Audiobuds, since you've included me in your post, here 's my unqualified answer to stands and their heights respectively.
There's a lot of diverse opinion on the weight and height of stands as there are owners and listeners to theLS. Long before, foundation stands (made in HK I think) were popular and were made in a combo of wood and metal. I surmise that these were not unusually heavy stands. Heights from 24 to 29 inches were the order of the day.
To me and my set-up, I still think stands from 26 to 29 are the most ideal. Consider this that the LS 3/5a were grade 2 if I recall right monitors suppose to cut the scale of sound to fit into OB (out of broadcast) like smaller studios that received the main feed, and vans or louries as they call them in the U.K. to cover outside events and help technicians monitor their work and sound inside their cubicles. That as a consideration helps us understand the the LS can be perched on top of consoles but not certainly down below where it is far from the human ear and not in its optimum firing line -- ear level.
My experience tells me over the years that if you put them on 24 inch stands with a gutsy tube amp, they will surely produce more standing waves (due to the bass hump biult on them in the crossovers) which may translate to boominess due to floor cancellations. One wave is emphasized and the other is cancelled.
So my confortable listening height and position is at 29 inches, spread 6 feet apart from woofer to woofer, and without toe in. I listen nearfield in the context of a floor carpet and a three seater fabric sofa with curtains from the rear window not fully draped, and some other wooden stuff around them. I other words, a mixture of soft absorbing surfaces against hard ones. The idea is simply to strike a balance without disturbing the peace in your home. That's better said than done though. But this is my set-up. Room, location or position of the speakers may vary from place to place I know, so some experimentation in absorbents/reflective surface will sure differ and may contribute to a degree to the sound of your LS.
But still nothing should change except a little of the tonality up and down the scale on this set-up should be observed I think. Meaning, 6 feet apart, on not so heavy and low a stand at about 27 to 29 would I think be the most ideal positioning for the LS to get that midrange to die for, with enough of the base to support an authoritative mid band, and a treble that floats the music and suspends them long enough in the air only to be heard in the very location ( imaging) where the musicians and singers are spread across the soundfield.
The basic idea around all this is to get the LS to sound big, holographic, and tactile enough to see the living presence of voices and musical instruments within the soundfield were they were actually recorded. A good example of that are the Michael Hedges recordings on Windham Hill. I think you got these. If the recordings make your hair stand on end, gives a breathtaking space around it without losing authority, then you would have placed your LS where its sound is optimized for its own intended purpose! Nothing more!
Fire away!