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Question

You resigned the agency in early 2009. Why was that?

Answer

I did this for strictly personal and commercial reasons rather than sonic ones – by which I mean that my irrevocable decision has nothing to do with the quality and performance of their products, which are outstanding in their class – other than the 40.1 which in my opinion is both over rated and over-priced.

It was just that I felt that orders from UK customers were not valued by them. I felt that my Harbeth customers were being taken for granted and that their orders – via me – were both an irritant and distraction and thus unwelcome. My orders were of course from the UK. However, that’s not Harbeth’s preferred area for end-users it seemed to me. I could never quite shake off the feeling that non-UK end-users would always go to the back of the queue. Impossible to prove of course, but it says something that in 34 years (on and off) in this industry, I’ve never before or since even considered this possibility.

It struck me that perhaps sending a container load to some Asian destination was, from Harbeth’s admin standpoint, far less hassle that a couple of pairs every now and then to some to marginal UK retailer. Harbeth make no secret of the fact that they value their export market very highly. To me this is evidenced by the minimal number of UK retailers. Five in England I think.

You might have noticed perhaps the almost complete lack of UK publicity, lack of UK editorial coverage and absence of UK promotional literature? This meant that UK Harbeth retailers are pretty much on their own and can expect little if any sales or marketing support. That’s the way it turned out.

All responsible (usually, independent) audiophile retailers feel obligated to represent products in the best possible light through professional, calm and intelligent demonstrations both in their demo rooms and in customers’ homes. I had the complete range (excluding the 40.1 monitor) on demonstration – at my expense. I can only speak for myself inasmuch as surely it isn’t the dealer’s job to build the brand? Logically and objectively, that’s a makers’ job. Retailers must and should support the brand-building activities, but can’t be expected to be the engine that drives it.

I never failed to achieve outstandingly musical results from Harbeth, especially with LFD amplification. Some of the Harbeth models are, to use that frequently misapplied phrase, true undiluted ‘classics’.

However, I concluded that my efforts, enthusiasm and my limited success were of only peripheral interest to them. I saw little point in continuing. With everyone of my current suppliers, achievement has been built on establishing mutual respect. Despite my efforts, that commercial respect was only in one direction with Harbeth.

Read here to see what Harbeth feel about the UK industry in general and by implication, UK retailers.

http://www.harbeth.co.uk/usergroup/showthread.php?p=7398#post7398

For alternative views, look here:
http://theartofsound.net/forum/showthread.php?t=5051

And here:
http://www.pinkfishmedia.net/forum/showthread.php?t=73836

Question

I've just bought a pair of vintage Quad IIs and love them. I'm thinking about a speaker upgrade and am considering bookshelf Harbeth or Spendors. I understand sensitivity is an issue with lower power valve amps and note that the smallest Harbeth has a sensitivity of 83. I just wondered if you had a view on this. Love your site by the way, it really does convey your love of this stuff when compared with unit shifting sites. All the very best. Ian

Answer

Hello Ian. I would really like to give an uncomplicated answer to this. But it's beyond my capability. I'll explain why.

First things first though, like you I am deeply impressed with the Quad IIs. A classic, in the proper sense of the word. I don't, for commercial reasons, stock Quad. On the other hand, that doesn't stop me acknowledging a major brand who have throughout their existence demonstrated industry-leading integrity. Superficially there might appear to be a sensible correlation between output power of an amplifier and input sensitivity of a speaker.

Ideally of course, and depending on your sonic preferences, you'd either have phenomenal speaker sensitivity, such as horn speakers coupled with a wonderful Class A limited power design such as a Sugden. Again, a brand I don't represent but who produce products I thoroughly respect. Or as an alternative, massive amp power (the Musical Fidelity KW series giving literally 5000 watts RMS into 2 ohms I seem to recall) with medium sensitivity speakers.

The real world, or at least audiophile world sits relatively comfortably between these two extremes.

Err, I'm not helping here am I? Okay, given the extraordinary electrostatic-like clarity of all of the Harbeths, this being a common denominator through the range) people usually find that to get the detail they crave, that they listen at lower SPLs (sound pressure levels) than they would ordinarily.

This is very good news for people like you with wonderful, yet low powered, amps.

So in that specific context I am convinced that the Quads, in a typical UK living room would drive any of the Harbeth range beautifully. But that's not quite the whole story. One of the wonderful and undocumented aspects of the bass performance of all Harbeth speakers is that they have deliberately engineered into them a variable (per model) Q. Q in this context refers to an aspect of acoustic engineering relating predominantly to bass performance.

There are well-intentioned but seemingly endless debates about the relative merits of a high Q and low Q. These arguments all have merit. Suffice to say that Alan Shaw, the designer of all the current Harbeth range has engineered in a Q that varies per model. This very neatly takes into account the potential acoustic environment of the model in which the Harbeth speakers might be used. A 'live' acoustic' would benefit from one level of Q while a comparatively 'dead' acoustic would benefit from a different Q.

I am resisting stating which is the preferred Q simply because these are only guidelines rather than strict rules.

That's why in demonstrations in customers' homes I take a couple of pairs of Harbeths with varying Q factors.

This means that (a) not always are the most expensive ones the most appropriate for the room and (b) explains why there appears to be a curious overlap in models that have fairly close prices in the range.

And yes, I still haven't given you a precise answer yet. Hopefully though, you can now see why me attempting to give you any definite answer would in turn make me either a fool or a charlatan. I hope I'm neither.

The sensible answer would of course be for you to visit here, with your wonderful Quad IIs and experiment during the course of an afternoon. After that, you'd buy your selected pair, on risk-free purchase, to determine if they were right for your room. I hope this has helped, if only a little bit.

Question

I've recently moved my system to a smaller room (the old wife acceptance factor) and as a result I am considering a change from Harbeth Super HL5s to the 7ES-3s. Could you describe the difference between the two?

The new room is 13’ 2”x15’ 2” with 8.5’ 2” ceilings, and due to other furniture the speakers are out into the room only 8-9’ 2” away from my listening chair. The 7 s will be a better fit aesthetically, but what might I lose or gain sound-wise?

The rest of my system consists of a LFD integrated (I recently switched from a Lavardin IT), a Wavestream tubed phono stage, and a rebuilt Lenco with a Triplanar tonearm. Thank you for any insight that you can share about the Harbeths. And best of success to you with your excellent approach to audio.

Answer

Frankly, I wouldn't do it. Listeners here, and after extensive home demonstrations generally feel the Super HL5 is more musically engaging than the 7ES-3s. Having said this, it is true that in swift A-B demonstrations, the 7ES do have a certain 'immediacy' and presence that initially the HL5s don't. It's something to do with the comparative bass characteristics that does this. Take my advice and stick with the 5s. Long term, it's the correct decision.

Having used the entire range inc. the 40.1 monitors, I feel that in domestic situations, especially when used with LFD amplification, the 5s have the most neutral and most engaging balance of the lot, closely followed by the HL-P3ES-2. I must emphasise that (a} I'm talking about domestic situations and [b] ignoring considerations of ultra bass.

The 5s are a bona-fide masterpiece and currently define, in my view, state of the art stand-mounted speakers under £5,000 ($10,000). Greg, sit back, relax and enjoy – and keep the surplus money. It seems to me that currently you have no weak points whatsoever in your system.

Question

Hi – I was looking to spend around £2,500 – £3,000 on a new stereo system comprising CD + AMP + Speakers and if possible I'd like it built around Harbeth speakers as foresee me keeping the speakers longer than the other components. My friend has a set that are 25 years old and has upgraded the other components over the years but the speakers remain fantastic and hence my thinking!

Answer

My tastes are pretty mainstream e.g. Stereophonics, Manics and Placebo and often go to concerts hence am ideally looking for something that can ‘take me live’!! I've currently got a 15 year old Bose AM 5 system which is ok but I'm now looking for that next step. Unsure whether you can help and if so how?

Now then, Harbeth loudspeakers in good used condition are very thin on the ground. Those that are around usually sell for around 60% to 70% of their new price. Entry level Harbeths that would suit your musical tastes are the HL-Compact 7ES-3. These are £1,799 inc Vat @ 17.5%. Clearly this is a big chunk out of your budget.

Having said this, your situation and your desires are far from unique. Consequently Stereonow have a lot of practical experience in partnering used items with new Harbeths. If you accept the possibility of this option, then without doubt I can create a truly magical sound for you at around £2.5k, plus or minus £200.

If you would like to discuss this prior to a demonstration, then please do so on 0208 369 6047. If I'm not around to answer the phone because I'm doing demonstration, then please email me with your number and I'll get right back to you.

Question

Here I am bothering you again with the Harbeth matter. I've been offered a pair of second hand Harbeth HL5 and I'd like to know your opinion about:

1.- Sound. Is there any outstanding sonic difference between a HL5 and a Super HL5?

Less highs in the former because the SHL5 carries a super tweeter? What about the soundstage? I cannot test them because I'm 600km far from the speakers.

2.- Price. As the HL5 is a discontinued model so I don't have any price reference from a new one. The Super HL5 brand new costs the same in Spain as in the UK. So I must assume used Harbeth prices in Spain should be correlated to used prices in UK.

The guy who wants to sell those HL5 asks 950 € (720 pounds) including stands. Is in the money or out of the money? Attached you will find two pictures of the speakers. I'd appreciate very much your opinion.

Answer

I've thought hard about this. There are just too many variables in this situation for me to be able to offer any worthwhile guidance. I do regret this. It rarely happens, but . . . what I would say is this though. It is inconceivable to me that any fully working Harbeth pair could produce anything other than a delightful sound. I really do believe this. £720, even with stands is not a bargain. It is, I intuitively feel, a little on the high side.

Moreover, I guess there is carriage to pay on top. As a usual rule of thumb, used current Harbeths tend to sell privately for around 65% -75% of the original price. Re discontinued models, prices are typically 30% to 50% of the original price if and only if replacement drivers, should you need them, are available. This is not a foregone conclusion. Only Harbeth can advise on the availability.

Question

How does Howard concentrate with the music on when designing B2B software?

Answer

Note: This Q&A comes from 2008. I now use a slightly different system including the same LFD equipment and the Eminent Technology LFT-8B ribbon speakers.

Interesting question. I share my time between Stereonow and being the head of concept and innovation for 3 UK-based B2B (business to business) software organisations. No wonder I can’t find time to practice my bass. Anyway . . .

In the mornings, from 7 until noon, I can only listen to music, rather than my preferred diversion Radio 4. In the afternoons, for reasons I cannot explain, I can alternate between Radio 4 and music without distraction.
During my occasional 10.00 pm to 3.00 am stint (if I’m a bit behind on development) I listen to music via my STAX headphone OR the BBC World service via my office system. Curiously, during that 5 hour period, the radio via the STAX is too distracting. I’ve been puzzled by all of this for some months now, What I describe is fairly consistent and totally inexplicable.

And yes, I do sit down in my demo room and when time allows, listen to music hour after hour without distraction or interruption.

Not all of my systems encourage me to do this for hours on end. A recent discovery last Saturday though, in terms of a hitherto unheard of combination here was as follows:

Accidental magic, with a ludicrous component ratio as follows:
Source = £550
Pre and power amps £7500
Speakers £2000
Stands £50
Interconnects, £200 max

Daft, but it works. Well, works for me at least. Heartbreakingly compelling and engaging I’d say.

If I had this combo rigged up permanently my guess is I’d rarely get any work done.

Question

Howard
Here I am bothering you again with the Harbeth matter. I’ve been offered a pair of second hand Harbeth HL5 and I’d like to know your opinion about:

1.- Sound.-
Is there any outstanding sonic difference between a HL5 and a Super HL5? Less highs in the former because the SHL5 carries a super tweeter? What about the soundstage? I cannot test them because I’m 600km far from the speakers.

2.- Price.-
As the HL5 is a discontinued model so I don’t have any price reference from a new one. The Super HL5 brand new costs the same in Spain as in the UK. So I must assume used Harbeth prices in Spain should be correlated to used prices in UK. The guy who wants to sell those HL5 asks 950 € (720 pounds) including stands. Is in the money or out of the money? Regards, DL

Answer

I’ve thought hard about this. There are just too many variables in this situation for me to be able to offer any worthwhile guidance. I do regret this. It rarely happens, but . . .

What I would say is this though. It is inconceivable to me that any fully working Harbeth pair could produce anything other than a delightful sound. I really do believe this.

£720, even with stands is not a bargain. It is, I intuitively feel a little on the high side. Moreover, I guess there is carriage to pay on top. As a usual rule of thumb, used current Harbeths tend to sell privately for around 65% -75% of the original price. Re discontinued models, prices are typically 30% to 50% of the original price if and only if replacement drivers, should you need them, are available. This is not a foregone conclusion. Only Harbeth can advise on the availability.

 

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