Graham Audio: the return of BBC
second part, by Angelo Jasparro
BBC LS5/8
In every hobby partisanships over everything and everyone are very common. Do you prefer a 2 or 4 cylinders motorcycle? If you were the coach of a football team, which game tactic would you adopt? Do you like Mickey Mouse or Donald Duck? We could go on endlessly, making examples but I already made it clear. Audiophiles too find a thousand reasons to discuss: solid state or valves? Negative feedback yes, negative feedback no? High-power/low-efficiency or low-power/high efficiency? And so on ... just follow any forum or read the letters sent to a hi-fi magazine and you will read everything and its exact opposite.
Among the controversies that divide the fans of audio, there is that one about the perfect number of ways a loudspeaker must have. As you all know, you can find full-range single drive speakers, 2-way, 3, 4, 5 ways (remember the Dahlquist DQ10?). Every creative philosophy has its supporters, and each one puts forward technical arguments to support its choices.
Starting from the extreme coherence of a single driver - which alone plays all frequencies, with the limitations well known and recognized by all - to the most complete multi-way that have the disadvantage of using crossover that sometimes are extremely large and complex, and are the cause of phase issues and a lack of integration between the different drivers used in the speaker, when they are not perfectly designed.
So, given that there is no perfect system, every designer adopts its philosophy, the audiophile listens and decides what to buy, following his beliefs or his ears. Unfortunately the two things don’t always go together and when you choose to prefer the first, shortly after your purchase you’ll be searching for something else.
Among the controversies that divide the fans of audio, there is that one about the perfect number of ways a loudspeaker must have. As you all know, you can find full-range single drive speakers, 2-way, 3, 4, 5 ways (remember the Dahlquist DQ10?). Every creative philosophy has its supporters, and each one puts forward technical arguments to support its choices.
Starting from the extreme coherence of a single driver - which alone plays all frequencies, with the limitations well known and recognized by all - to the most complete multi-way that have the disadvantage of using crossover that sometimes are extremely large and complex, and are the cause of phase issues and a lack of integration between the different drivers used in the speaker, when they are not perfectly designed.
So, given that there is no perfect system, every designer adopts its philosophy, the audiophile listens and decides what to buy, following his beliefs or his ears. Unfortunately the two things don’t always go together and when you choose to prefer the first, shortly after your purchase you’ll be searching for something else.
This introduction aims to present a rather bulky and not exactly cheap 2-way speaker. Is it possible, with all the extra space available for a nice midrange? Possible, yes.
Meanwhile, it is a product made strictly under English BBC license and specifications.
For some history fact about these projects (there is also the model 5/9, in addition to the world-acclaimed 3/5), please refer to what wrote Domenico Pizzamiglio in his article the Graham 5/9 review.
So, no 3-ways; the BBC design for this kind of product did not envisage it.
It uses high quality two-ways. Indeed, very good, in fact the mid range must be BETTER reproduced in the 3/5 and the 5/9 and must be of good quality even in the big LS5/8 monitor, suitable for recording studios. It must be therefore necessarily extended in frequency response.
Meanwhile, it is a product made strictly under English BBC license and specifications.
For some history fact about these projects (there is also the model 5/9, in addition to the world-acclaimed 3/5), please refer to what wrote Domenico Pizzamiglio in his article the Graham 5/9 review.
So, no 3-ways; the BBC design for this kind of product did not envisage it.
It uses high quality two-ways. Indeed, very good, in fact the mid range must be BETTER reproduced in the 3/5 and the 5/9 and must be of good quality even in the big LS5/8 monitor, suitable for recording studios. It must be therefore necessarily extended in frequency response.
Graham Audio has BBC License to make these two models of speakers and you all know that the specifications of the British institution are so stringent that the quality of products and their sound must be of a very high level.
A quick look at the links of the BBC itself where there is the pdf with the 5/8 project specifications; it will clarify everybody’s ideas: http://downloads.bbc.co.uk/rd/pubs/reports/1979 -22.pdf
The most striking thing is the introduction, that we quote here:
"A new studio monitor is described which can provide high-quality sound at a sufficiently high levels to fulfil the complete range of monitoring requirements from pop to serious music. The design principles and criteria are outlined, and the performance of the prototypes is assessed both subjectively and objectively”.
Among other things, we should remember that the 5/8 were born as powered speakers (they used 2 Quad 405 modified amplifiers and active crossovers). Derek Hughes, the designer that we see in the picture, has redesigned the speaker in order to make it passive, always under the supervision of the BBC, which has granted the production license.
Many years have passed since the release of the first BBC models, and many things have changed for better. Woofers are now of better quality, they go deeper in frequency, are more robust and can stand better the higher power. Also the quality of the electronic components used for the crossover has improved significantly.
I remember the arguments among the supporters of the old Rogers speakers, arguing about the sound according to the different impedances of the different models or even between the different brands who marketed the LS3/5 models or higher. But it is only recently that these speakers, thanks to the new technologies applied mainly to the woofer, have made a considerable qualitative leap.
The Graham LS5/9 I listened to at Domenico’s listening room and of which you will read in his article, are amazing as for bass response, power handling and dynamics (always according to their size, of course), when compared with their progenitor. A quick look at the website of the Volt Company, that produces the woofer made under Graham specifications will convince you that this British company owns good technology.
A quick look at the links of the BBC itself where there is the pdf with the 5/8 project specifications; it will clarify everybody’s ideas: http://downloads.bbc.co.uk/rd/pubs/reports/1979 -22.pdf
The most striking thing is the introduction, that we quote here:
"A new studio monitor is described which can provide high-quality sound at a sufficiently high levels to fulfil the complete range of monitoring requirements from pop to serious music. The design principles and criteria are outlined, and the performance of the prototypes is assessed both subjectively and objectively”.
Among other things, we should remember that the 5/8 were born as powered speakers (they used 2 Quad 405 modified amplifiers and active crossovers). Derek Hughes, the designer that we see in the picture, has redesigned the speaker in order to make it passive, always under the supervision of the BBC, which has granted the production license.
Many years have passed since the release of the first BBC models, and many things have changed for better. Woofers are now of better quality, they go deeper in frequency, are more robust and can stand better the higher power. Also the quality of the electronic components used for the crossover has improved significantly.
I remember the arguments among the supporters of the old Rogers speakers, arguing about the sound according to the different impedances of the different models or even between the different brands who marketed the LS3/5 models or higher. But it is only recently that these speakers, thanks to the new technologies applied mainly to the woofer, have made a considerable qualitative leap.
The Graham LS5/9 I listened to at Domenico’s listening room and of which you will read in his article, are amazing as for bass response, power handling and dynamics (always according to their size, of course), when compared with their progenitor. A quick look at the website of the Volt Company, that produces the woofer made under Graham specifications will convince you that this British company owns good technology.
We describe here these speakers that have mounted on the front a French Audax HD 13D34H tweeter and a 30 cm diameter polypropylene woofer. The big hole for the reflex is under the woofer and the panel for the driver controls is at the top right.
These controls include, in output, the attenuation or the exaltation of the tweeter of 1 or 2 dBs, while the input allows an attenuation of ½ dB. The cables to move on the contacts are welded, thus their regulation is not immediate. The two sections follow exactly the original BBC requirements and work in series, adding up their values. If for example the output is set to +1 dB and the entrance to -0.5 dB, we will have an output of +0.5 dB.
The manufacturer specifications are as follows:
Impedance: 8 Ohm
Amplification recommended: 50 W - 250 W undistorted
Frequency Response: 40-16kHZ +/- 3 dB
Sensitivity: 89 dB
Max output: 110 dB over the pair of 2-m
Crossover Frequency: 1.8 kHz
Weight: 34 Kg
These controls include, in output, the attenuation or the exaltation of the tweeter of 1 or 2 dBs, while the input allows an attenuation of ½ dB. The cables to move on the contacts are welded, thus their regulation is not immediate. The two sections follow exactly the original BBC requirements and work in series, adding up their values. If for example the output is set to +1 dB and the entrance to -0.5 dB, we will have an output of +0.5 dB.
The manufacturer specifications are as follows:
Impedance: 8 Ohm
Amplification recommended: 50 W - 250 W undistorted
Frequency Response: 40-16kHZ +/- 3 dB
Sensitivity: 89 dB
Max output: 110 dB over the pair of 2-m
Crossover Frequency: 1.8 kHz
Weight: 34 Kg
The LS5/8 have been connected to the following system:
Basis 2001 turntable, tonearm Graham 2.2, cartridge Lyra Kleos, phono preamplifier: Einstein "The Turntable's Choice", CD / SACD player Yamaha CD-S3000, Multimedia Player: Oppo 105 D, preamplifier: MBL 4006, power amplifiers: Bryston 7B ST mono, loudspeakers JBL 4350B, interconnect cables: MIT Oracle MA-X Proline, MIT Shotgun S2 RCA, XLR Super Transparent, Transparent Super RCA, XLR LAT International, loudspeaker cables: MIT Magnum MA, Vovox Initio, USB cable: MIT SL-Matrix USB, power cables: MIT Shotgun AC 1, Black Noise Pearl and others DIY, mains distributor: Lector Edison 230/8, mains filter: Black Noise 2500.
The first thing I notice, with the first notes is that woofers do not sound “plastic like” despite the polypropylene membranes, in contrast to what I have often perceived in the past with similar drivers. Yet the cut with the tweeter is 1.8 kHz, so the acute voice of Jon Anderson in "Short Stories", a CD recorded with Vangelis, should eventually experiment some difficulties with the 30 cm diameter speaker. Evidently, its realization is so good that it does not highlight any problem in the mid range performances. The low range is very good; it is deep and never in the first place in the delicate and difficult low-midrange frequencies.
The sounds float in the air and the source of the music is hard to identify. The quality of the two drivers used is amazing; as for the treble we will talk soon.
Speaking about voices, that of Sarah Vaughan in the SACD named after her (Verve) is exciting. While I am listening I ponder on the fact that in the hi-fi shops there is a lot of stuff that while playing tell you lies that are maybe very pleasant, but remain lies nonetheless. Well, these Graham are different. They tell no lies and make music, just good music. Sounds easy, doesn’t it?
After the wonderful "April in Paris" comes "He's My Guy", a song wit a hint of swing. Despite the remarkable hiss of the master tape used for the production of the SACD (these are 1954 recordings), the brushes on the snare are perfectly intelligible, as well as the closing of the hi-hat. The atmosphere of the small, smoky (this image is very evocative) jazz club is perfectly recreated and, once again, we realize how privileged we are to have chosen this hobby (or to have been chosen by it).
The sax and trumpet are played with the accuracy of a real monitor. As usual, when it comes to monitors, we must be very clear. Sometimes we give to this expression a negative connotation, it is associated with a fatiguing sound, the sound of a measurement device rather than a music machine. But fortunately this is not the case.
These Grahams have a formidable and even incredible transparency, given the absence of a driver dedicated to the midrange, as well as a rigorous and neutral tone, the mid-low range is warm and the high range is extended and airy (in disregard of the 16 kHz declared), though gentle.
All this allows such a listening pleasure that is really hard to find in the competition, especially if associated with a sound that has no added colorings. In short, a sort of Egg of Columbus.
I was saying that the lack of midrange is not evident. This woofer, produced by the English Volt, is of superfine quality and is perfectly integrated with the French Son Audax tweeter, the same that is mounted on the small 5/9, described by Domenico Pizzamiglio in this combined review.
A piano sound that is really noteworthy is recorded in the CD "Variations" (Stereophile). The Graham propose it in a wonderful way, without adding or removing anything to the typical Steinway D sound that is recorded - thank God - with a couple of microphones placed at such a distance from the instrument that makes it credible. The wide dynamic registration does not scare the 5/8, which not only do not fall apart, but they seem to handle without any distress the signals sent by the two big and powerful Bryston.
Basis 2001 turntable, tonearm Graham 2.2, cartridge Lyra Kleos, phono preamplifier: Einstein "The Turntable's Choice", CD / SACD player Yamaha CD-S3000, Multimedia Player: Oppo 105 D, preamplifier: MBL 4006, power amplifiers: Bryston 7B ST mono, loudspeakers JBL 4350B, interconnect cables: MIT Oracle MA-X Proline, MIT Shotgun S2 RCA, XLR Super Transparent, Transparent Super RCA, XLR LAT International, loudspeaker cables: MIT Magnum MA, Vovox Initio, USB cable: MIT SL-Matrix USB, power cables: MIT Shotgun AC 1, Black Noise Pearl and others DIY, mains distributor: Lector Edison 230/8, mains filter: Black Noise 2500.
The first thing I notice, with the first notes is that woofers do not sound “plastic like” despite the polypropylene membranes, in contrast to what I have often perceived in the past with similar drivers. Yet the cut with the tweeter is 1.8 kHz, so the acute voice of Jon Anderson in "Short Stories", a CD recorded with Vangelis, should eventually experiment some difficulties with the 30 cm diameter speaker. Evidently, its realization is so good that it does not highlight any problem in the mid range performances. The low range is very good; it is deep and never in the first place in the delicate and difficult low-midrange frequencies.
The sounds float in the air and the source of the music is hard to identify. The quality of the two drivers used is amazing; as for the treble we will talk soon.
Speaking about voices, that of Sarah Vaughan in the SACD named after her (Verve) is exciting. While I am listening I ponder on the fact that in the hi-fi shops there is a lot of stuff that while playing tell you lies that are maybe very pleasant, but remain lies nonetheless. Well, these Graham are different. They tell no lies and make music, just good music. Sounds easy, doesn’t it?
After the wonderful "April in Paris" comes "He's My Guy", a song wit a hint of swing. Despite the remarkable hiss of the master tape used for the production of the SACD (these are 1954 recordings), the brushes on the snare are perfectly intelligible, as well as the closing of the hi-hat. The atmosphere of the small, smoky (this image is very evocative) jazz club is perfectly recreated and, once again, we realize how privileged we are to have chosen this hobby (or to have been chosen by it).
The sax and trumpet are played with the accuracy of a real monitor. As usual, when it comes to monitors, we must be very clear. Sometimes we give to this expression a negative connotation, it is associated with a fatiguing sound, the sound of a measurement device rather than a music machine. But fortunately this is not the case.
These Grahams have a formidable and even incredible transparency, given the absence of a driver dedicated to the midrange, as well as a rigorous and neutral tone, the mid-low range is warm and the high range is extended and airy (in disregard of the 16 kHz declared), though gentle.
All this allows such a listening pleasure that is really hard to find in the competition, especially if associated with a sound that has no added colorings. In short, a sort of Egg of Columbus.
I was saying that the lack of midrange is not evident. This woofer, produced by the English Volt, is of superfine quality and is perfectly integrated with the French Son Audax tweeter, the same that is mounted on the small 5/9, described by Domenico Pizzamiglio in this combined review.
A piano sound that is really noteworthy is recorded in the CD "Variations" (Stereophile). The Graham propose it in a wonderful way, without adding or removing anything to the typical Steinway D sound that is recorded - thank God - with a couple of microphones placed at such a distance from the instrument that makes it credible. The wide dynamic registration does not scare the 5/8, which not only do not fall apart, but they seem to handle without any distress the signals sent by the two big and powerful Bryston.
The consequence of this consideration is the choice of a full orchestra and the London Symphony Orchestra directed by John Williams in "The Hollywood Sound" (Sony Classical) is the one that is right for us. Let's start with the nice "Lawrence of Arabia" at a very high volume (strange, isn’t it?). The timpanis are authoritative and well "stopped out"; in some circumstances it’s possible to hear the sound of the skin struck by the mallets. The soundstage depth is stunning, as amazing is the ability of these two speakers, of still contained dimensions after all, to fill with music also very large spaces. All the people present at the Show in Munich in 2015 will be able to confirm this beyond any doubt. Also impressive is the speed of transient response, especially considering the type of driver used.
Do you own already a copy of the 24-bit version remaster of "Trio in Tokyo" by the Michel Petrucciani Trio? If you do not, well, hurry up. The difference with the original CD, which is sounds very well too, is remarkable. Beautiful things, and this disc is certainly beautiful, must be enjoyed to the fullest.
The combination of this CD and the 5/8 is phenomenal. Sweet, beautiful and natural is the sound of Steve Gadd’s cymbals, nervous and fast is Petrucciani’s piano, great and redundant is Anthony Jackson’s double bass. Three musicians who, together, make a whole orchestra.
The sound pressure undistorted that these two ways speakers are able to produce is really impressive. As a result, the desire to turn up the volume ceases only when your ears can’t stand it anymore.
The attack of "Honeysuckle Rose" on the SACD "The Spirit of the Song" by Elaine Delmar (Signoricci/Fonè) is performed by one of the best recorded double basses I know. The voice of the British singer is airy, cymbals are heavy and clear, the piano timbre is straight and irreproachable. And the Graham? Well I have just tried to describe what comes out of their speakers.
In conclusion, there is not much to add except that such a charming listening is not easy to achieve. These Grahams LS5/8 are classy speakers. It is curious that the retail price of 10,000 Euros appears expensive if you consider the number of drivers used and the cabinet. The latter is simple but made with quality wood, and if you listen to this sound and do not take into account their look it is clear that it’s a great deal, given their performance.
If we put these considerations on a hypothetical balance, in my opinion we are in a perfect balance and we have a great value for money. Something increasingly rare in the hi-fi market in recent years.
Let me also add one thing: if I had, for some reason, to change my reference speakers, I would replace them with these Graham LS5/8 for all the reasons that I have above mentioned.
So, if you do not have enough space in your listening room for the JBL 4350B (given that you find them, since it’s not easy at all) and look for a solid, dynamic and pure sound and with the correct presence in your room, rely on these British speakers without fear.
I cannot find any downside for these speakers even if I try hard to. Among other things, they play well also with solid state and valves amplifier, also of mid-low power.
These are the reviews that one enjoys to write!
Angelo Jasparro
Do you own already a copy of the 24-bit version remaster of "Trio in Tokyo" by the Michel Petrucciani Trio? If you do not, well, hurry up. The difference with the original CD, which is sounds very well too, is remarkable. Beautiful things, and this disc is certainly beautiful, must be enjoyed to the fullest.
The combination of this CD and the 5/8 is phenomenal. Sweet, beautiful and natural is the sound of Steve Gadd’s cymbals, nervous and fast is Petrucciani’s piano, great and redundant is Anthony Jackson’s double bass. Three musicians who, together, make a whole orchestra.
The sound pressure undistorted that these two ways speakers are able to produce is really impressive. As a result, the desire to turn up the volume ceases only when your ears can’t stand it anymore.
The attack of "Honeysuckle Rose" on the SACD "The Spirit of the Song" by Elaine Delmar (Signoricci/Fonè) is performed by one of the best recorded double basses I know. The voice of the British singer is airy, cymbals are heavy and clear, the piano timbre is straight and irreproachable. And the Graham? Well I have just tried to describe what comes out of their speakers.
In conclusion, there is not much to add except that such a charming listening is not easy to achieve. These Grahams LS5/8 are classy speakers. It is curious that the retail price of 10,000 Euros appears expensive if you consider the number of drivers used and the cabinet. The latter is simple but made with quality wood, and if you listen to this sound and do not take into account their look it is clear that it’s a great deal, given their performance.
If we put these considerations on a hypothetical balance, in my opinion we are in a perfect balance and we have a great value for money. Something increasingly rare in the hi-fi market in recent years.
Let me also add one thing: if I had, for some reason, to change my reference speakers, I would replace them with these Graham LS5/8 for all the reasons that I have above mentioned.
So, if you do not have enough space in your listening room for the JBL 4350B (given that you find them, since it’s not easy at all) and look for a solid, dynamic and pure sound and with the correct presence in your room, rely on these British speakers without fear.
I cannot find any downside for these speakers even if I try hard to. Among other things, they play well also with solid state and valves amplifier, also of mid-low power.
These are the reviews that one enjoys to write!
Angelo Jasparro
