I had convinced myself that the 40A was all the speaker I could ever want or need but the second experience of a 50A at a dealer event led down the darkest of paths…
Its hard to imagine them ever being too much, i constantly think they are just about the right amount of anything I could wish for, and I’m thankful the next demo room with the 100A had no music I recognised to demo :o)
I dont think I’d consider anything less than the 50 because of the bass depth, ppreferably he 100 (or 150…!)
Whilst I recognise th e vital importance of hearing for yourself, I don’t wholly agree that at home is the only way: based on my old IMF TLS 50 speakers I used very happily in 7 different rooms after auditioning only at the dealer’s demo room - and have since heard in 2 others, all sounding good - though whether they would in smaller than the smallest or larger than the largest I don’t know, an my subsequent IMF RSPMs similarly in 4 rooms after the original seller’s home (and subsequently in another), with a problem only in one room - which was a similar problem with their successor. Maybe transmission line speakers are less critical than other designs, as some people have suggested - I don’t know, but that is my experience.
Thanks all - very useful comments and interesting comparisons. Much appreciated. Yes, maybe it is worth a trip north to at least listen to some of the offerings and get a feel for signatures, although none will be hooked up to any Naim gear (they’re a separate crowd again). Comments seem pretty unanimous regarding 19a’s - probably a bit light and foward; and rocking Harbeths - must admit that is good to hear as I’ve always liked them for some reason (never heard) - there’s just something cool about them. I’m probably stepping on toes here, but they’re the type of speaker that I’d love to have in a cosy, dim drawing room with a fire going, cognac and cigar, comfy slippers and robe, playing…metallica!!!
That’s what it’s all about isn’t it? Nothing else matters.
Django,
you should listen to 19a for yourselves, especially if you favor coherence and immediacy in musical reproduction over tasty coloration. The 19a are accurate , you will need a very good source to make the most of them. But if you have that , sky is the limit with those speakers.
I’m no metallica fan , but it is not the kind of music I associate with a passive listening , but yes harbeths have this effect on music…
Harbeth 30.1 definitely do not have a passive effect. Quite the opposite, they draw you in.
They are certainly not as incisive or fast as 19s in lower bass but that does not make them only suitable for passive listening. I also would not describe 30.1 as coloured either, they are very accurate, the most accurate reproduction of vocal and instruments I’ve listened to.
Have you listened to 30.1?
No surprise that 30.2 (40th Anniversary version of 30.1) made it to A rated section of Stereophile’s list of recommended speakers. Reviewer concludes “I also believe that Harbeth’s Monitor 30.2 is the most neutral, accurate, tuneful, fun, and music-loving stand-mounted two-way speaker I’ve heard”.
I must admit that I get very confused about a lot of the commentary regarding sonic signatures. I don’t think I’ve listened to enough variation. For example, if something is ‘slower’ in the bass or not as incisive, how can it be good for propulsive, faster-paced rhythms (in rock/pop for example, rhythm section is bass/drums - all hangs on this)
I don’t really know the answers as a layman. Bass does seem to be better controlled in a sealed design such as with ATC SCM40 or SCM19. It’s also about cabinet resonances and distortion. I read that Harbeth try to keep these in the low bass (sub 50hz) so that the all important mid range is cleaner.
I have listened to them. The midrange is gorgeous , it is even to die for. But those monitors are slow,
especially the low end ; the treble is rolled-off , a little bit too sweet , to be true . IMHO , I feel they are one trick pony with everything in the midrange (this is the most important
part of musical reproduction however ), which is my definition of a coloured speaker. A speaker can be coloured and transparent , as it will let you hear what is on the tape , although here with an euphonic rendition.
I have not listened to the 30.2.
I’ve only listened to Harbeth’s on expos and dealer setups, never at home. I don’t like the old school design that much so I’ve always ruled Harbeth’s out while choosing speakers to demo at home. Also based on my short auditions, discussions and some reviews, they seem to excel on acoustic music while faster and more complex stuff work better with ATC, PMC and such. My music taste is broad but there’s so much fast electronic music, progressive metal etc. that I want double basses and complex passages to play with utmost clarity. I can’t imagine better speaker than SCM40A for that.
They’re not that slow, I agree compared to ATC deep bass sounds slower but as would most other ported designs of this size speaker.
I don’t agree the treble is rolled off, measurements don’t show this either. 30.1 use a top of the range Seas Excel tweeter.
We should not make this thread about Harbeths , as they have little in common with ATCs
Regarding their treble and their measurements , you should be able to find easily this quote in the stereophile review of the 30.2 , you were using earlier
The speaker’s response, averaged across a 30° horizontal window centered on the tweeter axis (fig.3, black trace above 300Hz), is smooth and even,
though with a slight loss of energy in the mid-treble.
and in this review of the 30.1
The transition from midrange to treble is handled beautifully, though I thought the level of the high frequencies was slightly held back in the overall presentation, but all the highs were still clear, clean and beautifully articulated.
I’m not sure they are saying the treble is rolled off. The Stereophile reviewer goes on to say “there is slightly more mid-treble energy 5–10° above the tweeter axis. This speaker needs to be used with stands that place the tweeter axis just below the level of a seated listener’s ears, to get the most neutral treble balance”.
My own view is that the treble is fairly accurate and flat, not hyped in any way.
But yes, let’s not hijack the thread.
The question of bass does depend on the type of music to which you listen. For example, some prog rock with deep pedal bass, not punchy in the attack, but soul-stirring in its depth and intensity, requires a speaker to dig deep. Other music, with sharply plucked bass notes benefit particularly from taut/fast bass response, though often only down to 40Hz, as does the bass drum, Ideally one would have both, a fast response while extending undiminished to 30 or even 20Hz - but that is a tall order for any speaker…
Sealed both designs tend to be good on speed, not depth, while reflex tend to the opposite. Interestingly up to the 40 ATC use seLed cabinets, while the larger models use reflex designs despite the inherently deeper bass response of their 12 and 15 inch drivers.
With respect to midrange, the 40 and upwards use ATC’s 3 inch dome driver, widely regarded as one of, if not the, best midrange drivers ever produced.
the larger models whilst they are ported are not really a reflex design, i think. The port is for correct loading of the larger bass unit rather than to augment bass
An update of the DBLs might solve this dilemma, or even NBLs for those of us with shorter walls
“Go Deeper”. 
I’ve now joined the SCM40A club. The speakers were installed in my lounge this morning and now running in, although ATC themselves say the sound won’t change (though my ears might!) We will see, but IMHO I’d be happy if they stayed just as they are sounding at the moment.
Roger
I seem to recall someone saying that once before - however I am not sure where it comes from and what the difference is supposed to be …if any. Certainly a Martin Colloms review of the 50 describes it as a reflex design, albeit clearly a good one.
Congratulations!
What is the source(s) and PreAmp you are using with the 40A’s?