Acoustic Research AR-LST ‘The Equipment: AR-LST, a tull-ange speaker system In enclosure. Dimensions: 27% inches wide, 20 inches high, 9% inches deep. Price: $600, Manufacturer: Acoustic Research, Inc., 24 Thorndike St, Cambridge, Mass. 02141, Comment: AR’s new loudspeaker is known as the LST, The letters stand for “laboratory standard trans- ducer"—and the unit most assuredly can lay claim to such an auspicious title with complete authority. Lab measurements and listening tests contirm that this is fan outstanding reproducer, second to none in linear wide-range response and low distortion. It offers the kind of clary, transparency of sound, wide dispersion, ‘superb dynamics, enormous power-handling capacity, and other characteristics that put It In the very top Class of audio devices. The "perfect loudspeaker, of course, has yet to be devised but it seems to us that the AR-LST comes as close as any, and closer than ‘most, to that ideal ‘A three-way system, the AR-LST employs a total of nine speakers: an acoustic-suspension 12-inch woofer, 1973 Eorrion four 1¥%-inch hemisperical-dome midrange units, and four Séinch hemispherical-dome tweeters. These are the same elements found in the AR-3a though of course 105106 in the 3a only one of each is used. Crossover frequen- cies in the LST also are the same as in the 3a: lows to midrange at 575 Hz; midrange to highs at 5,000 Hz. The crossover function in the LST, however, is handled by a fairly sophisticated circuit containing a tapped auto- transtormer that feeds through a six-position switch to the various filter networks and their respective speak- ers. The switch adjusts the relative level ofthe highs and also varies the working impedance of the system by per- mitting the autotransformer to introduce some added impedance at middle frequencies. As a result, AR rates the LST's impedance in terms of the setting of the switch from 4 ohms to nearly 16 ohms. In CBS Laboratories’ tests, with the switch set to its nominal flat position (No. 2), the actual working impedance was found to be 6.5 ohms. As the switch position is increased for greater treble roll-off, the impedance becomes lower but never, ‘goes below 4 ohms. (Position No. 1 of this switch actu- ally boosts the high end a little) Of greater practical interest is AR's unprecedented use of multiple speaker units for midrange and highs which relates directly to the equally novel design of the enclosure. It actually has three sound-radiating sur- faces: The center or front panel holds the woofer and two tweeters; each side panel houses a tweeter and two midrange units. The tweeters thus form an array across the top of the cabinet, while the midrange speakers radiate from the angled sides. The result is a beautifully dispersed sound-front that provides a con- vincing stereo panorama while at the same time pre- serving directional clues in the program material. The LST may be tloor-based or perched on any convenient stand or low bench. Either way, to realize the full acous- tic benefit of its angled side feature, we feel it should bbe placed a couple of feet from any adjacent wall. Con- nections are made via polarity-coded binding posts at the rear where there's also a protective fuse, a loud- speaker feature we have advocated for years. ‘The performance of the LST is truly prodigious. Its response was found to be among the most linear yet measured for a loudspeaker. From 50 Hz to 15,000 Hz, the LST was measured as flat within plus or minus 3 dB! Taking the dB variation we customarily apply to loud- ‘speakers (plus or minus 6 or so dB) the response of the LST spans the range from 30 Hz to beyond 20,000 Hz. ‘On test tones we heard nothing but clean smooth re- ‘sponse from top to bottom. A very slight doubling at 40, Hz disappeared below this frequency, with clean funda- mental bass evident (though lower in amplitude) down to 20 Hz. The response across the audio range is dis- tinguished by aremarkable smoothness and an absence of any sudden peaks or dips. Between any two consecu- tive positions of the high-frequency switch you are not, likely to hear much difference since the upper-end slopes are fairly subtle in their effect, but you will hear the difference between, say, position 1 and 4, or be- tween 2 and 5, and so on. We found that different, rogram material (depending on variations in high- frequency emphasis and over-all tonal balance) did seem to call for different settings of this switch. So while Position 2 (which provides the most linear over-all re- ‘sponse and which was the position used for our lab tests) provides more of a “professional monitor” re- ‘sponse, the other positions are very useful for satistying individual listener preference and/or sulting the play- back to different types of rooms. Midrange and high- frequency dispersion—both in terms of test tones and of, white noise—remained very widely angled and smooth- sounding regardless of the switch position, and virtually no directivity or coloration could be detected through- out the LST’s range, Of somewhat low efficiency, not unlike the AR-3a, the LST needs—and can take—relatively high amounts of clean amplifier power. For an average input of 8.9 watts it produced an output level of 94 dB. It actually can handle power peaks up to 553.8 watts without di torting, while furnishing an output level of 11248, which attests both to its ruggedness and dynamic capabilites. Pulse power tests showed exemplary response, with ‘no ringing in the output, further indicating the LST's excellent handling of transients, ‘These excellent test data are readily confirmed in lis- tening tests, using a variety of program sources. The LST's sonic accuracy becomes manifest not only in terms of the natural tonal balance it provides forall man- nner of musical material, but also in the way it reveals. subtle differences in the upper midrange and high-end response of different recordings—ditferences that often are obscured by otherwise fine loudspeakers but which are of importance to the critical listener. With good recordings and an appropriately powerful amplifier Griving them, a pair of LSTS are a joy to hear whether the material is rock or chamber music, grand opera or a baroque ensemble, Sinatra or a Mahler symphony. Although the LST was designed, AR tells us, for pro- fessional use in studios and laboratories, the company feels that there will be some demand for the product from nonprotessional buyers. Accordingly, AR is mar- keting the $600 LST by special order placed with a franchised AR dealer; the speakers themselves are shipped directly to the purchaser's address. For a list of AR dealers, including those who can demonstrate the LST, write to the manufacturer. RESPONSE IN DB = 2 2 100 20 50 IK KK FREQUENCY IN HZ a # 10K 20K AR-LST Harmonic Distortion* Frequency 80 He 300 He Kod % 3d 2nd Hed 0.008 o32 on 08 om oon 010 080 016018 050 060 023 a8 020 a7 027 a 028 0.80 033 as O62 080 025 (a0 068107 3501.60 ‘heater produces he spurious cutout known ss buzzing Huon Fivetity’s Test Revorts