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Linn Kan against Rogers LS3/5a

Discussion in 'audio' started by dmitre@gmail.co, Apr 1, 2014.

  1. dmitre@gmail.co

    dmitre@gmail.co chief pencil sharpener

    What's the sonic difference between Linn Kan and Rogers LS3/5a? It differs 2-3 times in terms of money but how about sound?

    I do have Linn Kan 42xxx (last one before MKII) and I'm curious to try Rogers LS3/5a at the end of Nait 1 and NAP160.
  2. Willie Eckerslyke

    Willie Eckerslyke Occasional Optimist


    One only works against a solid wall, the other needs free space.

    One has a glorious vocal range, the other boogies like a bastard.

    I can't imagine anybody not having a preference, so as both resell easily enough, please report how you get on - no substitute for listening....
  3. TheDecameron

    TheDecameron Unicorns fart glitter.

    One's got the pRaT, the other ain't.
  4. narabdela

    narabdela who?

    The LS3/5a can make a decent attempt at reproducing a piano recording.

    The Kan kant.
  5. Tony L

    Tony L Administrator

    Both are great little speakers IMO.

    Kans: wall-proximity location preferably on dedicated open-frame stands or wall Sound Org brackets, centred around dynamics (for a small speaker), life and speed, find more favour with rock & pop listeners.

    LS3/5A: free-space location preferably on high-mass stands, centred around midband tonality, neutrality and soundstage, find more favour with jazz and classical listeners.

    No right choice there, some folk will strongly prefer one or the other, some (like myself) actually like both!
  6. TheDecameron

    TheDecameron Unicorns fart glitter.

    LS3/5a -pipe and slippers
    Kan - crack pipe, no slippers
  7. Gaius

    Gaius Trade: Stiletto by Tangerine

    Marmite, I like Marmite and I like Kans.

    I don't wear slippers!
  8. Robert

    Robert Tapehead

    If you want the best bits of both, look at the Kan 2 which dispenses with the gross response peaks of the Mk1 Kan, giving a more faithful tonality closer to the 3/5 while retaining a good dose of the life and zest found in the Mk1 Kan.

    I hate 3/5s, dislike Kan 1s and really like Kan 2s (ran a pair for a few years).
  9. louballoo

    louballoo Banned

    Tony, you must take an official position on something! Its OK LS35A owners can take it.

    Lets start with something benign like:

    Do you prefer strawberry jam over raspberry?

    Yours Truly from one of your favourite Canadian Provinces,

  10. LPSpinner

    LPSpinner pfm Member

    Hummm LS35a vs. KAN’s ... they both use the the KEF B110 bass driver and they both have the same internal enclosure volume and they are both a sealed enclosure. Surely they can’t be that different can they? .....

    Having studied the entrails of both the KANs and the LS35a the main difference is that the LS35a applies equalization to the B110 bass driver. The LS35a’s crossover basically pulls the midrange frequencies down by about 4 to 5 dB. The KAN runs the B110 with its natural response up to the HF crossover point. Compare the published efficiency specs, 82dB for the LS35a vs. 87dB for the KAN.

    If you want to make a pair of KAN’s sound like the LS35a use a amplifier with a tone controls and give the KAN about 5 dB of bass boost. Using the BASS EQ control on my QUAD 34 I can make my KAN’s sound very much like an LS3/5a, even better actually because I feel the Scanspeak tweeter used by the mark one KANs sounds nicer than the KEF T27 tweeter used on a LS35a. There is no reason we shouldn’t be able to design a bass EQ circuit that can be inserted between the pre and pwr amp, this could provide the correct EQ and flatten out the bass response of the KAN’s. The KEF B110 driver is actually a pretty solid little beast and should take a reasonable amount of stick so a little bit of bass boost can work, just look at the LS35a.

    Sacrilege, I know but I sometimes wonder if removing tone and filter controls from our integrated amps and pre-amps was such a great idea when all we really needed to do was just add a tone bypass switch.:rolleyes:

  11. Yank

    Yank Bulbous Also Tapered

    A different way to look at it would be to point out that the LS3/5A uses subtractive passive equalization to bring the mids down to the level of the bass, and the Kan uses wall proximity to bring the bass up to the level of the mids. If you have Kans that are sited properly, then they shouldn't need what you describe.

    I agree that the Scanspeak tweeter is superior to the Kef T27, but I don't think Linn did a good job of combining the drivers. While not as "quacky" as the Sara, the Kan still has some fairly obnoxious artifacts through the crossover region.
  12. david ellwood

    david ellwood Kirabosi Kognoscente

    I don't know how I'd describe the loading of the ls3/5a but it's a long way from being sealed.
  13. foxwelljsly

    foxwelljsly Keep Music Vile

    Having tried both, get some Harbeth P3 ESRs instead. They do whatever your programme material demands as they are unerringly accurate within their spec.
  14. Tony L

    Tony L Administrator

    If I had to choose now I'd pick the LS3/5A as I'm probably more a jazz listener than anything else. I also don't have any context for a wall proximity speaker aside from the corners that my La Scalas occupy. It doesn't stop me really liking both though.

    I do have a pair of JR149s that I'm currently restoring (I'm now just waiting on Falcon's new T27s to turn up). For me they are a speaker that sit beautifully in the middle-ground between Kans and LS3/5As. Even with slightly mismatched tweeters (both 'work', they just sound a little different so don't hold a rock solid central image) they are astonishingly good little speakers IMO. Infinite baffle with not a hint of cabinet influence and a wonderfully natural voicing (very 'BBC' but tight and controlled too). They sound wide-open, natural, neutral, show a pretty decent dynamic capability for such a small box and have surprisingly deep clean and tight bass. A truly radical design, to the extent I have no idea why people still make speakers in resonant rectangular boxes, let alone put ports in them! I'd love to see what could be done utilising similar cabinet technology with modern drivers.

    PS FWIW I think Rob needs to re-audition LS3/5As as I feel they are one of the few things he's called wrongly - they are a far, far better speaker than he gives them credit for IMO. Stick them on really high-mass stands away from boundaries, feed them with a very good (preferably tube) amp and stick a well recorded jazz album on and they are very good indeed. They certainly do things in that context Kans could never even contemplate.
  15. Mescalito

    Mescalito pfm Member

    Not sacrilege at all. Common sense. It's a legacy of the late 70's early 80's flat earth aberration.

  16. Yank

    Yank Bulbous Also Tapered

    How very Anglocentric of you.

    Tone controls were being removed from high end preamp designs all over the world for several years before your local cults emerged.
  17. Martin D

    Martin D Libertarian Division

    Kans would kill LS3/5a's i thought the Rogers were a snooze
  18. dmitre@gmail.co

    dmitre@gmail.co chief pencil sharpener

    Thank you all for input.

    I'm diving in a beautiful world of LS3/5A. There were a lot of alternative like Spendor and so on. Is there any FAQ about all the history of LS3/5A tree?
  19. narabdela

    narabdela who?

    Lots of information here. http://www.ls35a.com/
  20. dmitre@gmail.co

    dmitre@gmail.co chief pencil sharpener

    I've just put my hands on Rogers LS3/5a 11Ohm (I'm not sure it's better that 15Ohm).

    Which is the best stands for 3/5? I'm aiming to Linn Kans || stands is there any better options?

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