Spendor Classic 3/1 vs Graham Chartwell LS6 ?

It's really quite uncanny since I'm looking at spendor classic 3/1 as well. The difference is that I own the Graham ls6.

I can tell you without a doubt, ls6 is bad for edm. The bass is just way too boomy, especially if you put it near walls. That is the main reason why I'm looking at the spendor classic 3/1.

But, if you stuff socks into the ls6, it turns into one of the best bookshelves you can own. Mid range and treble is impeccable. Bass is tight as well. But it rolls off gradually from 100hz

Not too many sealed speakers around anymore. I wonder why that is?

If u want sealed go one step smaller like the Graham ls 3/5 or the Spendor A1.

I have owned the A1, A4, and LS6 speakers. The Graham LS6 provide a sense of natural scale and immersion that just feel much more involving to me; it is a more open and dynamic sound than Spendors and make me want to play loud; the Spendors faded into the background quite nicely with no distractions, which is also something one may want .

I did find the A1s bass shy for some genres (house, reggae, large scale opera) but a rather charming speaker. The A4 produced, by comparison, a great all around unassuming sound with tight actual bass and yet less of the stunning transparency of the Graham and A1 stand mounts. I do find myself applying DSP bass trim in Roon for the Grahams as they are seated near a wall. If you’re willing to go that route, and listen in a medium size space, the Grahams are end game speakers - rivaling some far, far dearer speakers I own (huge German Physiks and powerful WVL models for use in very large spaces) for sheer enjoyment. Their BBC lineage also makes them strikingly clear relay devices for sonic scale and vocal inflection; it’s not just a cliché. 

Wanted to add a bit to this thread I know it’s old but I figured I would share my experience with the LS6 chartwell so others can benefit in the future years from now.  Originally was looking at the Harbeth 30.2 anniversary but decided I like the graham sound more simply because it was a little less rich but still had the tonal bliss and midrange magic that I loved about the Harbeth.  Basically if you like Harbeth you will be smitten with graham.  Not to say they are that much better just different but in a more natural way and still as three dimensional.  Still as dynamic and still will make your heart go weak from vocals and especially as Gutenberg suggested in his video especial acoustic instruments like guitar and stacato strings and cello will certainly give you goose bumbs.  The purpose for this post was to share my experiences with tube amplifiers.  Most folks insist on Hegel exposure and LFD are the main contenders for great amplification especially LFD but trust me when I tell you a line magnetic or rogue Cronus can really make these sing also.  I originally had my LS6 paired with a rogue Cronus magnum 2 and ended up selling it and upgraded to a audion sterling monoblock class a.  So basically I went from 100 wpc class a b push pull to 45 wpc class a tube amplification all the way.  Folks it’s crazy if you really want to rock out if your crave Adele pumped to the brim on sky fall just rocking out with guns and roses go Hegel go exposure 1350 go LFD ncse go big, these speakers sound amazing.  But if you want jazz if you want Eva Cassidy if you want Lester young if you want something like my foolish heart by bill Evan’s folks there is another side of the coin.  The chartwell LS6 can indeed play especially nicely with a class a low powered amp on the 35-45 wpc arena.  No you can shake the floor load enough that the neighbors down stairs start to go crazy but folks it like a uncanny finesse and detail and realism they have with class a that makes the LS6 shine to a new level.   I can pump up the volume to about 1pm using a schit Freye s on passsive into the monoblocks then adjusting the gain knobs  And the level of finesse or liquid tube magic that comes with a audion monoblock and a LS6 is really something to behold folks.  For a while I was so flustered due to clipping and not having enough power to really give the LS6 what they need feeding the audion monoblocks directly from a musical paradise dac .  But once I got the passive schiit involved I could crank it up a bit more and it just became fantastic. At any rate bottom line you don’t need a ton of power to have a wonderful system with the LS6.  Yes if you want to rock out that’s a different story.  But if you into jazz or classical or singer song writers like melody Gardot, get a nice class A tube and just soak it in.