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For those who Like the BBC LS3/5A (long)
You should be aware of the BBC's position on this and the other LS speakers.
The selection of loudspeakers for BBC Radio & Music. R. Walker, BBC Research and Development Department. Apart from the obvious need for high quality reproduction, the large number of studios and control rooms (more than 600 in the period around 1980) meant that the quality and character of the audio reproduction had to be maintained over a large number of units, over a range of loudspeaker sizes and for periods of many years. One of the main reasons for requiring consistency was (and still is) production practices that require operational staff to move between rooms for different jobs and for programme audio to be processed consecutively in different facilities (especially in television). Both of those factors require the sound monitoring in different rooms to be as similar as possible, otherwise much time and effort can be spent in doing and re-doing changes to the recorded material. That is unlike a commercial recording studio or small radio/TV station, where the technical staff work almost all the time in the same few rooms and can become familiar with their eccentricities. Those considerations led, over the years, to a succession of BBC-designed loudspeakers that also achieved substantial national and international recognition. The BBC-designed loudspeakers introduced several new developments, such as the use of polyethylene/ polypropylene (PE/PP) co-polymers for the diaphragm and Kapton® voice coil formers. The unit costs of BBC-designed loudspeakers were also significantly lower than equivalent commercial products, at that time. The last successful BBC-designed loudspeakers were the small LS3/5A (c. 1975), the large LS5/8 (c. 1982) and the medium LS5/9 (c. 1984). Those loudspeakers were the main ones in use from the dates of their original designs to the present. Very many are still in use at the present time (2004). In design, they may be well past their time and are, in any case, now irreplaceable. This author suggested in about 1992 that work should be started on their successors. At that time, the loudspeaker designs were between 8 and 17 years old. They are now between 20 and 29 years old. Three main factors led to the demise of the loudspeaker development work. With the coming of a more commercial imperative to the BBC as a whole, it was no longer considered worthwhile to develop loudspeakers internally. ......... A second factor has been the availability of improved commercial loudspeakers. Over the period of about the last 40 years there is no doubt that commercial loudspeakers have improved dramatically. Even over the last 20 years since the design of the LS5/9, developments in commercial loudspeakers have led to improved properties, perhaps most of all in consistency. BBC Radio and Music (BBC R&M) considered that the scale of the project made it necessary to carry out a study to select a range of loudspeakers with the objective of setting up a Framework Agreement for the procurement of 'standard' loudspeakers. They invited News and World Service to take part, so that they could take advantage of the results if they wished. The size of the requirement made it necessary to go through a formal tendering process. It also exceeded the EU threshold, which meant that the EU Procedure (Restricted) process had to be applied. In order to include the quality of the loudspeaker as a selection parameter it was necessary to carry out formal listening tests. Even without that potential legal requirement, it was thought desirable to have a uniform loudspeaker installations throughout the new development. ........................ 3 Test methodology. 3.1 The Parameters of an Ideal Test. A rigorous subjective test should consist of double blind, individual assessments using a suitable number of descriptive axes by a suitable number of test subjects. Probably five to ten subjective axes would be used. That is likely to be higher than the true number of different quality attributes, but would allow some scope for subsequent statistical factor reduction. Other tests doing similar things have commonly used around 20 descriptors. If the set of descriptors is too limited then test subjects feel constrained whilst having too many leads to confusion and overload of the test subjects. It was thought that not less than 10 test subjects would be needed, if they were highly skilled and could demonstrate a reasonable degree of consistency. For less able subjects, at least two or three times that number would have been necessary. The subjects were also being asked to assess many different aspects of loudspeaker quality at the same time. Less expert subjects would have found that difficult. Because of the background to the tests, it was thought that the test subjects should also be, in some sense, 'chosen' by their colleagues, so that the tests would be seen as reasonable and the final results more readily accepted by the majority of production staff who had not taken part directly. This is not the whole text of this report but it can be found at the BBC's Research web site. http://www.bbc.co.uk/rd/pubs/reports/index.shtml You will need to download a 23 page pdf file and look for the above title. |
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