Considering Harbeth C 7ES-3

Hi, @helomech! You seem to be one of the few people around with direct experience with the Spendor SP2/3R2. Could you please elaborate a bit more on:
1. the difference between the SP2/3R2 and the Stirling's?
2. the difference between the SP2/3R2 and SP100R2, if you've heard them (I want to know if the voicing is the same, of course the raw performance should be quite different)?
3. the difference between the SP2/3R2 and the current Spendor Classic range, if you've heard them (2/3, 1/2, 100)?

Thanks a lot! Oh, and apologies to the OP for hijacking the thread, an answer in a new thread or by PM would be fine with me.

You will get more opinions if you start your own thread!!

My experience of smaller Harbeths is that they lack treble. A lot. If you mostly listen to voices and acoustic wood instruments they might be fine for you. They will not give you any listening fatigue.

Hi, @helomech! You seem to be one of the few people around with direct experience with the Spendor SP2/3R2. Could you please elaborate a bit more on:
1. the difference between the SP2/3R2 and the Stirling’s?
2. the difference between the SP2/3R2 and SP100R2, if you’ve heard them (I want to know if the voicing is the same, of course the raw performance should be quite different)?
3. the difference between the SP2/3R2 and the current Spendor Classic range, if you’ve heard them (2/3, 1/2, 100)?

Thanks a lot! Oh, and apologies to the OP for hijacking the thread, an answer in a new thread or by PM would be fine with me.

The SB-88s have a sweeter treble greater bass output, and better dynamics than both the 2/3R2 and C7ES3 - why I find the ToneAudio review so confounding and assume it's really a paid advert. The 88s are equally as resolving as the 2/3R2 which makes them more resolving than the C7s. The 2/3R2s have the warmest tonal balance and biggest sound of the three so I could understand why some may prefer them to the Stirlings. The only potential advantage I heard with the C7s was overall speed, which many often assume is a strength but in IME, it actually hinders the speaker’s detail, as though its speed is damping instrument decay.

I haven’t heard the SP100R2 but I think it relevant to note that I consider the old SP100s to be superior to the 2/3R2s and any other Spendor, Stirling or Harbeth I’ve encountered. If I ever find a pair in good condition I will snatch them up even though I don’t currently have the space. I haven’t heard the most recent Classic series either, but based on my auditions of the A4, I’d bet they’re stellar with greater dynamics than any previous iteration.

My experience of smaller Harbeths is that they lack treble. A lot.

I don't have the C7s, so wasn't going to post in this thread, but I found this comment surprising.  I like treble, and started out with (and still have) a lot of different Klipsch speakers.

I have the 40th anniversary Super HL5 Plus and P3ESR SE and neither are lacking in the treble department, at least in my system.  The P3ESR in particular are revealing information in songs that I'm very familiar with that I never noticed was there before, often in the upper registers.  I listen primarily to classic rock, but also Jazz, Classical, EDM, and more.  The P3s don't have the body, weight, or dynamics of the Super HL5 Plus, but they sound more alike than different.