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A prime stipulation in the design of the original LS3/5A was to accurately reproduce the human voice—especially male voice—which was in fact tuned by ear to achieve the desired response. Since almost every major acoustic instrument falls into that same fundamental tonal range it automatically elevated the speaker’s fidelity to the original event. How well did the AS-3/5A meet this criterion? It behaved in a very similar manner and achieved a very high standard on vocal material with good articulation and low coloration on male vocals and unexpected dynamics and composure in the midrange through upper midrange to allow female vocals to soar. The basic balance diverged from many modern designs which center attention on the midrange through upper midrange. The Audio Space drew the ear’s attention firmly into the midrange and lower midrange and allowed the music to blossom outwards from there.


The high frequencies were smooth and extended but the speaker showed an affection for some level of tubular support. With a solid-state chain the AS 3/5A lost a little bit of liquidity although never to the point of getting dry or uninvolving. It was simply more at home with tubes where it gained a little more sweetness and midrange life, trading observer status for a more immersive experience. Bass was articulate and reasonably extended considering and if not quite full range followed the British tradition of giving the illusion of a little extra response and power. The classic hump was less obtrusive displaying a more modern signature with a little more depth and dynamic range before audible distress. The balance had good warmth, weight and control plus the slightly smoother response made an easier job of subwoofer matching.

The AS 3/5A created its soundstage with a painterly perspective maintaining the dual requirements of illusion of size and distance. This conceit allowed a full-size orchestra to fit believably into the room as opposed to the impression of removing the walls and replacing them with the venue. The trick here was one of credible proportion and the speakers succeeded in delivering a deep wide soundstage with tremendous detail and a remarkable refinement of images. That sense of accurate proportion was augmented by the tonal balance which contributed great solidity and dimensionality but also a somewhat darker hall acoustic. The stage started just ahead of the plane of the speakers and worked back from there. The addition of tubes increased the projection of images slightly especially with the no-feedback setting on the Audio Space 300B preamp but under most circumstances the speaker maintained a neutral stance.


Experimenting with seating position revealed different perspectives on the recorded picture. In nearfield listening the speakers reverted to studio monitor demeanour and demanded a more confined seating area similar to the restrictions of an ESL. It made obvious the nature of multi-miking and the fragility of the stereo illusion when confronted with 'panned mono' sources. Changing to a seating position a little further distant traded that critical attitude for one that was more forgiving of engineering manipulation and also offered a much wider listening window. One position revealed the mechanics of the magician’s trick, the other its illusion.

Any description of the AS-3/5A on a dissection basis fails to express the holistic impression. The speakers managed a consistent analog almost vinyl feel, an unusual observation considering this was a dedicated digital chain. This occurred not just with audiophile material but more importantly with standard mass-market recordings, opening up a much wider catalogue of music for enjoyment. The dynamic limitations robbed the big sonic spectaculars of some of their ultimate power but regular recordings gained stature becoming more believable and revealing the intent of the recording engineers with an abundance of rich detail and unexpected honesty. Complex pop music mixes from the 80s were eloquently lush and their presentation through the Audio Space speakers enormously detailed, civilized and unforced.


The Audio Space narrowed the gap between analog event and digital playback. This was not a question of being more forgiving or a lack of critical detail. It was a fundamental shift of where the emphasis of detail was directed. It was greater tonal density and the blossoming of more information in the critical lower midrange through midrange. Is that a coloration? If so it is consonant to the original acoustical event. The LS3/5A earned its pedigree by that behavior and the AS-3/5A follows suit to add fuel to the debate.

The tonal character was warmer than many modern designs so those used to a little more sizzle and incisiveness won’t find it here.  Where those designs exhibit a little more push starting in the upper mids the AS-3/5As are firmly centered in the mids to lower mids. The Audio Space had a distinct 70s flavor rooted in the style and designs of the times like the Quad, the original Levinson electronics, the better tube electronics and the Grado Signature 3. This is a decidedly different tonal attitude from the modern world and diverges from many of the modern professional monitors like the Yamahas, JBLs and Genelecs. Those are designed to deliver information in a more ruthless fashion for the express purpose of finding fault - and finding it rapidly. The AS-3/5As are not ruthless. They deliver an equivalent amount of information but more to reveal, not to expose. A fine line and very different style.


Other speakers like the Usher S-520 and Mark and Daniels which have graced my system follow more the modern tonal signature by drawing the ear slightly upwards into the midrange and upper midrange. This gives them a little more air and ambient information but a little less density. The AS-3/5A was surprisingly closer kin to the John Blue M3 in balance as well as the Quad on the opposite end of the financial spectrum. In terms of bass only the Mark and Daniel has challenged subwoofer territory in the compact monitor sweepstakes so the AS-3/5A falls far short by comparison.

Dynamics and ultimate SPL will be an important point for prospective buyers to consider. Achievable peak levels were satisfying but not awe inspiring. The costlier Mark & Daniel will play louder but up to its limit the AS-3/5A matches it in composure and ease. The SPL capabilities of the Usher S-520 are similar to the Audio Space but where the latter becomes more polite when pushed, the Usher loses some composure at higher levels.


Where the AS-35A shone was on the opposite end of the dynamic spectrum. It was exemplary at increasingly lower levels by unraveling information and maintaining character that approached far more ambitious designs and clearly demonstrated the difference between volume level and dynamic range. In this regard they outperformed the Mark & Daniel paragons of small speaker dynamics and also the lesser priced Ushers by maintaining a more consistent and believable tonal balance. The AS-3/5A behaved more like the Quad and Apogee in low-level ability and balance.


Do all these virtues and vices make the AS-3/5A a worthy heir to the LS 3/5A? It certainly captures the spirit and original’s balance of strengths. It unraveled enough detail to be informative, enough dynamic range to be involving and presented a tonal balance which favored musical density over absolute transparency. The AS-3/5A also managed to minimize the  weaknesses of its predecessor, contributing small but welcome improvements in bass performance and dynamic range. Make no mistake however, this remains a compact monitor intended as the smallest of the BBC design stable with no stygian response depth and no 1812 overture swings. British refinement and composure then. Those who have found the faults described to outweigh the virtues in prior efforts should continue to look elsewhere but those who understand and appreciate the sonic signature will be much impressed.
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