ROGERS LS 3/5A MONITOR SPEAKERS

from the dc10 website on the rogers speaker 3/5 :

Adam from Warsaw, Poland
On the Berlin II mini monitor

I connected Berlin II with extraordinary Audio Note KEGONS Low Gain version monoblocks delivering 22W matched with Audio Note preamplifier M8, the 86dB efficiency of Rogers LS 3/5a that construction is rather adapted to push-pulls, do not really let listeners enjoy the outstanding SET monoblocks signed by Peter Qvortrup of Audio Note. Nonetheless, while the set Rogers-Rogers plays very well high and middle frequencies referentially, and mid-bass is reach (at least, according to the ear of English traditionalist), AudioNote-Berlin II set plays referentially and emotionally to the full extent of frequencies (the only limit is the size of a room – I have a living room with quite big capacity!). A combination of AN and Rogers LS 3/5a does not make any sense and Berlin II with Rogers shows clearly difference between SET and push-pull configuration. And as it is not to me to judge if apple is better than pear, Berlin II mini monitors are able (providing honest court proceedings) to resolve an eternal, audiophile conflict (SET or push-pull).

Classic water/humidity damage to the enclosures. They'll still bring a good price, just not as much as a mint pair (maybe $1200-$1500).

I wanted to add that Paul Watton was very helpful with helping me investigate these speakers and he did mention that based on the serial numbers they are an early 15ohm version

Hi

thank you for the responses.

if anyone is interested in these please let me know

pictures available here: http://allanlevine.com/rogers/

email alevine@3cdi.net.

if its not appropriate to solicit directly on this site then please disregard this.

thank you

They only handle about 35 watts. This is part of the reason that they were 15 ohms as transistor amps have a harder time damagin them, and also tend to sound smoother than if the speaker were 8 ohms.

And as others have mentioned, they were really well with tubes.

They are one of the first examples of the 'near-field' listening concept, as the only thing between them and the listener was often a studio mixing console.

As mentioned, no "special" amp is needed. Don't drive the too loud in the beginning.

I believe 15 OHM is the coveted version as well

also try them with tubes if you can, they should work especially well with them

I have a vintage LUXMAN R-1050 receiver I can try them on.

they are 15ohms with matching serial numbers.

I will give them a whirl this afternoon

You don't need a specific amp, but if these are the 15 Ohm version they will perform better with a tube amp vs a solid state or transistor amp as you might know it. Look at the back amnd see if there is a lable with the resistance stated in Ohms. I would use whatever you had on hand (I have way too many amps) just to hear if they are damaged. There is a limitation on the wattage they can handle but I don't remember that specification. Perhaps some one will post that information for you.

The chances are good that solid state amps generally speaking will make the LS3/5As sound rather sterile and dry whereas low to medium power tube amplifiers will make them sound full bodied, natural and musical. Allow tube amps to warm up at least one hour before listening critically.

can I hook these up to a "newer" amplifier to test or do I need a specific amp?

thank you for the help

What would you like to know, specifically? Generally speaking these are renowned for the sound quality and versatility. They were designed around 40 yrs ago, originally intended for use in the BBC's vans. They were supposed to hang from the sides and allow monitoring on site at the time. More than one companies manufactured spkrs to the LS3/ 5A design, the Rogers being my favourites.
The mid range is very clear, and the lack of real lower register is compensated by a bloat, so the result is superbly pleasant. For their minimal size they produce outstanding musical results, i.e. a large and very well balanced sound. There is a cult following which means that many parts (or replacements) are easy to source, if expensive sometimes.
Note that the crossover is very complex, and the early models are difficult to drive with an SS commensurate to their size (the ROgers, in particular, are high impedance)-- remember, in those times, tube amplification was still preponderant, and it is easy to drive Rogers LS3/5A with a tube amp.

Think of the sonic origins of Harbeths, Spendors, older ATC... the sound also resembles some of the old panels.

Overall, a marvelous little speaker, objectively limited at both extremes and superseded nowadays by some current offerings -- at a hefty premium, however.

You'd have to check if the drive units are in good shape to gauge what your discovery is really worth (i.e. compute the price of repair if necessary).

They were perhaps the very first "mini-monitor" along with the Visonik Little Davids, perhaps. They have a cult-like following and in my opinion are very over priced. For example, the orginal large Advent? usually going for around 200 bucks used. The LS 3/5a? used range for $1200 up to way over $2000. That's alot for 70's technology, but people swear by the excellent voicing and midrange reproduction, good for opera lovers. There were the KEF version, the Chartwell version, the 'white ringed' woofer, the 15 ohm version, and the rounded 'can' enclosed version. You should be able to fetch a good price for them.