Harbeth P3ESR Bookshelf speakers
In acoustic systems, a small metal tweeter with a ferromagnetic coolant operates, covered with a frequent cellular metal mesh. Bass and mids are sounded by a speaker, classical in size and profile, with a very steep cone opening, on the softest half-wave rubber suspension. The synthetic material of the diffuser is the company's own know-how; The formerly old and now updated variant called RADIAL2™ (index 2 just refers to the second generation of developments) is present in all Harbeth models. A large conical cap made of hard plastic, covering the outside of the magnetic system, is fixed and does not move with the diffuser. These monitors use sophisticated notch filters to ensure smooth frequency response.
On the back of the speakers it is written that they are handmade in England and come with matched serial numbers. Pleasant little classically shaped bookshelves are almost square in cross section. Thick (at least 8 mm) walls are neatly fitted to each other, the front and rear panels are tightly fastened with an unimaginable number of black screws. At the back there are a couple of terminals for bananas, spatulas and skewers. When listening, it should be borne in mind that the speakers have a very small margin in terms of input power, so it is advisable to stay closer to it - a maximum of one and a half to two meters from each speaker.
First, let's talk about what is not the strength of the kids. These are recordings of an organ, a grand piano and a large-textured double bass, which, however, quite obviously follows from the size and design of the acoustic systems. But further - only about the pleasant. Harbeth P3ESR is characterized by exceptional tonal evenness, without being accompanied by timbre undersaturation. The sound is perceived as extremely even and naturally correct, with superficial listening even as a little boring. But the advantages of acoustic systems are revealed to their full height, one has only to concentrate. Bass is not enough, but the one that is, has an excellent texture and dynamics - after all, a closed box. The middle is the most transparent and informative in the test, with an excellent balance of tones and noises. Small speakers boast wonderful highs, separate and beautifully traced, giving the best texture of percussion, cymbals and the most intelligible and energetic harp glissando. With a violin that is difficult for many acoustic systems, there is also no slightest difficulty, no sand and flattening, including on the forte. By the way, the speakers does not give in to dynamic peaks, on the contrary, it seems to wake up in them. Brass wind instruments are extremely plastic and fluid, high academic vocals seem voluminous and visible in all details. In not too hard rock compositions, everything is also excellent, the "wave packages" of the instruments are fully formed, and the vocals are interesting and characteristic.
