In article ,
Jim Lesurf wrote:
Offhand I can't think of *any* speaker I'd say would work for *all*
kinds of music at *all* levels in *all* rooms for *all* tastes. So
people choose what suits them.

Quite. Only a fool would thing something like the 3/5a - or even Mr
Wilson's favourite NEAR - is going to be suitable for all uses. Even more
so in the pro domain.

In an off-list message regarding this thread, a chap who was recording
music at the TV Centre from the day it opened until he retired, tells
me that that they had a variety of speakers.

There was absolutely no-one who only did 'music' recording at TVC when I
worked there, Ian. All SS did a variety of things. Although most also had
specialist skills. And of course the BBC used a variety of speakers over
the years. Same as everywhere.

I'm rather curious who you are claiming recorded music at TVC from the day
it opened in 1960, as he would have been a SS then and long since retired.
TVC didn't have a dedicated music recording facility until very much
later. The first TV music recording facility was in Lime Grove. With
Lockwood speakers.


The LS3/5a was not used.

Of course not. I take it you don't know what it was designed by the BBC
for? A little basic research would educate you. It was never intended for
use in what most would consider a music recording studio. Surely that is
blindingly obvious? But then the TMS at one time used speakers not used
elsewhere in TV. A rather odd decision considering its output was music
for TV.

He also mentioned that this speaker was produced under licence from
the BBC by three manufacturers, and that one could differentiate
between the same speaker from different makers.

If he wasn't familiar with them, how would he know?

IIRC The brief was that you could swap individual units to make a stereo
pair and still get results that let you work OK. I'm not sure if anyone
makes speakers which are completely identical, one example for every
other.

Like many BBC designs it includes a method of altering things to take into
account production variations of the commercial drive units. One reason it
is so expensive to make.

--
*I dropped out of communism class because of lousy Marx.*

Dave Plowman London SW
To e-mail, change noise into sound.