These are the best small speakers I’ve ever heard.
They’re so good they’re actually some of the best speakers I’ve ever heard regardless of size or price.
Sterling Broadcast’s LS3/5a’s have a long history behind them. In the mid-1970’s the BBC created official, technical specifications for a number of loudspeaker designs they were interested in using. The BBC didn’t want to actually manufacture these speakers but insisted that the companies making them would adhere to their specs.
For mobile recordings, the Beeb designed a small, nearfield monitor which they officially dubbed the LS3/5a (designating size of the box, etc.) It was a simple design with a small tweeter, a small woofer and a very intricate crossover. The size, shape and construction of the wooden box was also critical to the sound.
Upon their release, word got out that these were very special loudspeakers. LS3/5a’s became an instant hit with audiophiles and music lovers alike. Their small size turned out to be a perfect fit in typical British listening rooms. Best of all, the speakers were able to recreate the illusion of real music being performed. Rock, classical? Didn’t matter. LS3/5a’s just sounded real – and much larger than their small physical dimensions. Their cult status was assured.
Over the years, a number of manufacturers were awarded BBC licenses to make LS3/5a’s. Rogers, Harbeth, Spendor, Chartwell, Audiomaster, KEF, Goodmans and Richard Allen for instance.
In the 90’s, when KEF decided to end production of the woofers and tweeters most people worried that meant the end of the line for the legendary loudspeaker. Luckily, a few years later, Doug Stirling of Stirling Broadcast decided to see what he could do to remedy the situation,
Doug, and a number of past LS3/5a manufacturing gurus redesigned the speaker around currently available woofers and tweeters from other manufacturers. They decided to use the original BBC thin-walled cabinet design which used wood screws. They spent thousands of hours listening to and tweaking the very important internal crossover circuitry.
The result? A new 12-inch tall speaker that sounds nearly indistinguishable from many of the original models. Don’t forget there were a lot of companies making these speakers and they all sounded very slightly different from each other even though they all (allegedly) “strictly adhered” to BBC specifications.
I find it difficult to describe the sound of a Stirling Broadcast LS3/5a V2 except to say it is a wonderful experience. These speakers sound like music and are capable of amazing feats.
Despite their relatively small size, the Stirlings produce what crazy audiophiles call a huge “soundstage” or the illusion of music being performed in the original-sized recording environment. Stirling LS3/5a’s can actually place an instrument or a voice right near – of above, below, behind, in front of and to the left or right of the speakers. I know it is an illusion – but it’s a pretty amazing one.
Compared to the originals, the Sterling seem to reproduce high/treble sounds (like cymbals) better than many of the original surviving LS3/5as I’ve heard. They also seem to extend a little deeper into the bass realm. Even though the Sterling have been engineered to employ a LS3/5a “bass hump” like the originals (to help with the perception of deep bass coming from a tiny box) some of my recordings with super deep bass sound amazingly great.

The Sterling, like most high quality audio gear, need an extended break-in time before they sound their best. Most LS3/5a owners will tell you their 20 and 30-year old examples are still breaking-in. I found that it took nearly six months before this particular pair began to sound their best and I thank Doug Sterling for graciously allowing me so much time to live with his product.
These speakers need a pair of good quality speaker stands to sound their best. Do not think about plopping them down on a shelf and hearing anything like I heard. I also found that they need to be placed away from nearby walls for optimal sound.
LS3/5a’s also need a good quality amplifier. Actually, the better the amplifier the better the speakers will sound. They can perform terrifically with transistor amps (you have to hear them with my up-to-spec Quad 303 or a Sugden Class A model) and simply heavenly with the right tube amplifier (a Dyna Stereo 70, for instance). You only need about 20-50 watts-per-channel. Too much power and you might actually harm the speakers
BBC licensed LS3/5a V2s sell for 800-850 pounds Sterling (depending on the wood finish), plus shipping taxes, import duties, directly from Stirling Broadcast. Here in this country, importer Acoustic Sounds handles all sales and warranties. Expect to pay between $1,795 to $1,845.
So much money for a small speaker? Worth every penny. Especially when you see what “classic” LS3/5a’s sell for. And you never know what you’re getting with a used, 20-year old speaker. At least this way you’re buying a modern speaker with a real 5-year warranty. You could spend a lot more and get a lot less speaker.
If you’re listening room is on the small size – or you and your “significant other” want to minimize the profile of your hi-fi in the room, Stirling LS3/5a’s are the ticket.
I listen to classic Quad ESL-57’s in my main listening room. They have a very low WAF (Wife Acceptance Factor) because they look like bronze room heaters. If and when I move to small quarters I won’t hesitate to switch from my Quads to a pair of Doug Stirling’s modern-day marvels. They are that good.