Spendor, Harbeth...why so hot ?

The Spendor SP 1/2's driven by something with some character (Blue Circle hybrids, for example) can be a remarkably satisfying speaker if it's not in toooo big a room and if you don't need a firm, deep bottom. (REG reports that his, with REL Storms added, are flat to 25 hz.) I do think REG's review of them in TAS quite a while back was very fair -- and very admiring. Another fan is Art Dudley of the Listener and his reviewer, Reikert. Driven by relatively dull stuff (Plinius, say) they can be a bit dull. Driven by 'the right stuff,' there is a lyrical rightness to them that sold me immediately. People who prefer them to ProAcs tend to prefer their lyricism and upper bass sense of weight to the ProAc's forwardness and seemingly higher resolution. Seemingly because it's, well forward. ProAcs can make Spendors seem prissy; Spendors can make ProAcs seem pushy. Both great speaker lines, which can 'divide and separate' friends.

Some Spendors are "more equal than others." My mixture of experience and informed hearsay says the 3/1's and 1/2's are the pick of the litter, but the SP 100's, which to me ears are on the rich and bassy side, have their (very ardent) champions.

Chas, Jmfb: I am surprised to be cited as a Spendor supporter. I'm not. I responded above to a question about "why" Harbeth and Spendor are being discussed a lot, and a response to that question that was misleading, just to say that both make very very fine full-range speakers, and they both have tonal accuracy as their primary design objective. Chas, I havent heard the 2/3s. So your impression of them is good enough for me. I note Bob doesn't say anything about them and he's a big SP1/2 fan.

To respond to Jmfb's comment about size, I havent tried my Compact 7's in a room larger than my 5400 cu. ft family room (don't have one and don't have any interest in hearing them anywhere else), but if you say so, maybe in a larger room, the Harbeth Super HL5 would be better. And, of course, the Monitor 40 would be better still. The Harbeths are less efficient than the Spendors, accept and require more power to really open up. I think if you drive the C7's with enough power, there is nothing lacking at all.

In terms of pricing, configuration and size, the Spendor SP1/2 "competes" with the Harbeth Super HL5, the SP2/3 with the Compact 7.

I don't want to criticize anyone's choice of speaker. The Harbeths are my choice. The Compact 7's and above with large drivers made from the proprietary "RADIAL" material are the only speakers I would ever consider again. But, there are other fine speakers out there.

This is more or less a footnote to the discussion, intended mainly for those of who are both curious about but also suspicious of Harbeths. Since Harbeth Monitor 40's are monitors, albeit "not nasty monitors" (REG), I fed one of favorite cd's to the Monitor 40 I'm auditioning these days in trepidation this a.m. - the 1991 reissue of Stravinsky's "Apollo" from The Stravinsky Album. The original recording was done in (gulp) 1964. Wow! - not to have worried. Gorgeous. Is this not one of the ultimate tests? Can the speakers you are beginning to love for their exquisite truthfulness forgive your favorite olde albums? It was truly beautiful. And the cellos and string basses were as crisp and warm as the violins were sweet, reedy ribbons of pure joy.

What I'm suggesting is that even if you don't intend to spend $6-7K on speakers and even you're a Spendorite, you
probably ought to try to find a way to hear these just so you'll know what's possible in a speaker without additives. I have yet to hear either the Compact 7's or Monitor 30's,
which cost considerably less and probably have the same signature. But I may have to just to complete my education.

I think the Spendor/Harbeth thing will continue to be interesting for those who feel they may want a little added cream through the midrange. Before hearing the Harbeths, I certainly thought I was one of those folks. But you'd be amazed at how beguiling the truth perfectly rendered can be, even on a remastered 1964 recording. De-goddamn-licious.

Another footnote, re the mini-monitors slighted above as "pretty good for the money." I am not familiar with the Spendor S3/5, but it has many fans. The Harbeth P3 I do know. It is superb. With good source, electronics and cabling, properly sited near field (to avoid reflections) with the tweeters at ear height, the P3 is just stunning. Accurate tonality, clarity and precise imaging with palpable 3 dimensionality. Incredibly revealing. There's another thread about Stereophile's recommended list in which some of us commented on the difference between Class C and B. The Class C rated Harbeth P3 is easily better than several of the Class B small speakers reviewed over the years. I know many many people who, like me, prefer the P3 to, for example, the much more expensive B-rated ProAc 1s or sc (for the reasons suggested above by Bob) or the somewhat more expensive B-rated Totem Model 1. So, much much more than "pretty good for the money."

My P3's, like my Compact 7's, were assembled by one technician, tested and certified to match within less than 1/2 db, and videotaped in case the cabinets ever need service. They are also Alan Shaw designs, a very hands-on designer and managing director.

Bob, you remind me of my mother who, when she saw me putting sugar in my coffee asked, "why do you drink coffee if you don't like it?"

Spendors are somewhat polite, very natural sounding. Long break-in. Not for rock and roll or very dynamic music. They are superb at what they are intended to do.