Devore or Harbeths to replace my ESL63s?

For what you say you like I'm think you need to put the Vandersteen and Proacs into play.  Vandersteen is one of the few dynamic driver speakers that sound like a single driver speaker and have a similar sound to panels without the panels first reflection distortion in the time alignment. Many don't mind this, some do.  I love the panels mids, but for me the highs on most of them aren't what I personally like.  Again, it's all about your tastes.

Glad you are happy.  If you have a chance, check out the Vandersteen Treo or Quatro's.  I have the Treo's now and am selling them to get the Quatro's as I want that powered, room tunable bass, but the Treo's do have a ton of bass for a large room as long as you use the correct amp (folks really need to make sure their components all work well together to get the most out of their systems.  All too often you see mismatches and won't want to say anything as it may hurt someone's feelings).  Thanks for the update.

I came to update this thread and I cannot believe it has been more than a year since I started it. It's taken me that long to settle on speakers. 

The M30.1 were lovely, but I craved more bass, and a little more presence. A pair of SHL5 Plus came up for a good price so I went for them. They are wonderful, but I still had some issues in my small room. I had some plans drawn up for additional room treatment, but then, out of the blue, came something completely different. 
I had never heard of Vaughn speakers 3 months ago, and I suspect they are very rare in the UK, but a pair of Cabnernet Ones came up for an unbelievable price. They have the powered subs fitted, and this has really solved the issues with my small room. 

It's amazing such a speaker can work well in a room of 15' x 12'. There were times when I felt like giving up and moving to headphones, but now things have clicked. 

The speakers like a little room behind them for imaging but they work fine relatively close to the side walls with the active subs firing inwards. They have excellent dynamics and clarity, and they are chameleons with regards to amps. A friend brought a Unison Research SET amp around and they were so completely different to how they sound with my Croft amps. 

I am currently powering them with ARC LS26 and VAC Auricle Musicblocs, so it's suddenly becoming a surprisingly American system, after years of very British Quads and Harbeths. However I still have my Tom Fletcher deck and Audio Synthesis DAC so its a nice transatlantic synergy.

That is a good question. It's actually quite possible that the D30R weren't fully burnt in since the dealer said they hadn't listened to them yet.

I certainly agree with you that they have achieved something special with the ribbon tweeter, and it didn't have any of the flaws I associated with that kind of deign. Dispersion was good, both lateral and vertical, and they didn't seem to have a narrow sweet spot. (Although of course, after a year with Quads, most speakers seem to have a wide sweet spot).

The D40R has twin bass drivers, so that might make the difference. I do seem to be finding that floor standing speakers with a single bass driver can achieve deep bass, but are often a little lean in the mid-bass. At least that is what I found with the Devore Super 8s, and I'm told the 88s are similar. But it may be that the D30R properly burnt in would loosen out in this area. I would get a home demo, but as it stands I'd prefer to spend money on a new phono stage when I'm enjoying the Harbeths. Perhaps in a few months time.

Enjoyed what you are posting Andre. No edit needed. Thanks for sharing. Are the Proac's fully burned in? I heard a pair of D40R's months ago as a store that also had AN/UK gear. We listened to all high end tube gear. I was floored at how good the Proac's sounded. They really did a great job with that ribbon. The bass wasn't up to par, but I think it was the amp as none of the speakers we heard that day had decent bass, so I don't think it was the Proac's.

Ctsooner, you may be right about the Proacs - it would be for the room to make the decision. I'd certainly like to hear them at home but I'm in no rush because I'm enjoying the M30.1. The mid-bass emphasis seems to me very subtle indeed with these speakers, unlike the KEF Ref One that I mentioned, where it was a big warm bath. I would even contrast it to the P3ESR, which has a significant mid-bass hump to disguise the lack of any lower bass at all. This can be enjoyable, and because that speaker is not ported, it gets away with this emphasis - the extra bass isn't just port porridge.

Sorry for the excessive length and diaristic nature of my summary; I can't seem to find any editing functions or I would have cut it down to more relevant details about the M30.1.

Thanks for the update Andrew.

Keep in mind that over the long haul, the Proacs may not be as lean as you think. They maybe more accurate and realistic. We love the plummy in the mid bass. The situation you are running into is what we all do....The perfect speaker isn't out there and you are hearing compromises. What can you live with in your home and what can't you???

I thought I’d give an update on this thread, since I’m now using the M30.1 as my main speaker. It took some time to make a proper decision to say goodbye the the 63s. During this time I switched them with the M30.1 and both had their virtues. Then I put the M30.1 in my ‘second’ system in a larger room. I set up my old Onix BWD-1 tuner in that room and found that I was listening to BBC's classical radio station at every possible opportunity. This is when I started to fall in love with the clarity and naturalism of the M30.1.

Then I totally changed my main listening room around – it became a much better living room, but not a good space for dipoles. That decided the fate of my 63s. However the Harbeths now work very well in the new arrangement. The imaging has clicked, and I’ve got no bass issues in spite of placement quite close to corners (a pair of GK Tri-Traps helps). I’m also experimenting with a sub, and that is working better than any previous experiments.

During this time I also continued to listen to more speakers. I heard some Avalon Ideas, which did not reach the lofty heights that reviews had promised, although I think they are a decent speaker and a relatively honest one. I heard some exceptional Geithain active monitors (RK 903K), which challenged some of my prejudices about pro monitors – these were tonally natural without being harshly revealing, and to my surprise, worked very well at low volume. I heard the KEF Reference One, which were not bad, but ultimately disappointing; mid-bass heavy, overly warm, and unable to convey the higher harmonics of instruments like trumpet and soprano sax.

Finally, the speakers to cause the biggest impression have been the Proac D30R, recommended frequently on this thread. I heard these directly after the KEF and they were so much more revealing and refined. The ribbon is exceptionally well implemented, and whilst it does feel like it is throwing a spotlight at times, this never feels unnatural, and they are not bright in the negative sense. The hi-fi store let me have plenty of time to myself and I listened to a great deal of music; they excelled with orchestral recordings, and with a series of recordings of female soprano and piano I played. They were good with my favourite Coltrane pieces, great with well recorded modern pop (Stereolab in particular sounded great). This demo really felt like my own private party. The only concern I had was a rather lean mid-bass, which proved to be unflattering to a My Bloody Valentine cd I threw on as an afterthought at the end of the demo.

I played a lot of the same music later on the M30.1. The M30.1 are generous in the mid-bass where the D30R are lean, and this helped with the less than refined rock recordings. With the classical soprano recordings (these were all of French art-song – Debussy, Faure, etc) the M30.1 were also exquisite. A little less airiness and intricate vocal inflection, but possibly more dramatic purpose. However I love both speakers with this kind of music. With the Uchida recording of a Mozart piano concerto I heard more air around the top notes of the piano on the D30R. The word ‘air’ seems to be recurring already, and this is perhaps not the strongest point of the M30.1. The C7ES3 are more open, but this is achieved by a slight presence-region excess, where the M30.1 are very slightly recessed. I could go on in more detail, but I think it’s clear that I’m an admirer of both these designs, even though neither quite achieve what I set out to find. There are one or two other speakers I want to hear, such as the French Lecontoure range made by Lavardin. But for now, I live with and enjoy the Harbeths.

I too would appreciate reading a follow-up after you've lived with the 30.1's for a while. I read a blog a few months ago by a guy who has both ESL-57's and 30.1's, and as I recall he occasionally swaps them back and forth but overall prefers the 30.1. Hopefully you will feel the same way about the 30.1 and your ESL-63.

Congrats on getting the Harbeths , wonderful speakers. Please do report back when/if ever you manage to compare with others. Don't be surprided though if you stick with thoses M30.1s!

Well I will listen to the Proacs eventually, along with the Kef, the Janszen, and the Gradients if its possible to find a pair in the UK.

As for now, I just bought a pair of M30.1 ex-demo for a good price. This means I can effectively have a long home demo, then over a longer stretch of time listen to the others on my list.

The difficulty will be when the Janszen distributor gets back to me. I'd love to take up his offer of a home demo, but I don't want to waste his time if I feel married to the M30.1.

My Harbeth dealer also carries Rogue Audio and I he was singing their praises when I went in. The Stereo 100 seems very appetising. It's a shame they are a lot more expensive in the UK, as they seem a bargain in the US, but they are still not outrageous if they are as good as the reviews say. I'm keen to hear these properly soon.

My plan now is to take my time deciding whether the ESL 63s are definitely going, with the M30.1 as their direct competitor.

Fwiw I had a pair of the Harbeth SHL5 prior to the D30R.. Ultimately I found the Harbeths a bit boring.. Everything sounded good.. Even bad recordings, they seemed to homogenize everything.. Can't speak to the newest "plus" version though.

Not surprised in the least with the Harbeths over the PSB's...

Andrew, I was talking about Bob at Amherst Audio.

I have heard the Proac 30 and 40R's and they are the best Proac's I've ever heard. I still went with the Vandy Treo's as they do everything a bit better. Even the bass on the Vandy's when driven properly is astounding. It's the carbon fiber midrange that he makes that makes them so coherent and fast. They catch every little detail. From the list you are showing I personally like the 30 or 40R best. You have two totally different sounds in Proac vs Harbeth. Most Proac dealers in the states that I've been to have both lines so I've heard them side by side many times. I agree with Erik 100%...

I recently upgraded from PSB Imagine T2 to Harbeth SLH5 Plus and couldn't be happier with the choice, it's easily the best money I've spent on audio gear.

I'm currently driving them with a tubed Amp, Rogue Cronus Magnum.

I'm pretty fortunate to have a Harbeth dealer close by, so I got to spend a couple hours with them before buying.

go and listen

Ive learn that you cannot go with opinion

@Andreweast.. The D30R is VERY different from the D25/D28. I had the D25 and there was a persistent lower treble upper midrange brightness that I could never get rid of.. The D30R with the ribbon and carbon fibre woofer is a totally different animal.. I think you should at least take a good long listen..

Andrew one of the Revolutions best features is its wide sweet spot. In my easily as as good asthe Harbeths. As mentioned in an old Sterophile review of a now improved 'passive' version. (try to get the active version)
'
Salmi's goal was to design a loudspeaker that was less room-dependent than ordinary speakers are. Careful attention was paid to the origin of standing waves in small rooms, with the idea of minimizing the generation of standing waves. He also sought a wide listening sweet spot that was void of early reflections.'

do try to hear them before committing yourself they really are brilliant (although as I've said before you cannot go to wrong with the Harbeths.)

Ok so how are they for sweet spot? The directionality and head-clamp narrow sweetspot of the ESLs is something I'm trying to get away from so that would be one concern. Otherwise they sound hugely promising, and yes, looking at the M30s on stands in my room at the moment I keep thinking that most floor standers will occupy less space than this.

Andrew, They are actually quite small. Smaller for example than my Harbeth M30 ( or M30.1s ) on Skylan stands.
But the active version go down to near 20Hz.
Due to the way they work ( trying to remove the room) they have the best chance to performing well in small spaces plus they can be placed against the back wall.

Although not necessary I use them with the DSPeaker dual core 2.0 which helps gives me a very flat fequency range.

Ctsooner, are we thinking of the same people? It is Dave and Mike that developed the sub system I'm talking about. Anyway, I'll be sure to follow your advice and give the Proac ribbons a listen before this quest is concluded.

Pcoombs, thanks again for the Gradient nudge. I had thought the Revolutions were monsters but looking at the specs now they are fairly big, but perhaps not overwhelming. Do you think these could work in a room of my size; just less than 15 x 12?

So the listening list now is:

Janszen
Gradient Revolutions
Proac D30R/D20R
Kef Reference 1

I think that's probably as much as my speaker testing stamina can take. I am starting to get bored of my demo cds.

Andrew with reponse to your last post. You should check out this show report ( see top # 1 room)
http://hometheaterreview.com/the-10-best-sounding-rooms-from-the-new-york-audiophile-show-2012/?page=2

The comments from both the room orgainiser simpfi ( who also at the time sold Harbeths) and other listeners ( via audio blogs) was that although the Harbeths plus active Gradient bass panels worked very well together.
the Active Gradient Revolutions still sounded the best.
The room orginiser has also used the M30.1s with the Gradient subwoofers but still prefers the Revolutions.
This echos with my recent experience with the Revolutions even having owning ( and loving ) both the Harbeth M40.1 and M30s for over 10 years.

As you already have experience with both Gradient (working well with your Quads )and Harbeths you really should try to listen to Jorma Salmi's enduring masterpiece . Its easily and often overlooked which is a big mistake in my opinion.
Good luck anyway.
Philip.

Andrew I was up at Bob's a few weeks ago listening to those as well as some from Germany. They are nice, but for the cost, there are more that I like better. Bob's a great guy and he has a nice set up for his gear. It does sound good.

I"m a Proac guy and was going to upgrade my Proacs when I went on my quest last year. I ended with the Vandy's, but the Proac 30R and 40R were the only ribbons I hear in the last year that sounded good. I personally am not a KEF guy either, but again that's me. Go listen to the Proacs as the ribbon is just a different turn for them. I heard them on GREAT tubes and top of the line analog.

Regarding subs...

There was the suggestion that an M30.1 plus sub would be ideal. I've wondered about this for a while. Someone on the UK forums has been trying to do this but having problems with integration. Will he ever succeed?

When you have a small room, getting the bass right is like finding a suit that fits perfectly off the peg. In all likelihood you are going to need the trousers shortened or something taken in.

I suspect what is really needed is an active crossover, so that you can covert a two way into a proper 3 way. I learnt this when trying to integrate a sub with the 63s, with little success. Then I got the Gradient sub-woofers, with active crossover, using a separate power amp for the subs. It massively opens up the 63s and gives controlled deep bass in a small room. However it was visually overwhelming, and sonically I really needed to be further away for it to properly work.

I sold the Gradients last week with a heavy heart. If I had a big loft apartment, that would probably be my ultimate system.

It has left me wishing that it was easier to implement this kind of active crossover system with more conventional speakers.

I know a couple of guys in the UK who have developed an active bass system that is meant to work with small monitors in the LS3/5A mould. It is a tower sub-woofer that sits perfectly under a mini-monitor, and they have built an active crossover and power amp for the subs. So you can use you own amp on the monitors, and it makes the main monitors more efficient, so you can use a valve amp with LS3/5A easily.

They demonstrated this system a couple of years ago at a show with some Spender LS3/5A and the Murphy CAOW1. It completely floored me how open and rich this sounded. They played a master-tape copy of Sonny Rollins' 'Saxophone Colossus' and I've never heard such ghostly realism in the reproduction of a tenor. So it was as much about how it liberated the mid-range as supported the bass.

The problem is that they have only built 2 - for themselves! It's not been marketed as they are both very busy.

It has left me wondering how you might use an active crossover with a superb 2 way like the M30.1 and a pair of subs. The key would be setting the crossover above the port output, which is where everything gets muddy. The guys that developed this system are firm believers that ports are the worst compromise in speaker design, and after a year with electrostatic panels I'm coming round to that way of thinking. Saying that, I suspect I will accept a compromise, like most of us do.

Erik, you read my mind, I've been pestering a dealer to hear the KEF Reference 1 for a while. They've just got them in and burned in, but it will have to be after Christmas for a demo now, I think. Unless I go today! My feeling was that if they can keep that organic and simply enjoyable quality of the LS50 whilst giving much more extension and resolution they could be stunning. The early reports have been wildly enthusiastic.

A few people have recommended the D30R, including my old Harbeth dealer. I'm just a bit wary because I know the D28 well and whilst I admired some of its qualities, it just wasn't my style. Hard to say why. Perhaps the ribbon will give greater refinement, but that's not really what I was looking for. However the KEF dealer also have Proac, so I guess that is where I should head.

Ctsooner, I'm pretty sure there is no Vandersteen distributor here now. There are lots of great options from the US that we just don't get. It's quite frustrating. Equally there are a number of European designs that we don't have here, such as JM Reynaud, which I've always been fascinated to hear due to Bob Neil's poetic descriptions on his Amherst Audio website.

The 30.1 are that different than the old 30, that said I think the 30.1 with a REL sub would rock, the REL's integrate better than any other subs I can think of.

Next if I were you I'd try and get a listen to the new Kef Reference 1

And lastly try and get a listen to the Proac D30R.. The ribbon sounds amazing and the Carbon fiber woofer goes fast and deep, overall the speaker is extremely well balanced and very human sounding, they just sound like music...

Andrew, at least you are listening to find what you like. I hate hearing folks just buying and selling... It keeps the site going, but it's not what high end audio should become IMHO...at least I hope it's not like that. I do wish you could have had a chance to listen to the Vandersteens as well as a few others as there are just a ton of great choices at this price range.

Well Ctsooner, you may have noticed from my OP that I've been living with stats for a year, and I love them in many ways. However my ESL63s have limits that I've been trying to overcome. One of those limits is that they have difficulties imaging an orchestra when they are pushed to close to each other, and in my room there is not much space between them, and I'm quite close to them.

Earlier this week I heard some Vivid 1.5 again. I heard the little V1s a while ago and liked their smooth but extended, rich and open sound. They didn't have much bass so I asked to hear the slightly larger 1.5. Curiously they didn't satisfy me when I first heard them - there was a nasal edge at the upper register of saxophones that annoyed me. It turned out this pair had a defect in the crossover, so I went back and heard a good pair this week. Very smooth this time, and perhaps the closest to the combined naturalism and speed of the ESL63s I've heard in a modest 2 way box speaker.

But, I reflected, I had heard the M30.1 sound just as open, smooth, and extended with a soprano sax, and have perhaps more guts with a tenor. And all in all, I suspect the M30.1 might have as much all round resolution.

So the next phase. Yesterday I borrowed some Monitor 30 from a friend locally. Not 30.1 - the old version. It's been a few years since I've heard them. My first impression was great - a homecoming at last! But after a day I'm not so sure. They are surprisingly muscular and assertive after smooth speakers like ESL63s and Devore Super 8s, and indeed my Harbeth HL5s. And they feel so much bigger and more effortful than my P3s. They don't have the ease and naturalism of the SHL5+.

And yet I heard the M30.1 twice recently in a room smaller than my own and found them beautifully poised, without any hint of being too assertive.

Can the 30.1 be so different to its predecessor? Or is my room more live, or are my amps more assertive, than I had imagined?

I now have good options on ex-demo M30.1, Vivid V1.5, and also (another contender), Sonus Faber Olympica 2 (although I suspect these are too big for my room).

I suspect the Janszen demo is going to have to wait until the New Year now. Heavens, give me patience... patience I need...

The JansZens are like hearing no speaker at all. Cabinet cone speakers do have their own distinctive sounds due to coloration but the JansZens are as natural a sound as you could wish for. Have you heard the JansZens?

If he's into the Harbeth sound I'd really doubt he'd be into a stat. I personally have yet to hear a stat that I could live with. Most ribbons drive me nuts too for many reasons. I'm only heard a handful that I like and they have been very expensive to do it right. I have a ton of friends who love the panels type speakers, but have no use for the Harbeth's or any box speaker. Different tastes.

Forget both of those and go for the JansZen hybrid electrostatic speakers. These are superb speakers that give an incredibly natural and very clear sound. It is as if the performers are right in front of you in the room. Go to www.soundsetup.co.uk and have a look and also google Janszen Loudspeaker for reviews. These speakers are designed by David JansZen, in the USA and he is the son of Arthur Janszen, the designer of the very first commercially electrostatic speaker.

The beauty of the Janszen ESLs is that they can be placed right back against a wall so will go where other ESLs just cannot possibly go. They are ideal for smaller rooms as well as large ones. They are unique in that they fire forwards only which is the reason they do not need to be placed out into the room. Just launched are some very compact stand mount ESLs which are quite unique called zA1.1

Jet, as I said, I can listen to them all day long (the Harbeths). I decided to go for the Vandy's as they do everything well. I have listened to the 7's with Richards own amps recently with a lot of guys at Audio connection. I loved the sound, however some of the guys kept going in the other room as the 5's were just blazing hot. Best I've heard them sound....The 7's were simply like live music. You really had to listen hard to 'get it'....It was just so easy to sit for hours and listen to album after album. Simply the best sound I've ever heard. The leading attack and trailing edge...the midrange bloom, the kick in your gut bass when it was there. It was the most neutral fastest system i've ever heard. I only share that because that's what I listen for. Sometimes I may make a post and it doesn't come off the way I meant it. Nothing I have posted is to cut the Harbeth. Again, enjoyable, but for ME, I felt for the cost of the 40's, the Vandy's did more. It's audio and all about taste...that's why asking what someone else likes is just that...their tastes. I feel badly for folks who buy what others like and not what they have heard.

Out of the spkrs mentioned here, the Harbeths are probably your best bet -- BUT the model you choose does not have much bass... Pity you can't go for the bigger monitor 40.1: it;s a very good speaker.
Anyway, I think you can dispense with the AN, they are strange compared to what you seem to like (good frequency response & details).
Which leaves us with the Janszens & the Devores: between the two, I'm guessing you'll prefer the J: they give an impression of speed, i.e. more of the immediacy of the music will come out.
But you are the boss, as always!

And I have heard speakers that do things better than the E's. Some that have more presence, richness, accurate, etc. but when it gets down to it after a long day the E's simply make beautiful music in my listening room with 8 watts that connect with me. Somehow they just suck me in, connect the dots and let me enjoy the music.

I personally don't like the AN speakers either. Just not for me for the same reasons you guys are bringing up. I was discussing this with an owner of the J's I think it was and I heard it on their top of the line electronics and they turntable with three separate motors etc. I let him listen to my Vandy Treo's with entry Ayre integrated and Basis with Benz cart/Heed phono. He was shocked with what he hear. Said it gave him a real stage, imaging and musicality he loves, but it sounds like a single speaker and is so subtly detailed compared to his. I've had my Ayre on AN'e' with silver wiring etc... It sounded better than the AN amps, but still had suck out and lacked continuity. The mids can be magic and the dynamics are great cause they are so efficient, however it's not a whole speaker in my mind. I can sit and listen to them all day long as long as I'm not being critical...

I also hear the "suck out" that Salectric refers to with the AN-e. It doesn't bother me. I am a happy camper. I am happy they can be tucked into the corner and that I enjoy so many different types of music with them. Find the speaker you love and enjoy. Jet

Andrew,

I have heard AN-E speakers numerous times at a nearby dealer. At various times he's had the hemp woofer model, a less expensive version, and a ridiculously expensive version with outboard crossovers and silver wiring. I didn't keep track of the specific model numbers. I have also heard them at a number of RMAF and CAF shows including AN's own rooms.

As for what I mean by "discontinuity" I hear the transition from the woofer to the tweeter. It's not a smooth handoff from one to the other. There is also a recessed area, like a suck-out, in the transition area that diminishes the liveliness of the speaker.

As I said this apparently doesn't bother everybody since lots of people like and own AN speakers, but it would bother me if I owned them.

I have owned Harbeths in the past and really enjoyed them. No one has mentioned Merlin speakers. Both the VSM's & TSM's are in the same league with the Harbeth's. The TSM is a sealed box. Have you listened to these?

Can you explain how you've heard that and in what circumstances? With which versions of AN-E? How Is the discontinuity manifested musically?

The AN E speakers have a discontinuity between the drivers that I find annoying and distracting. It's a shame because they have many other very nice qualities. I've noticed that some people are bothered by the discontinuity and others are not. This may account for the different reactions to AN speakers.

Yogiboy, regarding the Jansens - I heard these at a show about 18 months ago and thought they were very promising, but dismissed on the grounds of price. However I didn't know they had produced a smaller and more affordable version until you mentioned it. Thanks for this. I'll let you know what I think when I get to hear them.

I heard a very good system this weekend with ANE/SPe and some nice 300B mono blocks. It did pretty much everything right and worked well in a small room. It had a wonderful airiness and clarity - very revealing in the most natural way, and it was an extremely flexible system that could play all kinds of music. Curiously, though, I'm not sure it is the path for me. Perhaps at a later date. My 63s, in comparison, sound thicker and more opaque, not the traits we would normally associate with ESLs, but this weekend, I am loving them.

Mcslipp- have heard that combination, and thought it was great. Slightly preferred the Montrachet to the other Stereo amps. NICE (-: How do you like your LUX dac? I will be auditioning their turntable soon.
It seems like Harbeth need to be lit up with some healthy tube power or just go solid state.

I suggested the Janzen,I am curious what you think of them,please give full details!

I have to confess that before I decide on the m30.1 I am going to be getting a demo of the Janszen electrostats. That is thanks to this thread. They would burn a large hole in my pocket but could be worth it if they fulfil their promise.

Andreweast-Yes that is the reason why I did prefer the smaller P3's. I never liked any ported speaker compared to a sealed one. Hopefully the 30's will work out for you. BTW,I use all tube gear with the P3's and to me the combination can't be topped. No sub needed!

I think the main factor that will decide if they are a long term keeper is whether I get the itch for more bass. I would be prepared to spend good money on a very good sub, but my jury is still out on the use of subs without an active crossover.

One other nagging thought about 30s is that they are ported. After a year with electrostats I've started to hear the mid-bass humps and bloated port output that you get with a lot of box speakers. The Compact 7s had this. Perhaps this is why Yogiboy found the P3s so much more satisfying? As the only non-ported Harbeth, they can seem a lot more agile in many rooms.

With the 7s I found their were certain ways of keeping the bass tight. When I was experimenting with Croft amps I found that the pre-amp was crucial. A regulated pre-amp was so much tighter.

With the 30s it will be more about sins of omission. However I spent a couple of evenings listening to them in a room of similar size to my own recently and I was just entranced. And the mid-bass was rich and fruity, even if the lower bass was missing.

The Harbeth 30.1 would be a great choice! While no one ever knows for sure whether a given speaker will work out as a long-term keeper, your experience with the other Harbeths is a pretty good indication that you will have the 30.1 for a long time.

Sounds like you have made the right choice. I have owned both the P3ESR and the Compact 7. In my room the P3's where so much better . The M30 should be outstanding.