@routeman21 My SHL5+ 40ths arrived last week. So I have about 25 hours of break in on them.
As I posted on the Harbeth user group forum:
Hi, I am a newly accepted member to this forum.
This particular thread has held my interest as I have just ordered the SHL5+ 40th.
These will be my first Harbeth speakers.
I am now aware of the reasons why Alan Shaw focuses on the human voice in achieving the outstanding results evident in all Harbeth speakers.
Prior to knowing this, my decision to purchase Harbeth speakers was primarily based on listening to piano music (classical, jazz and some rock music).
I have been a classical piano student for most of my life and have had the opportunity to grow up with multiple pianos (all 5 of my family also study piano).
I am not a professional pianist (far from it!) but feel intimately familiar with "coloration" characteristic of different piano configurations (Spinet, upright, grand) and also among certain different brands.
With the exception of Magnepans, every speaker I listened to added to/masked/altered the natural coloration of the piano. This was more evident with basic chords, and notes on the upper and lower registers (2 + octaves north or south of middle C).
Listening first to the P3ESR, then to an older pair of SHL5s convinced me I did not need to give up any dynamics by limiting myself to planar speakers.
I have not listened to the Harbeths and Magnepans in any A/B testing. Didn't need to.
Like a botanist scrutinizing a new variant of flora, I listened for the familiar (to me) box speaker induced piano coloration.
Instead, I actually heard the piano like I did with Magnepans.
Additionally, I actually felt the piano unlike I did with Magnepans.
I guess one doesn't really know what one is missing until it is experienced elsewhere.
After about 30 minutes listening to each of the Harbeths, I knew that in another 30 minutes, hours or even days I would still find no trace of said coloration.
So I ask my first question on this forum.
Mr. Shaw, given the extreme frequency range of the piano, along with its ability for simple and complex chord combinations, sustain and sostenuto capabilities, and the fact that a piano relies on it's own "box" for acoustical properties (subject to similar room treatment considerations as speakers), I am curious if you have done so, or have perhaps considered sampling piano sound (along with human voice) characteristics in your acoustical design and testing process?
It's what sold me on your Harbeth brand. The fact that vocal reproduction of your speakers ranks among the best out there is more than icing on the cake for me!
Thanks,
Hans
Sorry for the lengthy post!
Hope this is helpful to you.
I just thought I'd share with you and other potential Harbeth owners my personal experience that led me to purchase the SHL5+ 40ths.
As I posted on the Harbeth user group forum:
Hi, I am a newly accepted member to this forum.
This particular thread has held my interest as I have just ordered the SHL5+ 40th.
These will be my first Harbeth speakers.
I am now aware of the reasons why Alan Shaw focuses on the human voice in achieving the outstanding results evident in all Harbeth speakers.
Prior to knowing this, my decision to purchase Harbeth speakers was primarily based on listening to piano music (classical, jazz and some rock music).
I have been a classical piano student for most of my life and have had the opportunity to grow up with multiple pianos (all 5 of my family also study piano).
I am not a professional pianist (far from it!) but feel intimately familiar with "coloration" characteristic of different piano configurations (Spinet, upright, grand) and also among certain different brands.
With the exception of Magnepans, every speaker I listened to added to/masked/altered the natural coloration of the piano. This was more evident with basic chords, and notes on the upper and lower registers (2 + octaves north or south of middle C).
Listening first to the P3ESR, then to an older pair of SHL5s convinced me I did not need to give up any dynamics by limiting myself to planar speakers.
I have not listened to the Harbeths and Magnepans in any A/B testing. Didn't need to.
Like a botanist scrutinizing a new variant of flora, I listened for the familiar (to me) box speaker induced piano coloration.
Instead, I actually heard the piano like I did with Magnepans.
Additionally, I actually felt the piano unlike I did with Magnepans.
I guess one doesn't really know what one is missing until it is experienced elsewhere.
After about 30 minutes listening to each of the Harbeths, I knew that in another 30 minutes, hours or even days I would still find no trace of said coloration.
So I ask my first question on this forum.
Mr. Shaw, given the extreme frequency range of the piano, along with its ability for simple and complex chord combinations, sustain and sostenuto capabilities, and the fact that a piano relies on it's own "box" for acoustical properties (subject to similar room treatment considerations as speakers), I am curious if you have done so, or have perhaps considered sampling piano sound (along with human voice) characteristics in your acoustical design and testing process?
It's what sold me on your Harbeth brand. The fact that vocal reproduction of your speakers ranks among the best out there is more than icing on the cake for me!
Thanks,
Hans
Sorry for the lengthy post!
Hope this is helpful to you.
I just thought I'd share with you and other potential Harbeth owners my personal experience that led me to purchase the SHL5+ 40ths.