LS3/5A 70th Anniversary 2018 VERY LIMITED EDITION – Universally accepted as “the reference for miniature systems” the Rogers LS3/5a 70th Anniversary ‚limited‘ Editon grade two monitor delivers a wholly exceptional degree of tonal accuracy

Specifically designed for broadcasting environments where space is at a premium, each speaker is matched to within one dB of a BBC standard. Within the domestic environment, the LS3/5a delivers a performance of unparalleled purity, its balance being ideally suited to classical material.

The 70th Anniversary edition harps back to the original 15 Ohm design, later design was 11 Ohm…so the 70th Anniversary uses the original transformer type inductors with the special addition of WBT bi-wire speaker terminals rear plaque and signed certificate. A limited run of 210 pairs, 3 x 70 ( 70 pairs for Asia, 70 for EU and 70 for ROW) is scheduled, the first 70 pairs have been sold… the second production run is due in June 2018 and the third run October 2018. Finish Rosewood red.

Artykuł LS3/5A 70th Anniversary 2018 VERY LIMITED EDITION pochodzi z serwisu Rogers HiFi.

Rogers LS3/5a XLR BBC Monitor Speaker

XLR Connector

The speaker cable will have some form of colour coding or ribbing on the insulating material as to which conductor is „+“ positive. For the left speaker solder the + conductor to the XLR connector pin number 2 and solder the other connector negative to the XLR connector pin number 3. Then connect the other end of the lead to the amplifier output for left hand channel, take care to ensure that the „+“ conductor is connected to the „+“ or red connector of the amplifier and that the other conductor is connected to the or black connector of the amplifier.

Repeat the procedure for the right-hand speaker.

If on audition the sound lacks bass and the image is vague, then one of the speakers

has been wired up out of phase, check both speaker and amplifier connections to ensure that the red „+“ from the amplifier is connected to the speaker XLR pin 2. Connecting the speakers out of phase will not damage you amplifier or speakers in any way.

The speakers can be supplied in a specially adapted aluminum case – Cat.No. LS3/5a XLR Alu BOX)

Introduction

Thank you for choosing to purchase Rogers loudspeakers. We are confident that these loudspeakers will provide you with high quality sound and music reproduction for many years.

Please read the short section of this manual headed ‚Quick Installation’. It contains essential information to enable you to get your speakers up and running safely.

To obtain the maximum performance and benefit your new speakers can bring, please take time to read the remainder of this manual and to familiar yourself with the speakers. You will find the rest of this manual contains helpful advice on connecting-up, matching equipment, room placement and maintenance.

Rogers – over half century of excellence

In 1947, an armed forces communications engineer turned his expertise to audio amplifiers. Jim Rogers took up a license to produce the Williams mono valve amplifier thus founding the company.

In the early years Rogers was best known for its amplification products but by 1954 could boast a complete ‚Junior‘ system comprising amplifier, AM tuner and compact loudspeakers. The 1960s were dominated by the launch of stereo and the Rogers stereo ‚Cadet‘ integrated amplifier become a world best seller.

Loudspeaker development at Rogers included unique horn-loaded designs, and even a wall hanging system called the ’Wafer¹ that was well ahead of the times. The transistor revolutionized the entire communications / entertainment world and Rogers was on of the first manufacturers to offer transistor products including the famous Ravensboume and Ravensbrook stereo amplifiers and tuners.

Transistor amplifiers offered ever more power and the focus of development passed to loudspeaker materials prompting the BBC to begin extensive research into monitor speakers for studio use. Fundamental acoustic research and scaling techniques produced the compact LS3/5a that become a benchmark product used throughout the broadcast industry in a wide variety of monitoring situations. Rogers took up a license to produce the LS3/5a and began to produce speakers of its own using the latest polymer materials derived from BBC research. Still innovating, Rogers now uses the world’s first carbon fibre dome tweeter.

In 21st century, Rogers has been continuing its spirit in developing the high-end audio product to reproduce the most natural sound reflecting every details of the original recordings. To celebrate the sixties history, Rogers specially works with BBC again to launch the new LS3/5a limited edition to satisfy the needs of the global audiophiles.

Quick Installation

Unpack your loudspeakers carefully and retain the packing for possible future use.

Position you speakers approximately where you want them and select cable runs of appropriate length.

Switch off the amplifier. Check the Bi-wire links are in place between the terminal on the rear of each speaker. Deal with each channel separately. Identify the left speaker of the pair as the speaker on the left when viewed from the listening positions.

Connect the black terminal on the amplifier left channel (possible marked ‚ negative‘ or with a symbol) to the black terminal on the left loudspeaker. Connect the red terminal on the amplifier left channel (possibly marked positive or with a ‚+‘ symbol) to the red terminal on the left loudspeaker. Make the connections to the upper pair of terminals marked HF.

Repeat these connections for the right channel. Check the integrity of the connections and that there are no shorted wires. Turn down the volume and switch on the amplifier. Select a known source and turn up the volume cautiously.

Details of how to check for phase and polarity, channel identification and the benefits of bi-wiring and bi-amping can be found later in this booklet.

Unpacking

Always unpack speakers with care so as not to damage the finish. It is always advisable to open the packaging at one end, invert the carton with the open flaps folded back so the loudspeaker is standing on the floor. Then remove the packaging from the loudspeaker. Care should be taken with larger or heavier models to avoid back or muscle strain. Get someone to help you if you are in any doubt. Retain all the packaging materials in case you need to transport the speakers later.

Connecting up your system

Cables

Connecting cables have an important effect on final sound quality. Similar lengths of good quality speaker cable should be used. Your dealer can advise you of suitable cables for your installation. Longer cable runs will generally require heavier gauge cables.

All system connections should be clean and tight. Cleaning of all signal path connections in your system is recommended annually. Simply breaking and remaking each connection ensuring a positive contact is all that is needed.

Conventional wiring

Switch off the amplifier. Never make or break any connection with the amplifier powered or with the volume turned up.

Leave the Bi-wire links fitted between the input terminals in place. Take each channel separately to avoid confusion. First, identify the amplifier left channel. You will be connecting these terminals to the left loudspeaker, this is the speaker on the left as seen from the chosen listening position.

HF: High Frequency LF: Low Frequency

Connect the black terminal on the amplifier left channel (possibly marked ’negative‘ or with a ‚-‚ symbol) to the black terminal on the left loudspeaker. Make the connections to the upper pair of terminals marked HF. Your speaker cable maybe ribbed or overprinted along on conductor to help with wiring up. Now connect the red terminal on the amplifier left channel (possibly marked ‚positive‘ or with a ‚+‘ symbol) to the red terminal on the left loudspeaker. Repeat this process for the right channel with the second length of cable. Refer to the diagrams.

Bi-wiring

Rogers loudspeakers feature split crossovers to allow for bi-wiring. This can improve the overall sound quality for the cost of a second set of cables. Bi-wiring keeps the low frequency ground currents from modulating the higher frequency signals int he trebles ‚leg‘ of the crossover network. The split crossover design permits the mid/treble and bass sections to be fed separately.

Two lengths of four-core bi-wire cable or additional lengths of your existing cable are required.

HF: High Frequency LF : Low Frequency

Switch off the amplifier. You may find it helpful to label the cables before starting to wire up the system. Label one pair of cables HF and one pair LF. Remove the Bi-wire links from between the speaker terminals and store them in case you wish to revert to conventional wiring at any point in the future.

Take each channel separately. Connect the black terminal on the amplifier left channel (possibly market ’negative‘ or with a ‚-‚ symbol) to the black HF terminal on the left loudspeaker. Make certain your connection is to the upper pair of terminals market HF. Your speaker cable maybe ribbed or over-printed along one conductor to help with wiring up. Now connect the red terminal on the amplifier left channel (possibly marked ‚positive‘ or with a ‚+‘ symbol) to the red HF terminal on the left loudspeaker.

Repeat this process for the cable pair you have marked LF connecting the same amplifier terminals but making the connections on the left speaker to the lower pair of terminals also market LF. Refer to the diagrams.

Repeat for the HF and LF right channel connections.

Bi-amping

Bi-amping uses separate full bandwidth power amplifier to drive the separate HF (high frequency) and LF (low frequency) legs of the crossover network and appropriate drivers.

Two lengths of four-core bi-wire cable or additional lengths of your existing cable are required.

HF: High Frequency

Switch off the amplifier. You may find it helpful to label the cables and power amplifiers before starting to wire up the system. Label one pair of cables HF and one pair LF. Remove the shorting links from between the speaker terminals and store them in case you wish to revert to conventional wiring at any point in the future. Designate one amplifier High (HF) and one Low (LF).

Take each channel separately. Connect the black terminal on the HF amplifier left channel (possibly marked ’negative‘ or with a ‚-‚ symbol) to the black HF terminal on the left loudspeaker. Make certain your connection is to the upper pair of terminals marked HF. Your speaker cable may be ribbed or over-printed along one conductor to help with wiring up. Now connect the red terminal on the HF amplifier left channel (possible marked ‚positive‘ or with a ‚+‘ symbol) to the red HF terminal on the left loudspeaker.

It is easier at this stage to wire up the right channel for the HF amplifier connecting the black terminal on the HF amplifier right channel (possibly marked ’negative‘ or with a symbol) to the black HF terminal on the right loudspeaker. Then connect the red terminal on the HF amplifier right channel (possibly marked ‚positive‘ or with a ‚+‘ symbol) to the red HF terminal on the right loudspeaker.

Repeat these four connections using the cable pair you have marked LF connecting the left and right LF amplifier terminals to the lower pair of terminals, also marked LF, on the left and right speakers. Refer to the diagrams.

Power ratings

Rogers speakers are designed to present an easy load to the amplifier and, to make the most of the power available, they are efficient enough to produce reasonable sound pressure levels even with lower powered amplifiers.

Because our drive units and crossover networks are conservatively rated and constructed using the latest high technology materials the finished speaker has very high technology materials the finished speaker has very high-power handling capabilities. The recommended amplifier range reflects this lower efficiency and upper power handling limits in offering a range of powers that will suit each model. Room size will influence choice. Installations in larger rooms will require amplifiers from the upper end of the range to produce wholly satisfactory sound levels, while in small rooms an amplifier near the minimum recommended power rating will be able to produce adequate volumes.

Loudspeakers are rarely damaged by being overdriven by large amplifiers, a low powered amplifier used at a high volume setting is much more likely to damage your loudspeakers due to the amplifier ‚clipping‘ the music signal and creating a ’spray‘ of high level, high frequency distortion that can rapidly bum out a tweeter or midrange driver voice coil. It is preferable to use a 200 watt amplifier cautiously at half power into 100 watt rated loudspeakers than it is to run a 50 watt amplifier at full volume into the same speakers.

Phasing

It is important to observe the correct polarity when you wire up your system. There are two areas of concern – channel identification and phase.

Correct channel connections should ensure that the left amplifier channel is connected to the left speaker (the speaker on the left as seen from the listening position). A test CD, record or tape can be used to identify the correct channels.

It is recommended that you connect positive terminals on the amplifier to positive terminals on the speaker, ie. red to red and black to black. Reversing the connections on both channels achieves a reversal in absolute phase. This may mean that the speaker bass cone moves backwards rather than forwards on the transient or beginning of a bass note. Come listeners are sensitive to this effect. You should note that absolute phase will differ from recording to recording and sometimes between amplifiers. You may wish to experiment.

Positioning

The correct frequency response (tonal balance) is achieved from your loudspeakers with their grilles in place. Removal of the grilles will compromise high and mid frequency performance.

Loudspeakers should never be placed tightly in the comers of rooms. Though this dramatically increases the bass in one frequency band, it produces a cancellation ’suck-ouf in the next. Though certain types of music may be artificially enhanced, the effect is very unnatural as can be heard in reproduced speech as a ‚boomy‘ or congested quality.

Placing stand mounted speakers on the floor will create a similar effect.

If speakers have to be placed close to the comers of a room they should be place asymmetrically with respect to the two walls, that is at a different distance from the side and rear wall. Careful listening and experimentation with positions can minimize the effects of room reflections on bass reinforcement and cancellation.

Reflections at higher frequencies from any large flat sound-reflecting surface (wall, mirror, furniture) can adversely affect stereo imaging. Soft furnishings and fabrics can be used to change reflections if the speakers can conveniently be repositioned

Caring for your loudspeaker

The real wood veneers used on certain models can be maintained by regular dusting and gentle cleaning with furniture polish and a soft cloth. Over use of waxy polishes may change the colour of the veneers.

The high-quality synthetic veneers chosen for some Rogers loudspeaker systems will retain their appearance for many years if dusted regularly and cleaned periodically with furniture polish. Spray polish onto the cloth. Do not spray polish onto the loudspeaker as this may damage the drive units.

Grille cloth is best kept clean with a length of sticky tape wrapped around the hand adhesive side out or with a clean soft brush. Do not use undue pressure as you may damage the drive units beneath the grille.

Warning

Rogers loudspeakers should not be connected to any amplifier which exceeds the recommended amplifier requirements, as stated within the individual model specifications.

Artykuł Rogers LS3/5a XLR <br />BBC Monitor Speaker pochodzi z serwisu Rogers HiFi.

Rogers AB-1 Auxiliary Bass One Subwoofer specialy designed for the legendary LS3/5a Monitor Speaker to extend the range of low frequency, sensitivity and reduce overall impedance by presenting an easier load for the amplifier. The easy to connect design allows you to install the system quickly and enjoy unparalleled audio playbeck.

New edition – soon.

[do_widget id=wysija-2]

Artykuł Rogers AB-1 <br />Auxiliary Bass One Subwoofer pochodzi z serwisu Rogers HiFi.

Sampler LS3/5a Professional Monitor Loudspeaker. Fantasy trip

Its first song has already caught my breath. The irresistible voice has taken me away from this chaotic world. When you feel tired one day, these songs can be your shoulder and comfort your heart. Let’s close our eyes and indulge in the beautiful music world.

This music, this loudspeakers… This is my world.

Uncompressed Sound **  Natural Dynamics

01. Nat King Cole – The More I See You (3:32)
02. Carly Simon – Over The Rainbow (2:26)
03. Don Williams – She Never Know Me (2:49)
04. Louis Armstrong & Ella – Summertime (5:00)
05. Bobby Gentry – Close To You (3:45)
06. Debby Boone – I’ll Be Home (3:15)
07. The Choirboys – Walking In The Air (3:25)
08. Johnny Hartman – You Are Too Beautiful (5:35)
09. Saint Saens – Carnival of the Animals, Fossiles (Boston Pops Orchestra) (1:25)
10. Manuel Barrueco & Steve Morse – Cavatina (3:16)
11. Antonio Vivaldi – The Four Seasons, Spring, I. Allegro (Alan Loveday-Violin) (3:12)
12. Cannonball Adderley – Goodbye (2:37)
13. W.A. Mozart – Piano Sonata No.11 in A Major, ‚Rondo Alla Turca‘ (Andrei Gavrilov-Piano) (3:28)
14. Georges Bizet – Carmen, Act III. Entr’acte (Kristina & Laura ) (2:36)
15. Dmitri Shostakovich – Jazz Suite, Waltz No.2 (Philadelphia Orchestra) (3:44)

Artykuł Sampler LS3/5a <br />Professional Monitor Loudspeaker pochodzi z serwisu Rogers HiFi.

Rogers LS3/5a Speaker Monitor 65th Anniversary Edition

Standmount Speaker
Iconic and Timeless Design
Worldwide Acclaim
Multiple Award Winner
Beautiful Construction
2-way Configuration

Introduction

Thank you for choosing to purchase Rogers loudspeakers. We are confident that these loudspeakers will provide you with high quality sound and music reproduction for many years.

Please read the short section of this manual headed ‚Quick Installation’. It contains essential information to enable you to get your speakers up and running safely.

To obtain the maximum performance and benefit your new speakers can bring, please take time to read the remainder of this manual and to familiar yourself with the speakers. You will find the rest of this manual contains helpful advice on connecting-up, matching equipment, room placement and maintenance.

Rogers – over half century of excellence

In 1947, an armed forces communications engineer turned his expertise to audio amplifiers. Jim Rogers took up a license to produce the Williams mono valve amplifier thus founding the company.

In the early years Rogers was best known for its amplification products but by 1954 could boast a complete ‚Junior‘ system comprising amplifier, AM tuner and compact loudspeakers. The 1960s were dominated by the launch of stereo and the Rogers stereo ‚Cadet‘ integrated amplifier become a world best seller.

Loudspeaker development at Rogers included unique horn-loaded designs, and even a wall hanging system called the ’Wafer¹ that was well ahead of the times. The transistor revolutionized the entire communications / entertainment world and Rogers was on of the first manufacturers to offer transistor products including the famous Ravensboume and Ravensbrook stereo amplifiers and tuners.

Transistor amplifiers offered ever more power and the focus of development passed to loudspeaker materials prompting the BBC to begin extensive research into monitor speakers for studio use. Fundamental acoustic research and scaling techniques produced the compact LS3/5a that become a benchmark product used throughout the broadcast industry in a wide variety of monitoring situations. Rogers took up a license to produce the LS3/5a and began to produce speakers of its own using the latest polymer materials derived from BBC research. Still innovating, Rogers now uses the world’s first carbon fibre dome tweeter.

In 21st century, Rogers has been continuing its spirit in developing the high-end audio product to reproduce the most natural sound reflecting every details of the original recordings. To celebrate the sixties history, Rogers specially works with BBC again to launch the new LS3/5a limited edition to satisfy the needs of the global audiophiles.

Quick Installation

Unpack your loudspeakers carefully and retain the packing for possible future use.

Position you speakers approximately where you want them and select cable runs of appropriate length.

Switch off the amplifier. Check the Bi-wire links are in place between the terminal on the rear of each speaker. Deal with each channel separately. Identify the left speaker of the pair as the speaker on the left when viewed from the listening positions.

Connect the black terminal on the amplifier left channel (possible marked ‚ negative‘ or with a symbol) to the black terminal on the left loudspeaker. Connect the red terminal on the amplifier left channel (possibly marked positive or with a ‚+‘ symbol) to the red terminal on the left loudspeaker. Make the connections to the upper pair of terminals marked HF.

Repeat these connections for the right channel. Check the integrity of the connections and that there are no shorted wires. Turn down the volume and switch on the amplifier. Select a known source and turn up the volume cautiously.

Details of how to check for phase and polarity, channel identification and the benefits of bi-wiring and bi-amping can be found later in this booklet.

Unpacking

Always unpack speakers with care so as not to damage the finish. It is always advisable to open the packaging at one end, invert the carton with the open flaps folded back so the loudspeaker is standing on the floor. Then remove the packaging from the loudspeaker. Care should be taken with larger or heavier models to avoid back or muscle strain. Get someone to help you if you are in any doubt. Retain all the packaging materials in case you need to transport the speakers later.

Connecting up your system

Cables

Connecting cables have an important effect on final sound quality. Similar lengths of good quality speaker cable should be used. Your dealer can advise you of suitable cables for your installation. Longer cable runs will generally require heavier gauge cables.

All system connections should be clean and tight. Cleaning of all signal path connections in your system is recommended annually. Simply breaking and remaking each connection ensuring a positive contact is all that is needed.

Conventional wiring

Switch off the amplifier. Never make or break any connection with the amplifier powered or with the volume turned up.

Leave the Bi-wire links fitted between the input terminals in place. Take each channel separately to avoid confusion. First, identify the amplifier left channel. You will be connecting these terminals to the left loudspeaker, this is the speaker on the left as seen from the chosen listening position.

HF: High Frequency LF: Low Frequency

Connect the black terminal on the amplifier left channel (possibly marked ’negative‘ or with a ‚-‚ symbol) to the black terminal on the left loudspeaker. Make the connections to the upper pair of terminals marked HF. Your speaker cable maybe ribbed or overprinted along on conductor to help with wiring up. Now connect the red terminal on the amplifier left channel (possibly marked ‚positive‘ or with a ‚+‘ symbol) to the red terminal on the left loudspeaker. Repeat this process for the right channel with the second length of cable. Refer to the diagrams.

Bi-wiring

Rogers loudspeakers feature split crossovers to allow for bi-wiring. This can improve the overall sound quality for the cost of a second set of cables. Bi-wiring keeps the low frequency ground currents from modulating the higher frequency signals int he trebles ‚leg‘ of the crossover network. The split crossover design permits the mid/treble and bass sections to be fed separately.

Two lengths of four-core bi-wire cable or additional lengths of your existing cable are required.

HF: High Frequency LF : Low Frequency

Switch off the amplifier. You may find it helpful to label the cables before starting to wire up the system. Label one pair of cables HF and one pair LF. Remove the Bi-wire links from between the speaker terminals and store them in case you wish to revert to conventional wiring at any point in the future.

Take each channel separately. Connect the black terminal on the amplifier left channel (possibly market ’negative‘ or with a ‚-‚ symbol) to the black HF terminal on the left loudspeaker. Make certain your connection is to the upper pair of terminals market HF. Your speaker cable maybe ribbed or over-printed along one conductor to help with wiring up. Now connect the red terminal on the amplifier left channel (possibly marked ‚positive‘ or with a ‚+‘ symbol) to the red HF terminal on the left loudspeaker.

Repeat this process for the cable pair you have marked LF connecting the same amplifier terminals but making the connections on the left speaker to the lower pair of terminals also market LF. Refer to the diagrams.

Repeat for the HF and LF right channel connections.

Bi-amping

Bi-amping uses separate full bandwidth power amplifier to drive the separate HF (high frequency) and LF (low frequency) legs of the crossover network and appropriate drivers.

Two lengths of four-core bi-wire cable or additional lengths of your existing cable are required.

HF: High Frequency

Switch off the amplifier. You may find it helpful to label the cables and power amplifiers before starting to wire up the system. Label one pair of cables HF and one pair LF. Remove the shorting links from between the speaker terminals and store them in case you wish to revert to conventional wiring at any point in the future. Designate one amplifier High (HF) and one Low (LF).

Take each channel separately. Connect the black terminal on the HF amplifier left channel (possibly marked ’negative‘ or with a ‚-‚ symbol) to the black HF terminal on the left loudspeaker. Make certain your connection is to the upper pair of terminals marked HF. Your speaker cable may be ribbed or over-printed along one conductor to help with wiring up. Now connect the red terminal on the HF amplifier left channel (possible marked ‚positive‘ or with a ‚+‘ symbol) to the red HF terminal on the left loudspeaker.

It is easier at this stage to wire up the right channel for the HF amplifier connecting the black terminal on the HF amplifier right channel (possibly marked ’negative‘ or with a symbol) to the black HF terminal on the right loudspeaker. Then connect the red terminal on the HF amplifier right channel (possibly marked ‚positive‘ or with a ‚+‘ symbol) to the red HF terminal on the right loudspeaker.

Repeat these four connections using the cable pair you have marked LF connecting the left and right LF amplifier terminals to the lower pair of terminals, also marked LF, on the left and right speakers. Refer to the diagrams.

Power ratings

Rogers speakers are designed to present an easy load to the amplifier and, to make the most of the power available, they are efficient enough to produce reasonable sound pressure levels even with lower powered amplifiers.

Because our drive units and crossover networks are conservatively rated and constructed using the latest high technology materials the finished speaker has very high technology materials the finished speaker has very high-power handling capabilities. The recommended amplifier range reflects this lower efficiency and upper power handling limits in offering a range of powers that will suit each model. Room size will influence choice. Installations in larger rooms will require amplifiers from the upper end of the range to produce wholly satisfactory sound levels, while in small rooms an amplifier near the minimum recommended power rating will be able to produce adequate volumes.

Loudspeakers are rarely damaged by being overdriven by large amplifiers, a low powered amplifier used at a high volume setting is much more likely to damage your loudspeakers due to the amplifier ‚clipping‘ the music signal and creating a ’spray‘ of high level, high frequency distortion that can rapidly bum out a tweeter or midrange driver voice coil. It is preferable to use a 200 watt amplifier cautiously at half power into 100 watt rated loudspeakers than it is to run a 50 watt amplifier at full volume into the same speakers.

Phasing

It is important to observe the correct polarity when you wire up your system. There are two areas of concern – channel identification and phase.

Correct channel connections should ensure that the left amplifier channel is connected to the left speaker (the speaker on the left as seen from the listening position). A test CD, record or tape can be used to identify the correct channels.

It is recommended that you connect positive terminals on the amplifier to positive terminals on the speaker, ie. red to red and black to black. Reversing the connections on both channels achieves a reversal in absolute phase. This may mean that the speaker bass cone moves backwards rather than forwards on the transient or beginning of a bass note. Come listeners are sensitive to this effect. You should note that absolute phase will differ from recording to recording and sometimes between amplifiers. You may wish to experiment.

Positioning

The correct frequency response (tonal balance) is achieved from your loudspeakers with their grilles in place. Removal of the grilles will compromise high and mid frequency performance.

Loudspeakers should never be placed tightly in the comers of rooms. Though this dramatically increases the bass in one frequency band, it produces a cancellation ’suck-ouf in the next. Though certain types of music may be artificially enhanced, the effect is very unnatural as can be heard in reproduced speech as a ‚boomy‘ or congested quality.

Placing stand mounted speakers on the floor will create a similar effect.

If speakers have to be placed close to the comers of a room they should be place asymmetrically with respect to the two walls, that is at a different distance from the side and rear wall. Careful listening and experimentation with positions can minimize the effects of room reflections on bass reinforcement and cancellation.

Reflections at higher frequencies from any large flat sound-reflecting surface (wall, mirror, furniture) can adversely affect stereo imaging. Soft furnishings and fabrics can be used to change reflections if the speakers can conveniently be repositioned

Caring for your loudspeaker

The real wood veneers used on certain models can be maintained by regular dusting and gentle cleaning with furniture polish and a soft cloth. Over use of waxy polishes may change the colour of the veneers.

The high-quality synthetic veneers chosen for some Rogers loudspeaker systems will retain their appearance for many years if dusted regularly and cleaned periodically with furniture polish. Spray polish onto the cloth. Do not spray polish onto the loudspeaker as this may damage the drive units.

Grille cloth is best kept clean with a length of sticky tape wrapped around the hand adhesive side out or with a clean soft brush. Do not use undue pressure as you may damage the drive units beneath the grille.

Warning

Rogers loudspeakers should not be connected to any amplifier which exceeds the recommended amplifier requirements, as stated within the individual model specifications.

Artykuł Rogers LS3/5a <br />Speaker Monitor <br />65th Anniversary Edition pochodzi z serwisu Rogers HiFi.

SAMPLER Rogers Audiophile Reference.

Half Century of Music Excellence

For the past 50 years, Rogers has been best known for its precision acoustic engineering to reproduce the most accurate musical rendition, achieving sonic perfection for the discerning music lovers. After manufacturing the mono „Williams“ valve amplifier in the fifties, the production of the stereo „Cadet“ integrated valve amplifier became a world best seller in the late sixties. The concurrent development of loudspeakers during that same period included unique horn-loaded systems, and the wall hanging design with thin cabinet called „Wafer“ that was well ahead of the times. Entering the transistors age, Rogers was one of the first manufacturers to offer transistor products including the famous Ravenbourne and Ravenbrook stereo amplifiers and tuners.

...commissioned by the BBC

In the seventies, Rogers was commissioned by the BBC to manufacturer the LS3/5a monitor speakers. The LS3/5a becomes the „benchmark“ product used throughout the broadcast industry as well as professional recording studios. After 25 years, Rogers continues manufacturing the LS3/5a due to its high demand from like-minded audiophiles.

For your enjoyment, Rogers is proud to present to you this special Reference Quality CD with the music that you will love. The tracks in this Reference CD were carefully selected to complement Rogers equipment, including our Class A valve amplifier, the CD transport, and our full line of Rogers Loudspeakers, including the prestigious LS3/5a monitor.

Finally, we want to thank the international renowned music producer, Mr. Winston Ma, who has spent tireless efforts to produce each track of this CD. We know you will enjoy this Reference CD with our complement I

Rogers International (UK) Limited – London, England

Rogers Audiophile Reference CD

It is my honor and privilege to be commissioned by Rogers International (UK) Ltd. to produce a demonstration compact disc in celebration of its 50th Anniversary.

In order not to blemish the reputation of Rogers, the most respected British Hi Fi manufacturer, every care has been taken in the preparation of this album. The latest and the best mastering technology, the Super HDCD (High Definition Digital Compatible) format in 24-bit/88.2 KHz has been employed. This is, definitely, an important basis whereby an audiophile can be sure that the device he is relying on in gauging the performance of a system is of such quality and accuracy that he can use as the reference. With this in mind, this album is complied.

… objectively

An audio engineer judges the performance of a piece of equipment, mainly, by testing and measuring, in ascertaining whether the equipment under test fulfills certain technical specification. He does sometimes test the equipment by auditioning, but he may, objectively, trust more the data he can derive from his measurement.

An audiophile, while likes to refer to the specification sheet, often rates the performance of a piece of equipment by subjective auditioning and comparison. He is more concerned with the qualities he can perceive, such as musicality, definition, transparency etc. To him, musicality, emotion and sense of involvement are the more important criteria for music listening.

… sweet nuance

I hope this edition can achieve the best of both worlds. Carefully selected passages of music are meant to exemplify how a system should reproduce those particular pieces of music. A fine- tuned system should be able to reproduce the dynamics of a concert grand, the sweet nuance of a Stradivarius, the naturalness of human voice, the power of a kick drum, the sub-sonic of a church organ and the transient of a flamenco guitar. All these qualities are what an audiophile is looking for. The suggested test for each band of music is charted in the liner notes for the reference of the listener. The passages have been carefully selected in order to highlight the sonic characteristics of the music therein. They are, at the same time, also beautiful musical gems for pure listening pleasure.

May I wish the audiophiles who own Rogers equipment find the above qualities in their systems.

Winston Ma

How to use this album for gaugin the performance of your system

1. High Life. „Jazz at the Pawnshop¹‚ is generally considered one of the best jazz recordings of the century. „High Life“ is a selection from this legendary recording. As soon as you play it, the music will immediately draw you to the crowdy and smoky jazz club – The Pawnshop, in Stockholm. Gert Palmcrantz is indeed a rare talent in recording engineering. He had not only recorded the music admirably well, but also captured the atmosphere of the whole setting: the small and congested stage where all the musicians were in the mood and playing with the same wave length; the audience was in high spirit; the recording equipment was perfectly set up …. Everybody was so involved in the music that you can feel their presence in your listening room. If you have a good system, you can even see Arne Domnerus moved from left center to center and from center to center right while he was playing his saxophone. Then comes the articulate cymbal display, then the xylophone, the drums…. You will be totally involved. You feel „you are there“. This is what we call the art of high-end audio at its best.
2. A Taste of Honey This is another multi-award-winning recording. Patricia Barber has a unique voice and style: melancholy coolness. In this song, her voice is deep and full of sweet sadness, reminiscent of an affair. The guitar and the percussion were recorded better than anything. The definition is really stunning. The recording brings about that emotion that you do not often find in other recordings. You simply do not want her to stop singing.
3. Feelings. This is not a Steinway, but a Yamaha. It was also not recorded in a concert hall, but in a studio (Lion Studio, Singapore). The secret of why this piece sounds so musical, warm and lustrous is that it was recorded in the analogue format, then, meticulously transferred to a digital master. The recording engineer was John Herbert. Here, Jerome plays with his feeling and in such tempo that you will be captivated by the music. From a technical viewpoint, reproduction of this „feelings“ requires a high degree of dynamic contrast of your system, without which, the piano will sound plain and dull. The musicality will be gone.
4. Il Est Ne Divin Enfant: The name of this song is difficult, but not the music. Kurt Bestor has been able to create that kind of joyous and festive mood of Christmas that will make your body unconsciously dancing with the music and rhythm. The bass extension and more importantly, the bass resolution have a lot to do with such effect. The effect is very different from that of No. 2. This score will light up your spirit for the rest of the day.
5. I Can’t Help Falling in Love: This is an easy-listening number you will enjoy. Some people might have different views on Michael Gold’s resemblance of Dean Martin. I know this is his natural voice, which is full smooth and warm.
6. Summertime You should have never heard a „Summertime“ like this before. Terry Perez, the brilliant cellist, has been successfully brought about the scene of a very peaceful, or perhaps, a lazy summer afternoon. Her silky bowing, with the extremely articulate percussion, is breezing your face with sweet intimacy. The resolution of the double bass and the tinkling of the cymbals have projected such a deep soundstage and musical event that you would like to spend the whole evening listening to the music. This recording was done in Hall C, SUNNY Purchase Performing Arts Center, known to be one of the best recording venue in the proximity of New York. Phil Bulla was the recording engineer. If you do not find it involving, your system might not be in an optimum condition. This recording was reviewed as one of „The Best New Recordings in CES, Jan., 96“ by Stereophile magazine, USA.
7. Night: You might have heard a lot of drums. However, this is a recording of an array of Chinese drums, which I highly recommend to you. Unlike western drums, the Chinese drums in this recording generate tremendous energy of high concentration in the mid-range that challenges the power handling capability of any system. If done it right, you can hear the resonance of different drums and their locations; you can gauge the size of the drums by the tightness of the sound and their varying frequencies at mid and low registers. The other percussion instruments fill up the soundstage with liveliness and energy. A good piece to exercise your system, in particular, its mid-range.
8. The mon Represents My Heart You might not be too often to hear a harmonica or a Chinese Urhu and even rare to hear them playing in concert with each other. Backed by a beautiful string section, piano and percussion, the two unique instruments display very pleasing tone colors. The images of the instruments should be solid with a lot of air around them. Enjoy the mellow and tender of the urhu, joined by the exquisite harmonica. They are singing together. This recording was reviewed as one of „The Best New Recordings of CES Jan., 96 by Stereophile magazine, USA,
9. Falling in Love with Lore Listen to the dynamics and grandeur of the piano at the opening of this number and the beautiful bass that follows – all in high resolution and definition. Jeramy and his friends are definitely in the mood. They are, very obviously, enjoying the company of each other. Let us join the fun.
10. Deer Hunter Strings are the most essential part of light and classical music. However, they are not easy to be reproduced. It all depends on the analytical ability of your system, the smoothness and accuracy of its mid-range and the articulation of the highs. Here is a piece of a violin solo, embedded in a velvet mass of strings. Check how much you can get in terms of depth, height, and breadth of the soundstage. Do you have sufficient warmth and sheen for strings or you only frown at the harshness of them?
11. Besame Mucho The small jazz ensemble of Jeramy Monteiro adds a delightful flavor to your listening mood for this Latin American evergreen. The rhythmic arrangement is so inviting. Shall we dance?
12. Edelweiss: John Whitney’s simple piano introduction might have already caught your attention. The rest of the music just flows and you can just relax and ease your tension of the day.
13. The First Noel. Don’t ever consider this recording as another Christmas song. It is intentionally produced as an audiophile score. The definition and the imaging of the guitar and piano should be among the best you have ever heard. The tranquility and the charm so created by the performance are a good example of what audiophiles call the sense of involvement.
14. The Trout. The double bass is stunningly natural and the low frequency resolution is articulate and transparent. John Whitney has turned Maestro Schubert’s famous work into a modern beauty. This recording has also been reviewed as one of „The Best Recordings in CES Jan., 98“ by Stereophile magazine, USA.
15. Alone in My chamber The arrangement of this song is simple: just basically a harmonica and piano. However, many audiophile friends acclaim that it has created an emotion of sweet sadness and loneliness. This is exactly the atmosphere the composer wished to achieve. There are very few, if any, other arrangements and performances that can produce this result. A good system should be able to capture this emotion.

Producer: Winston MA Recording engineers: various

Re-mastering engineer: Paul Stubblebine, Audio Consulting & Engineer Studio: Studio C, Hyde Street Studio, San Francisco USA Date: April 1,2 and 3,1998.

Format: 24-bit HDCD mastering process

Equipment: High quality signal path provided by Stephen Jarvis

Copyright: First Impression Music, Inc.,

Rogers International (UK) Ltd. is a subsidiary of Wo Kee Hong Group

The CD has never been sold in music stores. Lucky people could get it together with speakers. Its collector value exceeds 500 EUR on the open market.

Anyone who buys new or used Rogers LS3 / 5a monitors in the „60“ and „65“ jubilee versions will receive this treasure as a gift.

Artykuł SAMPLER <br />Rogers Audiophile Reference pochodzi z serwisu Rogers HiFi.