Although I can’t know for sure without disassembling one, I guesstimated that the Harmony’s interior volume is somewhere in the neighborhood of 3190 cubic inches, or approximately 1.8 cubic feet—a rather small volume to support a 12" woofer. That the speaker is capable of low bass at all is somewhat a wonder, but it does get down there. Bass generated by the Harmony feels warm and substantial— visceral, sometimes—but lacks speed, articulation, and finesse. With music recordings, the Harmony didn’t offer the fine distinctions between bass notes that the Voyage presented so clearly. A feeling of muddiness pervaded everything from the midbass down, and there was some difficult-to-define disconnect between the bass octaves and the midrange, regardless of the type of music played.
On the other hand, it was quite satisfying with movies, which I believe was the intention of its designers. In the delightful film The Wedding Singer, which is full of music and musical effects—several scenes involve characters talking while bass-heavy pop music plays—the Harmony did an excellent job of sustaining the background reality while offering the dialogue in bold relief. And with a sensitivity of 91dB (meaning it’s easy for an amplifier to drive), the Harmony is capable of wall-shaking sound-pressure levels. Some of the sonic effects in 28 Days Later, for example, are so dynamic they can jolt you from your seat. The Harmony did so, while revealing layers in the soundtrack. The Harmony’s less-than-state-ofthe- art bass capabilities won’t bother many potential buyers, especially those who value low-end palpability over articulation. It has many other redeeming qualities that make it a good choice. Its smooth upper-frequency response is pleasant and non-fatiguing, and the look is perfect if you’ve got a Montana ranch house full of slate and stone, heavy timbers, and handcrafted artifacts. A place like that is the Harmony’s natural environment.