He is a curious mix of engineering and listening. He designs everything himself and tunes with his ear alone. He dismisses “Rock Speakers” entirely. Definitely quirky as his musings tend to convey. His interest is acoustic and classical at low to moderate levels. This has had a big influence on design.
Alan’s big focus is on damped cone material. I know of only one other speaker maker with such a focus - ATC. All the rest are chasing light weight rigid cone materials that look great under frequency measurements but sound terrible due to added intrinsic coloration from cone vibration. Latest ATC designs include CLD - constrained layer damping - this places damping material in a sandwich between two light weight cones.
http://atcloudspeakers.co.uk/technology/cld/
The key understanding that Alan latched on to early in his career with Dudley Harwood is that all cone materials impart a coloration to the sound (as seen on waterfall plots but best assessed with critical listening). The key realization is that you use engineering design for a flat frequency response but you use intrinsically damped cone material to reduce subsequent tonal coloration after the transients. The sole purpose of the radial damped cone was to get away from polypropylene foggy or nasal sound.
If you examine Harbeth and ATC mid range and tweeters you will find they are damped with highly viscous semi-solid semi-fluid material. ATC mid range are sticky.
This approach differentiates Alan’s work from all other transducer makers except ATC. The difference between ATC and Harbeth is that Harbeth are engineered (voiced) to play at low volumes where they sound best. ATC are engineered for realistic loud volumes where they sound best. This is a design choice based on equal loudness contours and preferred listening level.
Anyhow, a thread about Harbeth must necessarily start with a recognition and realization about what makes Harbeth sound so amazing. It is all about intrinsic damping within the cone material - this is what makes Harbeth sound so natural and revealing - the usual clutter from cone vibration after the initial transient is absent. Quad electrostatics achieve similar results in mid range clarity but they are hopeless at providing a wide even sound field/sweet spot (too much beaming) and are dynamically severely limited (much more than Harbeth.)
Two cents
Alan’s big focus is on damped cone material. I know of only one other speaker maker with such a focus - ATC. All the rest are chasing light weight rigid cone materials that look great under frequency measurements but sound terrible due to added intrinsic coloration from cone vibration. Latest ATC designs include CLD - constrained layer damping - this places damping material in a sandwich between two light weight cones.
http://atcloudspeakers.co.uk/technology/cld/
The key understanding that Alan latched on to early in his career with Dudley Harwood is that all cone materials impart a coloration to the sound (as seen on waterfall plots but best assessed with critical listening). The key realization is that you use engineering design for a flat frequency response but you use intrinsically damped cone material to reduce subsequent tonal coloration after the transients. The sole purpose of the radial damped cone was to get away from polypropylene foggy or nasal sound.
If you examine Harbeth and ATC mid range and tweeters you will find they are damped with highly viscous semi-solid semi-fluid material. ATC mid range are sticky.
This approach differentiates Alan’s work from all other transducer makers except ATC. The difference between ATC and Harbeth is that Harbeth are engineered (voiced) to play at low volumes where they sound best. ATC are engineered for realistic loud volumes where they sound best. This is a design choice based on equal loudness contours and preferred listening level.
Anyhow, a thread about Harbeth must necessarily start with a recognition and realization about what makes Harbeth sound so amazing. It is all about intrinsic damping within the cone material - this is what makes Harbeth sound so natural and revealing - the usual clutter from cone vibration after the initial transient is absent. Quad electrostatics achieve similar results in mid range clarity but they are hopeless at providing a wide even sound field/sweet spot (too much beaming) and are dynamically severely limited (much more than Harbeth.)
Two cents