LS8/1f, floor standing model of the Derek Hughes LS8/1 monitors
On the back of the success of the sold out LS8/1 Limited Edition Series (ed: 100), Graham Audio stepped it up to serve listeners who love the BBC “house sound” but prefer the aesthetic, appearance and practicality of a floor-standing loudspeaker system. Presenting the same sublime mid-range quality as the LS8/1 and remaining faithful to the original recording, the Graham Audio LS8/1f, also designed by Derek Hughes, builds on what is regarded by many to be an already perfect design. Audition the new LS8/1f from Graham Audio and discover another dimension of “Midrange Magic.
LS8/1f, floor standing model of the Derek Hughes LS8/1 monitors
Q. [types field=”question”][/types]
A. [types field=”answer”][/types]
System : 3 Way Reflex
Cabinet : Thin wall construction (critically damped) Birch plywood
Finish : Real wood Veneer
Dimensions : H100 x D28 x W260cm
Weight : 23kg
Response : 43Hz~20kHz +/-3dB
Nominal Impedance : 8 ohms
Sensitivity : 87dB SPL (2.83V, 1m)
Maximum Output : Over 100dB for a pair @ 2m
Bass/Midrange : 200mm
Tweeters : 26mm Soft dome, 19mm Soft dome
Crossover : 3.5kHz, 14kHz
Recommended Amplifier Power : 50 to 250 watts unclipped programme
No product documentation found.
Sharing a Loudspeaker Legacy
Derek Hughes shared a wonderful letter from 1980, authored by his father, Spencer Hughes. The founder of Spendor and part of the BBC’s LS5/5 design team, Hughes was responding to a query about the origins of Spendor. Describing the company’s history firsthand, it seemed appropriate to publish it for the enjoyment of likeminded audiophiles:
Dear Sir,
The Spendor BC1 was not, as it has so many times been described, a development of the BBC loudspeaker type LS3/6. Perhaps a short history of the lead into, and the development of the two systems, may be of interest.
From the very early days, even before hi-fi, the BBC has designed its own monitor loudspeaker systems, as commercial systems were not, and most are still not, accurate enough for broadcast work. These designs were based on available units matched by what were in those days, very complex crossover networks and mounted in custom designed cabinets.
During the mid-1960s, the development work carried out by the BBC had advanced to a stage which was beyond the capabilities of the available paper-pulp cone bass units. The decision was taken to investigate the possibilities of using some form of plastic as a cone and surround material. It was assumed that plastic would be a consistent material, unlike paper pulp, which to some degree seemed to depend on the mood of the pulp stirrer. Over the years, it has been found that it was not quite that easy.
The section of the BBC Research Department involved in this operation was headed by Mr. Del Shorter, now retired, with Mr. H.D. Harwood, now of Harbeth Acoustics, second in command, and myself completing the investigating team. Some two years were spent making 12-inch unit cones in a variety of shapes and from a range of plastics; this could be a story on its own. The first successful unit was made from the now well-known Bextrene and used in the development of the BBC studio monitor type LS5/5.
My part, as a laboratory technician in the operation, was to do most of the actual work both on the plastic investigation and the development of the LS5/5. With that experience, I decided that it should be possible to make a loudspeaker from scratch in the home environment. With the aid of our electric fire, a compressor working in reverse, and an iron bedstead, the first vacuum former was built. Bins full of malformed cones were produced before any measure of success was achieved and the first 8-inch unit was produced. This unit turned out to be almost certainly the first commercial 8-inch Bextrene driver, and still arguably the best.
The first pair of BC1s was constructed using these and Celestion HF1300 units. The cabinets were smaller than the current model, and initial listening tests indicted that the performance could be improved by an increase in size, hence the present design. At this point, it was all being done for fun. The second pair of BC1s was made for a friend who took them to Merrow Sound of Guildford. The third pair was sold to Merrow Sound, and Spendor was on the way to a small niche in the audio world.
Now, some difficulties were beginning to arise as under the terms of my contract with the BBC; the design had to be offered to them. Fortunately, the “Pop” era had just started and the main request was for more power, so the BC1 was turned down. Around about this time, there was a special requirement within the BBC for one pair of speakers about the size of the BC1s. Being a kind soul, I suggested that my design could be used, so I was given the task of producing an official version of the BC1, later designated the LS3/6.
This design used an 8-inch unit made by Research Department, the Celestion HF1300, and a redesigned crossover. The main change in the crossover was the addition of a large, multi-tap autotransformer to allow adjustment of levels between the two units, normal BBC practice at that time. Some months later, BC1s were fitted with an amplifier mounted in the back panel and the 4001G super tweeter added. This addition was for purchase tax reasons, but it did have two extra gains. Firstly, it improved the overall dispersion characteristics; secondly, from the broadcasting angle, it made any 625-line breakthrough more easily detected.
Now the LS3/6 was offered to a number of commercial companies and eventually taken by Rogers, then under the control of Jim Rogers. With approval, and a little assistance from the BBC, Rogers added the Celestion HF2000. As Spendor was now a commercial company, it was agreed that a royalty should be paid to the BBC for each BC1 produced. This was in recognition of the work I had done on the loudspeaker design whilst still employed by the BBC. To perhaps prove the order of development of the two systems, it is of note that out of over two thousand BC1s supplied to the professional market, there are over six hundred in operation with the BBC, and as far as I know very few, if any, LS3/6 speakers.
In addition to the above, the name Spendor is derived from the first names of myself and my wife Dorothy. Mrs. Hughes provided practical assistance in the early days with her coil winding expertise, and now as Managing Director is responsible for all accounting, sales and general management. Derek Hughes, the son, another ex-BBC employee, deals with amplifier design and assists me with research, development, and general running of the factory.
Yours,
Spencer Hughes
Be the first to review “LS8/1f, floor standing model of the Derek Hughes LS8/1 monitors”
The Graham Audio LS8/1 — Listening Notes from Philip O’Hanlon
Following are observations noted while auditioning the Graham Audio LS8/1 loudspeakers, driven by the MoonRiver 404 Reference integrated amplifier. Sources included a BlueSound Node2i for streaming, a Gryphon Ethos CD player and a Bergmann Modi turntable with Origin Live “Silver” tonearm and Hana ML MC cartridge driving the optional phono stage in the MoonRiver 404.
The BlueSound Node streamer is ideal for exploring music, or simply for enjoying uninterrupted hours of background music. The BluOS Graphic User Interface is decent, and it supports Roon if you prefer the best music interface available today. For serious music listening, it’s time to break out a record player or better still, plug a reel-to-reel tape player into the system. But I’m getting carried away, and the family room was always meant to be a simpler, stripped-down system as compared to the reference gear, downstairs in the living room.
The family room is approximately 20 x 18 feet, with a pitched, wood vaulted 10-foot ceiling. The back of the room opens out to the kitchen. The hardwood floor between the speakers and the listener requires treatment, with a rug to absorb reflections bouncing off the floor. For critical listening, we put a blanket over the flat-screen TV, which sits above but behind the speakers. Whenever we use a glass-top coffee table, this also needs a blanket to stop the hard reflections bouncing up to the listener. Who said that an audiophile’s hobby was the easy way out?
When we started auditioning Graham Audio’s LS5/9 loudspeaker in 2017, we were immediately impressed by the sheer musical delight that attainable for $7,000. Capable of delivering genuine Midrange Magic, these conventional-appearing speakers transported the listener to another time and place—the performance venue—a true time-travel device! But even those relatively inexpensive speakers were fussy about amplification. We found the solid state, Class AB Luxman L-505uX to exhibit a harshness across the upper midrange. Luxman’s MQ-88 stereo amplifier with KT-88 output tubes was a glorious match.
Gryphon’s Diablo 120 and 300 integrated amplifiers did a marvelous job driving the Graham speakers, but were disproportionally expensive, and so a search began to find more affordable electronics, ideally suited to bring out the best in the Grahams while complementing the overall system cost.
Ultimately, we chose the MoonRiver 404 integrated amplifier to drive the Graham Audio loudspeaker lineup. Ideally suited to the Grahams and delivering unimpeded midrange magic, this component is the perfect conduit between the performer and the transducer, at a genuinely reasonable price.
We have always been, and continue to be, impressed by Derek Hughes 2019 modernization of the LS5/5. This monitor was originally designed by Dudley Harwood (Harbeth) and Spencer Hughes (Spendor), while they were both employed by the BBC to develop the ultimate studio monitors. The Bextrene driver, Celestion One and the LS3/6 were trickle-down projects from the knowledge gained during Spencer Hughes’ development of the LS5/5. The LS8/1 was a 50th Anniversary homage by Derek Hughes to commemorate his father’s most influential design.
Some quick details: The LS8/1 is 3dB more efficient than its 50-year-old predecessor, and offers 10dB greater power output. In an anechoic chamber, usable bass was measured down to 32Hz, while the factory stated frequency response is 45–20kHz +/- 3dB.n.
A cappella, heard on the Graham LS8/1 plays to this loudspeaker’s strengths, presenting noticeably more air around the vocals than the LS3/5A, LS5/9, or LS5/8. VoicePlay, Pentatonix, Boyz II Men, Straight No Chaser—all offer pure delight with their vocal acrobatics. Andrea Bocelli singing “Sonos Novios” is simply glorious, summoning emotions from even the most jaded audiophile. One song from a recording that showcases the well-rounded capability of the LS8/1 is “Ain’t No Use” from “The Divine One” by Sarah Vaughan. It was recorded in an intimate setting with a small group that included another strong “voice”—trumpeter Harry “Sweets” Edison—who was the perfect foil for Vaughan. Arrangements and piano duties fell to Jimmy Jones, who showed great taste and restraint in his own performance.
The audio press and Graham Audio
“I’m never more conservative than when the subject turns to home audio. Give me tubes. Give me vinyl. Give me thin-walled hardwood cabinets, obsolete tweeters, and handmade polypropylene woofers. Give me the Spendor BC1.” —Art Dudley
The Absolute Sound 2022 Golden Ear Award
My colleague Robert E. Greene, who has had long experience with the classic BC-1 loudspeaker designed by Spencer Hughes, reviewed the new LS8/1, possibly the last upgrading of that venerable design, carried out by Spencer’s son Derek. The importer allowed me to audition the review pair for about three weeks before they went over to REG’s. Because I knew my time with them was limited, I listened as much as I could. While I lack REG’s familiarity with the original, I did own son Derek’s first go at upgrading his father’s design in the nineties, the Spendor SP1/2, one of the most timbrally truthful loudspeakers I’ve ever heard. The LS8/1 is even better in that regard. I cannot improve upon REG’s review, so I will mention two aspects of the original design that gave many people trouble: considerably less than stellar bass response (to put it mildly) and somewhat limited dynamic range. As I hear it, there is no basis for any reservations along these lines in the LS8/1, except in very large rooms. If I were absolutely forced to choose one loudspeaker for the rest of my life, the LS8/1 would be on the short list. —Paul Seydor
Awards
Reviews
There are no reviews yet.