5.35Kg each

Sound Artist LS3/5a​

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The Sound Artist certainly are presentable, just do not brush against the name on the speaker grill, you will find it is formed of multiple of sticky letters that quickly detach and form a jigsaw puzzle.

You have three finish options, Rosewood (default and included in the base cost) and two premium finishes, Walnut and Macassar. I took the Rosewood. It is not robust, sitting on my desk next to my laptop the edge nearer the computer has lost bits of the dye.

The speaker banana sockets look and feel robust. The overall construction seems perfectly reasonable, although my left-hand speaker has something inside that rattles when the speaker is turned over; I did mention this to Sound Artist who after an initial contact failed to reply. It doesn’t appear to affect the functioning of the speaker but hardly inspires confidence.

The case itself is made of MDF, not the prescribed ply. For this reason, I tend to refer to the Sound Artists as a faux LS3/5a.

The specs:
2-way infinite baffle (sealed box)
Frequency response: 70Hz - 20KHz
Sensitivity: 83db
Max power: 50W - 150W
Impedance: 11 ohms
Dimensions(W×D×H/cm):19 × 17 × 30.5 x 2pcs
Net weight:5.3kg x 2

Nearfield System​

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The source was Roon, primarily Qobuz, with headroom enabled and sample rate NOT enabled. In effect this means that the music is send -3db down, this gives space to allow upscaling to occur without causing potential issues if 0db is crossed in the processing. I leave the headroom enabled in case I choose to turn on upscaling for a particular ‘problem’ recording.

I set the LS3/5a up on acoustic foam wedges so that the tilted drive unit axes cross just in front of my sitting position.

Let me address the Achilles of the LS3/5a immediately, all together now, the BASS. Yes, it is a small sealed box. To be really unkind I set up a playlist to ruthlessly expose this issue, there is NO point in avoiding a weakness, the question was how well did they cope?


Falcon Listening Notes:

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The short answer is very well. They fail gracefully. Further than that, while they cannot project bass weight, they do allow you to hear the detail of what, for instance, an electric bass player is doing; there is enough bass to support and underpin the vast majority of music in an attractive and effective way, whilst being nimble enough to allow you to hear the technique being employed.

You Want It Darker, Leonard Cohen, You Want It Darker, Qobuz, 44.1/24
The track opens with a male voice ensemble that blossoms excellently through the Falcons, this draws you into the song. This is a superb track with some truly wonderful bass underpinning. The few repeated bass notes may not be as present as in a full-range speaker but they do their job, and a sense of tension is delivered. The voices are well formed, excellent verisimilitude. When I was younger I would have criticised Cohen’s inability to sing, now I am captured by the voice’s ability to project emotion.

Hallelujah, Sarah McLachlan, Here It Is: A Tribute to Leonard Cohen, Qobuz, 96/24
An album of people who CAN sing; doesn’t mean that they are better. The band was co-ordinated by Larry Klein, a man with a long and varied career. Cohen often feels like poetry put to music. McLachlan has a lovely voice and her technique is on full display via the Falcons. The sparse instrumental support, including double bass, piano, guitars and alto sax, are nicely presented. The recording quality is excellent.

Superstar, Elkie Brooks, Pearls, Qobuz, 44.1/16
An album on which I was brought up. This can be problematic on my CD rip through my main system and Linn Kazoo. Through the Falcons there were slight traces of spitting in places. The bass weight I am used to is reduced but where the player adds emphasis can still be heard, in fact the detail of the playing technique is fully on show. As crescendos are reached the increased urgency is well delivered.

Train Song, Holly Cole, Temptation, Qobuz, 44.1/16
A superb piece of music absolutely leaning on a percussively plucked double bass. As her husky voice delivers the song Holly Cole’s vocalisations are surrounded by a host of percussive sounds and beats. Regardless of the attenuated bass depth this is simply MUSIC. The Falcons allow you to hear right into the music as the resonances roll over you.

Rakim (Live), Dead Can Dance, In Concert (Live), Qobuz, 44.1/24
Amazing really. The players virtuosity are on fine display and the subterranean bass may be less present BUT you still get a feel for what is there. It is not just tone but timbre that is delivered.

Mambo Sun (Album Version), T. Rex, Electric Warrior, Qobuz, 44.1/16
Another main system problem track when delivered via Minimserver/Linn Kazoo. Still has a touch of spitting, but the percussive elements are delivered with a startling attack.

O Tannenbaum, Vince Guaraldi Trio, A Charlie Brown Christmas (Remastered & Expanded Edition) (2012 Remastered & Expanded Edition), Qobuz, 192/24
All sorts of subtlety going on here. Opens with a nice simple piano before being joined by the band. Simply drew me in and nicely deposited me out the other side – what, you expect me to write about this stuff when I am just enjoying it! From a HiFi perspective you can follow the individual instruments. On a macro level the tracks dynamics expand and contract beautifully. On a micro level you can hear, and almost feel, as each musician leans on particular notes. Back to the music!

Das Rheingold, WWV 86A / Scene IV: Heda! Heda! Hedo! Zu mir, du Gedüft! (Edit / Remastered 2022), Eberhard Wächter, The Golden Ring: Great Scenes from Wagner's Der Ring des Nibelungen, Qobuz, 192/24
As the bass delivers the libretto I can feels my chest muscle reacting in sympathy. The force and controlled passion on display here is infectious, as you await the clap of the hammer. The tension in the music as you build towards the crescendo. I think my last sentence is telling, I am not concentrating on the speakers but on the music.


Sound Artist (SA) Listening Notes:
In these speakers the bass is more present. But it is slower and fatter and masks the fast detail that pull you into the music with the Falcons.

You Want It Darker, Leonard Cohen, You Want It Darker, Qobuz, 44.1/24
This track plays to the Sound Artist strengths. The bass weight is more present. However, the imaging is not quite up to the Falcon and musical detail is masked and less readily heard or followed, as the mid-range is hidden behind the blossoming and imprecise bass.

Hallelujah, Sarah McLachlan, Here It Is: A Tribute to Leonard Cohen, Qobuz, 96/24
The sparse instrumental support, which surprised and interested through the Falcons, is present and almost uninspired through the SA, the music is somewhat flat. There is nothing that offends, and McLachlan’s voice is present but her technique is a touch less apparent.

Superstar, Elkie Brooks, Pearls, Qobuz, 44.1/16
Interestingly this track is on a par with the Falcons. the traces of spitting are less apparent. The bass is a touch more present, if not lithe or informative.

Train Song, Holly Cole, Temptation, Qobuz, 44.1/16
The slight warmth of the SAs reduces information, such as brushed metal. The percussive way the double bass is played is not obvious. The husky voice loses some of its character.


At this point my notes continue to repeat the points that I had already made and so add nothing to the review.

Conclusion​

This has been an interesting comparison and I am very grateful to Trevor at Guildford Audio for the loan of the Falcon Acoustics LS3/5a.

The Falcons are the better built speakers, but does this make for a sensible purchase over the far cheaper Sound Artist (SA) LS3/5a?

The Falcons keep control of the music and so project a detailed and musically infectious sound stage. The detail is superb and shines a light into the mix and the musicians performances. Yes, the bass weight is necessarily decreased from a bigger or open baffle speaker, but the grip and speed of the speaker keep you informed as to the bass line and the artists’ technique and intentions.

The Sound Artist project a tad more bass heft, but that bass pollutes the mid-range and masks much of the detail that the Falcons delight you with. Music is simply a tad less interesting via these speakers.

The Falcon LS3/5a show the Sound Artist a clean pair of heels, but the Sound Artist LS3/5a are not offensive. At £600 they are a perfectly respectable pair of speakers, just don’t kid yourself.

So, are the Falcon Acoustics LS3/5a worth the extra eighteen hundred pounds? There are a whole series of value judgements here, the first being, do you have the readies to hand? Assuming you do I would say that, depending on how much you use your nearfield system, you would be foolish not to do the demo.

As a reviewer, these things are damned tempting!

Round 2: Main System​

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Qobuz Playlist: https://open.qobuz.com/playlist/1448248
Qobuz Playlist: https://open.qobuz.com/playlist/13492248


I moved downstairs and installed the LS3/5as in my main system. I wondered how the Sound Artists would fare in this environment, would the imaging be equalised and the Falcon’s fine detail still shine through?

I used a pair of weighty stands positioned three feet from the rear wall and side walls. I have to say that in order to install the speakers badly I think you would have to actively TRY. Placed to form a triangle with your listening position and angled towards you these deliver.

The speakers would now be powered by my Naim 300DR, in concert with my autoformer based Icon pre-amp.

I started with the Falcons and opened with ‘Twist in my Sobriety’ by Tanita Tikaram. The singer was ‘in the room’, startling. This was aided and abetted by an excellent sound stage, this reminded me of when I used Focal 10008be. I followed this with Leather by Tori Amis and “Talkin’ Bout a Revolution” by Tracy Chapman. These repeated the strengths of the first track, which included a wealth of fine detail. What surprised me was the tonal similarity to my usual Naim SBLs.

The Naim SBLs are an interesting speaker that can image well. With a digital source, they can be rather flat with rock and pop. Not so the Falcons. In fact when I later tried the speakers with my Oppo/Lexicon AV front in I was VERY pleasantly surprised.

I moved on to some Telarc Qobuz sourced recordings. These are excellently recorded, including some wonderful resonant bass. I concentrated on a series of movie themes conducted by Erich Kunzel with the Boston Pops Orchestra, ‘Star Trek 1: The Klingon Battle’ uses a number of electronic effects that I found wholly distracting via my Chord Mojo2/Quad ERA-1s, not so here. The resonant bass sweeps worked far better. The orchestra was well presented in both width and depth and, as with the earlier pop music the various instruments were well differentiated, such that the detail of the strings and sound boards were very well produced, rosin rosin everywhere.

I then moved back to modern fare with Roger Waters’ ‘Perfect Sense, Pt 1’ from ‘Amused to Death’. This was simply breathtaking, the sound field was holographic with the storm swirling around the listening room. When played through my Quad headphones the sound field is rather flat, as it is with the SBLs. I got a fresh connection to a track that I thought I knew well.

‘Nobody Knows the Trouble I’ve Seen’ by Sam Cooke is a track that through the Naim SBLs can show a slight sibilant edge, as it does through the Falcons. As I wrote above, the tonal similarities between the speakers was surprising. However, their presentation is somewhat different, apart from the imaging. The Falcon LS3/5a reveal a mass of detail in the upper mid region, this is not thrown at you but it’s there if you listen for it. The Naim SBL mid/bass driver is larger and simply moves more air, this aids the mid bass and gives instruments in that area a touch more dynamic and present impetus.

Dusty Springfield’s ‘Son of a Preacher Man’ is a real tour de force, and one with a fantastically inventive bass line, although one that is somewhat set back in the mix. The Naim SBLs have a phase coherence that clearly reveals the fine musicianship. The Falcons presents the bass as somewhat larger but a tad unfocussed, losing some of the detail of the playing. Swings and roundabouts.

Now it was time to move on to the Sound Artists. I repeated the order of the tracks I listened to. The female singers again stood forward, but the voices had a very slight tendency to sound a little strained and the detailing was reduced. This slightly obscured presentation could work in their favour, as with the Sam Cooke track where the slight sibilant edge was gone, but then too was the magic from ‘Perfect Sense, Pt 1’. In terms of the sound staging they do not produce the music with the same magic as the Falcons, they tend to be slightly more bound to the speakers giving you more left, right and centre. These speakers are very presentable and do not plumb any depths of trouble, but neither do they soar.

Having explored the digital I decided to move to the analogue. Here is where the true heart of my system lies. My Linn LP12, Naim ARO, Linn Troika, Naim Armageddon and Tron 7 G.T. Phono Stage form a hugely synergistic partnership with the Naim SBLs. The sound field, detailing and dynamics are superb. Could the LS3/5a compete?

Well, certainly NOT the Sound Artists. Here the SBLs entered into the imaging territory of the Falcon LS3/5a and retained its phase capabilities in the bass, giving it a shade more transparency and punch; but the Falcons have a bit more upper mid detail.

Conclusion​

When I moved into my main system, I wondered whether the Sound Artists would draw closer to the Falcons, in the event the gap grew. The compromises in constructing the Sound Artists LS3/5a hamper their ability to image, present detail and the human voice.

The Falcon LS3/5a are not a cheap speaker by any definition. I was surprised by how much they echoed my Naim SBLs tonally. Their verisimilitude with the human voice and the construction of a sound stage is excellent. Were my Naim SBLs to die then I think I have found the speakers that I would be buying to replace them; that said I have a couple of well considered competitors lined up to review.
 

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