Leben CS 600 and Harbeth vs Audio Note vs ATC vs JM Reynaud

I saw your post.  Interestingly I am trying to upgrade my Spendor SP-1s from 1988.  I heard the A7 but found it a little sparse, though more dynamic than the SP1s.  It did not have the magical mid range.  I would be interested in the Classic 100, but cannot find a place to audition them.  Found the Harbeth SHL 5 a little edgy.  Also trying to find Graham to audition- the distributer is trying to set up a local demo for me.
Anyway thanks for your insightMP

@mpomerantz I too found the SHL5 bright, though I gather many people do not.  However, it is voiced differently from the 30.2 and 40.2, both of which I've heard and liked a lot.  The only dealer I know of that has Classic 100s on the floor is David Lewis in Philadelphia.  There must be a couple of others, somewhere.  I've never heard the LS5/8, but would have liked to have done.

Wow, my SHL5 plus are anything but bright.  Very interesting... I will continue to repeat though, that Harbeths need power to sound their best.

I found the SHL5's (non-plus version) to be a bit sharp / bright as well.  Glad to know I'm not alone in that assessment.

@pdreher  your post intrigued me as the standard SLH5s are said to be a tad less open than the plus versions. But then again sensitivity to brightness and sibilance does seems to vary from listener to listener.

I find that in my case it definitely increases if the overall sound fails to captivate. As soon as the music fails to hold my interest I find myself almost immediately beginning to notice sonic flaws which I was previously hadn't noticed.

The fact of the matter is that it's very rare to find any dome tweeter that remains impeccably clean. I've yet to hear one. Of course implementation and crossover points are vital as we know tweeters begun to break up towards the low end of their operating range.

Sometimes designers will take a tweeter low in order to match it's room dispersion characteristics to that of the woofer. Problem is that this will take you somewhere deeper into the vocal range.

The cleanest and most delightful treble I've heard were the ribbons used on the Kerr Acoustic K320s. I couldn't tell if they were blemish free, that would have needed some sibilance torture tracks played loudly, but I couldn't hear anything obviously wrong.

It would be interesting to see how good ribbons compare with some hi-tech designs such as the B&W diamond domes or even some beryllium designs as used by Focal because to my ears treble can never be clean enough.