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Harbeth Super HL5+

pastorbarrett

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I own these speakers, from new too. Have used them in a variety of rooms. In short, they chiefly appeal to me on aesthetics. So yes, I'm shallow and more than a tad foolish. But no so much to be wholly dishonest with myself. They can be bettered for a fraction of the price. Too fussy of placement, imaging average at best, and a nagging perceptible 'etched' sound I ascribe to tweeter(s). I'll move them along shortly.

Also, I find their new prices objectionable, given warranty and zero potential for upgrade and so on. Had a damaged 'super-tweeter' on them and the asking price for replacement was laughable.

They sell well in the east, for pretty much the same reason I bought them - the story, heritage, look etc. Set up optimally they sound just fine. But not asking price fine.
 

MattHooper

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Your feelings do not change the facts - sound is moving air and between 2.5kHz to 7kHz the moving air changes abruptly in dispersion width like a roller-coaster. It flies in the face of all evidence-based research into psychoacoustics (precedence effect) and loudspeaker preference, as well as simple intuition. It is a tremendously anti-intellectual speaker design propped up by a carefully-maintained mystical cult of personality.

I fully respect you having your own criteria and opinions. If you look at their measurements and go "yuck" (which is opposite from a few pro reviewers who have measured them BTW who quite admired their measurements)...and if YOU listen and say "yuck," good for you. You've winnowed away a speaker that doesn't appeal to you.

But if you want to say "Look, all the evidence is that you shouldn't like this speaker and should find it to sound terrible"...sorry...that did not in fact pan out in real life. I owned the things. Loved them. If I had taken an account like the one you provide as a guiding factor, I'd have unfortunately never sought out Harbeth speakers which, due to my actual listening experience, became one of my very favorite speaker brands!

This is why I say I'm very glad not to base my own search/choices on YOUR assessment of the evidence rather than using MY OWN assessment of how they sound TO ME. That's all I'm saying.
 

MattHooper

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Sorry, but you're making some serious assumptions here. The Harbeth's looks & style is the main reason they caught my interest in the first place.

Cool. I like their looks too! (I still own some small Spendors). But I still feel when looking at them, their retail price feels really damned high.
While I like their looks, they certainly don't LOOK like you are getting high-tech for the big bucks you are spending.


Regarding that "wow" sound (assuming there is such a thing)- at the beginning I was quite pleased, hearing that they got the tonality right, especially with human voices. It's what followed that got me disappointed.

According to someone else in this thread, you shouldn't even have found them natural on voices. But...somehow you did :)

Same here. In fact when I first encountered them in a store there was a operatic singer track playing and I was just shocked at how natural and realistic it sounded. It just stopped me in my tracks. It wasn't due to being "crazy clear" or "ultra vivid" in the detail sense (it was clear!) but in the 'wow that sounds holistic, organic, like a real human being's voice rather than electronic/mechanical bits put together. This held true when I finally owned them, and when I've been at audio shows I've found the Harbeth room produced vocals that sounded more like the real thing - when I compared them to voices in the room - than most of the other speakers at the shows.

It's too bad they didn't pull through on the rest of the music you like. That's always a bummer.

BTW, what did you think of the Spendor SP1/2e? Given how much I love my little Spendor S3/5s I've often daydreamed about trying the larger (and newer) classic models like the 1/2.

Cheers.
 
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R

Roy_L

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Cool. I like their looks too! (I still own some small Spendors). But I still feel when looking at them, their retail price feels really damned high.

BTW, what did you think of the Spendor SP1/2e? Given how much I love my little Spendor S3/5s I've often daydreamed about trying the larger (and newer) classic models like the 1/2.

Cheers.

Funny, I've owned the S3/5s as well! From the little benefits of working in HiFi (although almost a decade ago) - lots of stuff come and go through trade-ins. The S3/5s is a nice little speaker BTW (IMO), for what it is (a small sealed box).

The Spendor SP1/2e were a mixed bag. They sounded like I'd expect from 70's vintage speakers, although they were produced in the 90's. I suppose it was intentional, as decedents of the BC1 (which I owned as well). This means that they had a fun, warm, full presentation, but also lacked some clarity and a clear sense of space (i.e. imaging). I suppose some may describe them as somewhat muffled.
In any case, according to my experience, the SHL5+ were better in every respect.
 

MattHooper

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Funny, I've owned the S3/5s as well! From the little benefits of working in HiFi (although almost a decade ago) - lots of stuff come and go through trade-ins. The S3/5s is a nice little speaker BTW (IMO), for what it is (a small sealed box).

The Spendor SP1/2e were a mixed bag. They sounded like I'd expect from 70's vintage speakers, although they were produced in the 90's. I suppose it was intentional, as decedents of the BC1 (which I owned as well). This means that they had a fun, warm, full presentation, but also lacked some clarity and a clear sense of space (i.e. imaging). I suppose some may describe them as somewhat muffled.
In any case, according to my experience, the SHL5+ were better in every respect.

Thanks for the words on the Spendor 1/2s Roy.

I enjoy different presentations, including the warm, rich old Spendor sound. I find vocals fabulous on my little Spendors and love the sound of string sections, horns, orchestral stuff in general. (Despite their small size...)
 

balletboy

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I have Zero interest in putting studio monitors in my house, living room either.
But, these things still don't look good as a piece of art/furniture either... imho.

It is a sad day when anyone dies, too many at present. Art Dudley died yesterday, a lover of music and by all accounts a good writer on audio as well. This is what he said about these speakers, probably the first review, in Stereophile.

I enjoy writing about classic British boxes. I'd looked forward to my time with the Harbeth Super HL5plus, and I was not disappointed.
Now comes the hard part. First of all, notwithstanding the fact that even the best British box can't provide the extremes of drama and scale to which I have, in recent years, become addicted, I'll miss the Harbeths' easy clarity, and the consistently truthful, present manner with which they reproduce singing voices in particular. Shallow though it may seem, I will also miss the way they look—or, more accurately, I will miss the way my room looks with something like the Harbeths at one end of it. Second, when this review goes up on our website, a few members of the "I prefer to think of my mother's basement as an apartment with a shared entrance" crowd will write in to tell us how much smarter they are than the manufacturers who design and build classic British boxes, and how stupid Stereophile is to write about such things. That may be funny or it may just be sad, depending on what kind of day I've had: I'll have to wait and see.
Far easier is the task of putting the Harbeth Super HL5plus into perspective for the many hobbyists who might be in the market for such a thing. As one who has owned the Spendor SP1/2 (in its late-1990s iteration) and who recently reviewed the Stirling LS3/6, I suggest that most listeners would consider the Harbeth somewhat more modern sounding, in the best way, than either. The Super HL5plus sounds more forward and more realistically vivid than that version of the Spendor SP1/2, and its bass range is clearer and faster than that of the Stirling LS3/6. Comparisons to the latter, however, are complicated by the matter of value: While the Harbeth offers reasonable value for the money ($6695/pair), the Stirling ($4995/pair) goes farther in that regard.
The British box endures, as does the vision of Dudley Harwood and his BBC compatriots: For the listener who wants a loudspeaker that is both explicit and truthfully beautiful, the Harbeth Super HL5plus is an excellent choice
.

I think at tells you more about a pair of speakers than any measurements. They do have limitations, but they also have true beauty in their sound. I’ve lived with them happily since I got one of the first pairs made, now having the 40th anniversary edition.

The irony is that is that the designer, Alan Shaw, has obsessively measured every stage of the design process for over 30 years, all recorded in books that he estimated a while back amounted to over 3,500 pages of analysis.

I have nothing against Genelec monitors, my son has a pair, but they are designed for monitoring.

There are plenty of companies who make both professional and consumer speakers. Some make different speakers for pro and consumer use, some are identical perhaps with a different cosmetic finish, and some like Harbeth voice the speakers differently because they appreciate what works best in the studio is not necessarily the best at home.
 
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q3cpma

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I have nothing against Genelec monitors, my son has a pair, but they are designed for monitoring.
What does "designed for monitoring" means? Wouldn't it be better to use something sounding nearer to this "monitoring sound" if you want to hear what the artist wants to convey?
 

Omar Cumming

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1586970758114.png

(Photo from Stereophile review)

For this level of construction, about the same as a Radio Shack bargain speaker, Harbeth wants $6700.:facepalm:

Cheers
 

balletboy

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What does "designed for monitoring" means? Wouldn't it be better to use something sounding nearer to this "monitoring sound" if you want to hear what the artist wants to convey?

Some speakers, like ATC, are sold exactly the same whether for studio or domestic use. I understand Harbeth pro and consumer were for along time basically the same, but not in recent years. The changes are only in the crossover and you would not see it affecting the measured performance. I can only describe the difference as between listening to sound and listening to music / natural speech. Our hearing acuity is highly dependent on frequency and sound pressure level. You can design a speaker on a computer from the component specs in minutes. Apparently the SHL5+ crossover took over 1,000 hours of listening, measuring and tweaking to design.

I've heard other speakers do some things better, for example the Wilson Sasha Daw are hugely impressive, but 10 times the price, but my experience over 5 years is that these do an awful lot extremely well.

One of their design objectives is to avoid listening fatigue and to retain coherence at low listening levels. These are vital features for domestic listening, but not for studio monitoring.

Harbeth pricing does vary where you live. UK is cheaper and I got a healthy discount. USA dealers take bigger margins, so USA retail price might be double what I paid.
 

q3cpma

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Some speakers, like ATC, are sold exactly the same whether for studio or domestic use. I understand Harbeth pro and consumer were for along time basically the same, but not in recent years. The changes are only in the crossover and you would not see it affecting the measured performance. I can only describe the difference as between listening to sound and listening to music / natural speech. Our hearing acuity is highly dependent on frequency and sound pressure level. You can design a speaker on a computer from the component specs in minutes. Apparently the SHL5+ crossover took over 1,000 hours of listening, measuring and tweaking to design.

I've heard other speakers do some things better, for example the Wilson Sasha Daw are hugely impressive, but 10 times the price, but my experience over 5 years is that these do an awful lot extremely well.

One of their design objectives is to avoid listening fatigue and to retain coherence at low listening levels. These are vital features for domestic listening, but not for studio monitoring.

Harbeth pricing does vary where you live. UK is cheaper and I got a healthy discount. USA dealers take bigger margins, so USA retail price might be double what I paid.
But how do you measure this? What you says just sounds like marketing, to be honest; especially when you unironically talk about changes that can't be measured but heard. And if we go that way, it should be telling that Genelec's domestic lineup is exactly the same as the pro one, just with some comfort features like RCA input.
 

balletboy

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View attachment 58837
(Photo from Stereophile review)

For this level of construction, about the same as a Radio Shack bargain speaker, Harbeth wants $6700.:facepalm:

Cheers

Do Radio Shack veneer the inside of the speakers as well as the outside?

A soft wall speaker box costs a lot more to make compared to a stand speaker box that is just glued together, besides doubling the veneer, because the whose basis of the design is that the walls vibrate and absorb resonances rather than trying to nullify them.

USA dealers want $6,700. In the UK the SHL5+ retail was about £3,700 (£3,100 plus sales tax), so about $3,850 plus sales tax. The new SHL5 XD is £5,000, same as the 40th Anniversary, so £4,167 + sales tax, about $5,200 plus sales tax. USA dealers ask $7,500. I have no idea how sales tax works in the USA.
 

balletboy

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But how do you measure this? What you says just sounds like marketing, to be honest; especially when you unironically talk about changes that can't be measured but heard. And if we go that way, it should be telling that Genelec's domestic lineup is exactly the same as the pro one, just with some comfort features like RCA input.

I've heard speakers that measure perfectly well, that were fatiguing, just plain dull and one pair so overpowering I had to leave the room (the last pair cost over $100,000). Besides measuring well, these speakers make a sound that tens of thousands of customers have enjoyed since they were first introduced 43 years ago. That is perfectly described by Art Dudley, which is why I posted it given his passing yesterday.

The measurements are here:
https://www.stereophile.com/content/harbeth-super-hl5plus-loudspeaker-measurements, concluding:
Other than that lively enclosure, which is a deliberate design decision—note AD's comment about "the consistently truthful, present manner with which they reproduce singing voices"—the Harbeth Super HL5plus's measured performance is beyond reproach.

These are about version 7, the new XD are version 9. Harbeth do very little marketing because they sell them faster than they can make them.

My view is that good measurements are a starting point for speakers. The rest is personal taste. There are plenty of speakers that measure well and present completely differently.

Art Dudley says "the best British box can't provide the extremes of drama and scale". Arguably the Harbeth M40.2 can. With SHL5+ the low end can be augmented with a subwoofer, which I and many others do, so the best of both worlds - good bass and incredible midrange.

Harbeth specify these need at least 30w. I've driven mine with a 22w valve amp, didn't really work, and up to 300w Quad mono blocks. I've found you need 150w after which there is no further improvement in performance.
 

q3cpma

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I've heard speakers that measure perfectly well, that were fatiguing, just plain dull and one pair so overpowering I had to leave the room (the last pair cost over $100,000).
I'd certainly like to know which are these mythical speakers that measure "perfectly" but sound bad.

Besides measuring well, these speakers make a sound that tens of thousands of customers have enjoyed since they were first introduced 43 years ago. That is perfectly described by Art Dudley, which is why I posted it given his passing yesterday.
This is the argument used by cable peddlers, not really in favour of Harbeth.

The measurements are here:
https://www.stereophile.com/content/harbeth-super-hl5plus-loudspeaker-measurements, concluding:
Other than that lively enclosure, which is a deliberate design decision—note AD's comment about "the consistently truthful, present manner with which they reproduce singing voices"—the Harbeth Super HL5plus's measured performance is beyond reproach.
You should learn to separate the text from measurements in Stereophile reviews, it's a commercially oriented website that could never say the truth even if it wanted to.

My view is that good measurements are a starting point for speakers. The rest is personal taste. There are plenty of speakers that measure well and present completely differently.
Well, but the thing is that you're wrong: with exhaustive enough measurements, you can completely characterize a speaker. This website might not be for you, really.

Honestly, I'm a bit hard on those speakers and their apologists, but when they cost more than their state-of-the-art competitors, I can't really say "whatever". Especially on a website that could be described as a bastion for engineering minded people discussing audio equipement. Personally, I'm really seeing ASR starting to suffer an "Eternal September" because there's a bit too much leniency for people that don't bother lurking a bit.
 

balletboy

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View attachment 58837
(Photo from Stereophile review)

For this level of construction, about the same as a Radio Shack bargain speaker, Harbeth wants $6700.:facepalm:

Cheers

Incidentally, because the side walls are glued together and therefore rigid, they are surrounded by damping material. The mid-bass driver is in free space so that the back-firing energy can be absorbed by the rear and front panels. You can see the veneer on the inside of the back panel. There is then a rubber strip to stop it rattling and allow the back panel to be screwed on very lightly so that it can move. Tightening the screws would ruin the speaker. The same applies to the front.

It is a beautifully simple and effective design. The main reason is because the concept came from the BBC (the founder of Harbeth was formerly the BBC's Head of Research) and the BBC were cost-conscious. They wanted something that was relatively cheap to manufacture. That said, their main speaker was the LS3/5a, a portable outside broadcast monitor, that they spent about $2,500,000 (in today's money) to develop.

The mid-bass is hand built in-house using a cone that is injection moulded using a proprietary polymer. All the drivers go through extensive testing and are used as matched pairs.

The irony is that the SHL5+ 40th or SHL5+ XD are probably quite a lot more expensive to make than the PMC 5.24i that costs exactly the same (£5,000) and are also very popular.

The veneers are of course bookmatched. Radio Shack probably don't have an problem matching veneers as presumably they use printed plastic wrap.
 

peanuts

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who the hell would trust this company to make their own woofers? they have zero experience compared scan speak, seas, vifa or whoever. but nice argument to bump up the price.
 

balletboy

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I'd certainly like to know which are these mythical speakers that measure "perfectly" but sound bad.

This is the argument used by cable peddlers, not really in favour of Harbeth.

You should learn to separate the text from measurements in Stereophile reviews, it's a commercially oriented website that could never say the truth even if it wanted to.

Well, but the thing is that you're wrong: with exhaustive enough measurements, you can completely characterize a speaker. This website might not be for you, really.

Honestly, I'm a bit hard on those speakers and their apologists, but when they cost more than their state-of-the-art competitors, I can't really say "whatever". Especially on a website that could be described as a bastion for engineering minded people discussing audio equipement. Personally, I'm really seeing ASR starting to suffer an "Eternal September" because there's a bit too much leniency for people that don't bother lurking a bit.

Won't trash other brand's products.

What do cable peddler's argue? I use Blue Jeans cables. What am, I missing out?

You are probably correct. How do you measure contentment?

Are you suggesting Harbeth aren't audio engineers? It was founded by Dudley Harwood who was the Head of Research of the BBC for 30 years and the BBC basically invented broadcasting and much of its technology. They were the first and largest national broadcaster in the world, and still are. They also probably record and broadcast more music and speech than any other organisation.
There is decades of research here: https://www.bbc.co.uk/rd/publications
You can read his research and measurements on cabinet design going back to the 1940s http://downloads.bbc.co.uk/rd/pubs/reports/1949-39.pdf
and on cabinet materials from the 1970s http://downloads.bbc.co.uk/rd/pubs/reports/1977-03.pdf, with descriptions and pictures of the measuring equipment.

Measurements are a very good way of ensuring a speaker is not faulty, but not if it is any good. The human brain is exceptionally good at recognising sound patterns. There are 7 billion people on this planet, but if someone you know well phoned you on a poor line from the other side of the world, the chances are you could identify them from their speech alone. Most speaker designers will tell you speech is the acid test, because you cannot fool anyone with it. One reason why the BBC spent so much on speaker design was because they broadcast so much speech, in hundreds of languages, globally, and that was in the 1930s. There are plenty of speakers that measure very well and fail the basic live vs. recorded speech test.

But if you are happy you are to judge any product solely by its measurements on the basis that everything audible can be measured, then I hope you don't design speakers for a living.
 

balletboy

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who the hell would trust this company to make their own woofers? they have zero experience compared scan speak, seas, vifa or whoever. but nice argument to bump up the price.

The founder of Harbeth started researching broadcast monitor speaker and driver design in the 1930s.
 

tuga

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q3cpma

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What do cable peddler's argue? I use Blue Jeans cables. What am, I missing out?
They substitute buyer's testimonies for actual scientific measurements.

Are you suggesting Harbeth aren't audio engineers? It was founded by Dudley Harwood who was the Head of Research of the BBC for 30 years and the BBC basically invented broadcasting and much of its technology. They were the first and largest national broadcaster in the world, and still are. They also probably record and broadcast more music and speech than any other organisation.
Any more, and I'm going to think that you're shilling. Should I list all the fallacious "arguments"?
1) Harbeth is a company whose goal is to sell. They might be engineers, but the primary goal is still to sell, and if making bad speakers sells, they'll do it (not that they make bad speakers on purpose).
2) You can be an engineer and not up-to-date with the technology of your own field. An "engineer" that doesn't use computer modelisation and extensive measurements is simply obsolete, these days, in almost any field. And I say that as a computer scientist surrounded by "engineers" that know nothing outside of what's needed to keep their job (and not excel at it).
3) The founder is not the entire company. The BBC isn't a sacred cow and research has evolved (way) further than the LS3/5. Reminds me of a discussion I had here about a laughable paper the BBC put out where it tried to prove that HEVC was good by using PSNR (not PSNR-HVS) as a metric; which is a joke for anyone with any knowledge in the image field. Note that the BBC is in an HEVC patent pool.
Appeal to authority has no place here, anyway.

Measurements are a very good way of ensuring a speaker is not faulty, but not if it is any good.
Two can play the game of listing names: go tell that to Genelec, Neumann or Revel. Or simply bring one hard evidence that known measurements don't paint the entire picture, as far as the ear goes.

The human brain is exceptionally good at recognising sound patterns. There are 7 billion people on this planet, but if someone you know well phoned you on a poor line from the other side of the world, the chances are you could identify them from their speech alone.
Speakers don't care about content. Voice is just a band limited signal like others, which can be reproduced easily.

Most speaker designers will tell you speech is the acid test, because you cannot fool anyone with it.
Designers which are also sellers. Designers that need to act as storytellers to sell, which are not all designers. Show me hard evidence about these claims, anyway (that "most speaker designers" say so, and that voice is something special).

One reason why the BBC spent so much on speaker design was because they broadcast so much speech, in hundreds of languages, globally, and that was in the 1930s. There are plenty of speakers that measure very well and fail the basic live vs. recorded speech test.
If we go by Edison, the perfect speaker was invented way before the BBC appeared. Of course, now we know this isn't true. Same for the BBC designs.

But if you are happy you are to judge any product solely by its measurements on the basis that everything audible can be measured, then I hope you don't design speakers for a living.
Once again, you prove that you don't belong in here. If you said "we lack crucial metrics", you'd be almost right, because distorsion metrics, for example, aren't very accurate (though I think that THD+IMD is quite good already). But by implying that there's stuff we will never be able to measure, you outed yourself as nothing more than a classic audiophile, happily wallowing in ignorance and telling us ghost stories.

Reading Toole's book (and here I agree with @tuga, read, don't become a follower) should be mandatory before posting here.
 
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balletboy

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The research for the woofer material was State subsidised.
This is the patent:

https://worldwide.espacenet.com/pub...com&locale=en_EP&CC=GB&NR=2269511A&KC=A&ND=4#

That's well known, he he publicises the fact.

The driver material is critical. The patent clearly states the limitations of standard materials like paper and aluminium. He hired some research polymer scientists to come up with a better material.

It is totally normal in the UK to get a government grant to do such research, that's been going on for decades, and you also get research tax credits. You would get similar grants in Europe, Australia, etc.

The material they came up with is very rigid and light, will not deform, but has to be injection moulded, which is much more expensive than vacuforming or pressing, as is the case with many other driver materials.

This material is unique to Harbeth. They don't sell their drivers like Focal, and you can't get it from the likes of SEAS etc.
 
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