This review page is supported in part by the sponsors whose ad banners are displayed below |
 |
 |
|
Even-handedness and coherence are two key words for this speaker as mentioned already. But this isn't merely true for tonal balance. It's true also for the tightrope act between transient impulsiveness and harmonic flow. Decays as the glue or mortar between notes are finely tracked to create a sense of elasticity. But attacks sustain sufficient speed for rhythmic alertness so that silkiness doesn't devolve into sleepiness. Piano volleys could be harder and presented more closely but often end up more so than desired to then correspond to a thinner leaner reading that lacks believable grounding. Here again balance is key and the 30.1 walks right down the middle between attack and sustain.
|
 |
|
|
|
|
Individual images or virtual performers display as quite sizable and certainly bigger than over many stand mounts. Since stage dimensions are quite generous too, voices and instruments occupy a well-sorted believable whole even if I've seen more space between individual musicians of a band or orchestra with other speakers. The Harbeth tuning simply isn't about extremes of depth layering or razor-sharp outlines. All that is perfectly in order but not extraordinary. The real attraction is the organic whole. That sounds less like a window on a highly accurate sectional sketch because here the music is simply present. It happens, in-room rather than outside as though through a looking glass. This includes the occasional staging in front of the boxes which never turns into any frontal assault, avoidance of which is assisted by the speakers' opulent staging.
|
 |
Conclusion. The compact Harbeth 30.1 doesn't merely look like fine English furniture but sounds like it. Across 30 years of model refinements, constant sonic fine-tuning has resulted in an extraordinarily mature cohesive sonic picture that avoids pursuit of top figures in any individual discipline—look for airier treble, lower bass, slimmer or fuller mids elsewhere —in favor of a musically persuasive total experience. Instantaneously accessible like a poster child for long-term gratification, the Harbeth 30.1 traverses all music genres with such aplomb that I couldn't help but think that for more than one hifi traveler this wouldn't be the first but last box. The speaker should most appeal to those who over the years have racked up too many miles in the hifi buy'n'sell game to finally have had enough, perhaps even wanting to downsize a bit all to get back at that long-lost simple but raw enjoyment of tunes. As always an audition is mandatory but whoever does that sooner than later will also get it quicker.
|
|
|
Psych profile: The Harbeth 30.1 is characterized by...
• Tonal coherence and easy accessibility.
• Tuned less for low bass and more for a small emphasis in the upper bass/lower mid region. Low bass remains quick and defined for a successful compromise between mass, power and grip.
• A very charming slightly warm yet still transparent vocal range for true connoisseurs.
• Not dialled for maximal top-end air though the upper registers are perfectly integrated and free from hardness and artifacts.
• Voiced perfectly for long-term comfort not least because the presence region is slightly de-emphasized.
• Shows admirable timing and dynamics for its size and concept.
• Somewhat opulent staging where width and depth are quite expansive but individual images larger than with many other speakers to gain in substance and involvement whilst leaving less room between each other. The core motto might have been 'music in the crib' rather than 'window on the performance'. This type of staging feels very alive.
Facts:
•
Concept: 2-way bass-reflex compact
•
Pricing: €3.150 in Cherry, €3.250 in Eucalyptus, €3.375 in Palisander or Tiger Ebony
•
Dimensions and weight: 460 x 277 x 285mm HxWxD, 14.6kg/ea.
•
Efficiency: 85dB/1W/1m
•
Nominal impedance: 8 ohms |
|
redaktion @ fairaudio.de
|
 |
 |
|
 |
