as in the 35th anniversary ed? As with other special ed Harbeths its their excuse for a price increase. I liked them fine, not as crazy for them as others on here. The guy that bought my set had them up for sale last week on a'gon, the rosewood pr with sklylan stands. These were my 2nd pr of Harbeths, I had P3sers before that.
Before Alan shaw took over Harbeth, Spendor pretty much ruled the roost with BBC-type monitors. Back in the day I owned the SP1/2, SP100, S3/5, FL-8 and three prs of Ls3/5as (incl 15 ohm vers. and 'white belly' Chartwells). For those that love the Harbeth 7es, try a set of Spendor sp2/3 every bit the 7es equal and then some (me thinks they're superior).
What gets little love around here and is at the very least equal to, and some think superior to Spendor and Harbeths are ProAcs. same BBC-centric design mindset w/o the chesty mids. More of everything esp transparency and neutrality. the D two, D18 and D40r are standouts.
Hello,
My personal ears do not agree on the ProAc point.
I was a huge huge ProAc lover 15 / 20 years ago, with the Resonse line, especially the Response 3 that was my dream speaker at that time.
"Sound
Splendid! Stunning! Gorgeous! Breathtaking! Whew—these are killers—KILLERS—K-I-L-L-E-R-S!!!" Stereophile, 1991.
If you never heard a piano on those ones, you really missed something.
During the late years, ProAc made a slight curve in sound, which after that became a U turn.
I understand ( well, that is tough to understand but let's say I understand...) how some people may prefer the highest resolution of the new gens.
But somehow, again to my ears, they lost a part of their magic. Of course, ProAc still makes among the very best speakers on Earth, but Oh Boy, how wonderfully magic were the old ones !
To my ears, Harbeth makes speakers sounding as resolving as the new ProAc, if not more resolving and accurate, but with the magic of the old ProAc's. And at least in Europe, they are cheaper than ProAc.
Easy choice for me.
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