Steve Speaks

Q: When did you first become aware of Hartley Loudspeakers?

A: I first found them online about eight years ago when I was searching for high-quality speaker drivers for what I planned to be my reference line. I was looking at all kinds of options from all over the world, and then their products popped up. I was intrigued, so I reached out and got my first samples. But life got busy, and I didn’t get a chance to do much with them at first. Eventually, we put together a sample open-baffle panel to test them out, and the moment I heard them—I was blown away. They were everything I had been looking for. A couple of years later, I reached out to Richard Schmetterer at Hartley. He told me he had just shut down the company. His wife had passed away, and he didn’t have anyone to leave the business to. He wasn’t interested in selling to a big corporate buyer, even though he had offers. That’s when we really started talking. It took another two years, but eventually, we made a deal—and the rest is history.

Q: Why do you think Richard picked you for the rebirth of Hartley.

A: Richard chose us because of the quality of the products we were making, our design philosophy, and the fact that we are a family-owned company. What really stood out to him, though, was that his design is very chemistry-based, and while he had some people in the U.S. working with him, they didn’t fully understand the chemistry behind the design.

As a paint factory with a full lab, we were uniquely positioned to work on that. He started collaborating with my son Simon in our lab, and because Hartley’s design is so chemistry-heavy, we have a deep understanding of it. Everything, from the glues and doping to the voice coils and resins, is made in-house.

The key difference is that Richard didn’t think anyone else would have the capability to execute that level of detail. Many companies, like those from China, were more focused on the name and less concerned with the actual process or quality. They were already familiar with how to make speakers, but they didn’t understand or value the heart and soul of the Hartley design. We’re committed to preserving that integrity—the heart and soul of Hartley’s sound.

In our lab, we maintain a high standard of formulation integrity. A lot of the work happens at the lab level, with Richard and our factory team working closely together. After that, the products are produced and then move into the fabrication area. We have both the lab capabilities and the in-house milling capabilities, so where Richard previously had to outsource, we can now produce everything in-house.

Q: How does Hartley speak to your audiophile philosophy in terms of functionality, design, sound integrity, etc?

A: What I really like about Hartley is, first and foremost, the sound. When I first heard it, I was impressed, but then I started looking at the design of the Concertmaster drivers. I thought, "Wow, this really makes sense." I have experience in audio from the '70s, so I’ve seen countless designs from the biggest companies. Given that Hartley has been around for so long, I could see where these other companies had adapted some aspects of their designs over time. However, they missed some of the key elements that make Hartley unique.

One of the standout features is the design of the voice coil and the way it is cooled. The cooling element in the voice coil is something I've never seen before, and now I have a solid understanding of how it works and why the voice coil, spider and magnet assembly is so effective. 

Then there’s the spider. For the longest time, I never really understood why they called it a "spider," since it’s just a piece of corrugated cloth. But then I saw Hartley’s design, and I thought, “Well, that actually looks like a spider!” It was a real "Aha!" moment. I even had a few long conversations about spider designs with Darren Censulo from Avatar Acoustics—one of those chats took place in a bar at a trade show. We were talking about what the perfect spider design would look like, and funny enough, when I saw Richard’s design, it was pretty much exactly what we had been discussing. It made perfect sense when I saw it in person.

Q: What is it about Hartley that you want to preserve and honour?

A: Well, for one, I’ve been an antique collector since I was a little kid, so I’ve always believed in the value of history, quality, and preservation. I have a deep love for antiques, and Hartley is like a living, breathing antique museum. Much like the best vintage sports cars, Hartley’s original designs are timeless. Not only do these speakers have that rich history, but they also sound better than anything I’ve heard to date. There are many designs out there, and while some do one or two things incredibly well, they often fall short in other areas. Some have suspensions that are too rubbery, or cones made from strange alloys—great for accuracy but lacking musicality. Hartley’s design, on the other hand, just sounds like music. When you play them, you’re immersed in a euphoric, natural sound. The sound is totally neutral, with a richness that’s hard to match.

I want to preserve this because it’s the best sound I’ve found, and it happens to be vintage. On top of that, the speakers feature sandcast baskets, and the cones are made from a fabric that’s doped like the wings and bodies of old biplanes—lightweight, stiff, and incredibly durable. Sure, you can go with carbon fiber, ceramics, and other exotic materials like some other companies, but that drives the price up. While those materials sound good in many ways, they still fall short in other areas,  and produce a dry, more clinical, sound.. You can’t make something sound natural with synthetic materials, and Hartley’s all-natural design, made from natural materials, is key to its authenticity. I want to maintain that integrity.

Q: There is a dedication in both companies to hands-on craftsmanship, being family run, and boutique manufacturing. Can you speak to that?

A: To sum it all up, everything I mentioned earlier really comes together in Hartley. The passion is there—personally, I can tell you, the passion is real. We’re far enough along with Tri-Art Audio that it really makes sense to take this step. I’ve reached a point where I’ve maxed out what I could do with purchasing drivers from other companies, and Hartley offers everything I need in a fantastic package. Working with Richard has been amazing—he’s made the transition smooth, and I feel honored to carry on this legacy.

I now have an obligation to continue the work that started with Dr. Luth, H.A. Hartley, P.K. Turner, and Richard’s father Robert Schmetterer, and now with Richard. It’s all about passing on this history and commitment to quality. In today’s world, too much is lost to corporate interests. I look at some of the current speaker designs out there, and they’re so corporate it’s unbelievable. They’re made with materials like Formula One racing car parts and space-age alloys. While those designs may sound impressive on paper, when I listen to them, I think, "What happened to audio?" It’s not there anymore.

Hartley represents the original spirit of audio—the warmth and detail that defined the '70s and '80s. These speakers are every bit as accurate and detailed as anything out there, but they also sound like music. It’s not a sterile, artificial listening experience where the numbers on paper wow you but the music falls short. And, importantly, they’re not priced in the millions.

The Concertmaster line will be premium quality, premium pricing, and, above all, premium sound. Once we release the re-envisioned Concertmaster line, I’ll put them up against any of the half-million or million-dollar speakers out there. They’ll stand shoulder to shoulder with them.

Q: So, tell me about the design. What aspects of the original Hartley speakers did you keep, and why?

A: For the Concertmaster drivers, I kept everything pretty much the same. The only change I’m considering is the fiberglass spider. We’re still making them with fiberglass, but we’re also testing carbon fiber. Carbon fiber could be even better—it’s lighter, more rigid, and could improve performance. But that’s the only thing I might tweak.

As for the Reference line, almost everything is the same—the crossover, the drivers, the whole speaker design. The main change is the box shape. I’ve updated the design, not just for looks but to improve the sound. Instead of the '70s monitor vibe, I’ve made the sound much more modern—clearer, faster, and more detailed. It’s now at a level of fidelity that’s comparable to high-end modern monitors, but still keeps that open, spacious feel you get with open baffle designs. I haven’t been able to push these speakers to their volume limits yet because the magnet and voice coil are so well-controlled, but the sound is tight even when cranked up.

Q: What specifically has changed in the design, and what was the reason for those changes?

A: On the inside, I’ve been working on the materials and how the cabinets are dampened. Richard and I worked on a special dampening method, but the original materials just aren’t available anymore. So, I’ve switched to local, natural materials like sheep’s wool and hemp wool. These two materials, with their different densities, are great for controlling unwanted vibrations inside the box.

I changed the port orientation and moved one of the drivers up above the tweeter. The Reference speakers are now on short stands instead of being floor-standing. These changes really tighten up the sound, making it faster and more detailed. The driver positioning and port adjustments help focus the sound better, too.

I also went with a six-sided cabinet that’s shaped a bit like a hexagon. The goal is to concentrate the energy coming out of the speakers. I really want those low frequencies to come from one focused point, which is why I love single-driver speakers. The port placement and driver positioning improvements made a big difference in the sound, bringing it all together nicely.

Q: That hexagonal shape is interesting. Why did you choose that design for the cabinet?

A: So, here’s the thing: when sound waves travel along the edges of a square box, they can cause reflections that mess with the sound. I didn’t try to eliminate this—instead, I embraced it. It’s almost like a reverse horn design, where the energy is amplified rather than minimized. The waffled edges at the back of the speaker help guide the sound out smoothly, like turbulence at the end of an aircraft wing. This keeps the sound clean and clear, without those unwanted reflections.

Q: Why should audiophiles be excited about these speakers? What makes them special?

A: Hartley has been around for so long, and it’s a brand audiophiles really respect. Richard Hartley’s designs influenced a lot of the big names in audio, and even today, his work is considered top-tier. If you look at the used market, you’ll see Hartley drivers going for big prices. The legacy is strong, and that’s something we’re looking to build on. We’re also offering vintage drivers for re-coning, so people can bring their old ones back to life. We’ve already got a huge waiting list for them. Plus, the high-end HiFi stores that have been around for decades are eager to sell Hartley products again. The demand is there, and not just in North America, but especially in Europe and Japan where Hartley fans are huge.

Q: How compatible are these speakers with different audio setups?

A: These speakers will work really well with a wide range of amplifiers and room sizes. They’re designed to deliver high-quality sound with precision, so you’ll get the best out of your audio system no matter what you pair them with. Due to their high fidelity and precise design, they pair well with high-quality components, bringing out the best in audio systems.

The fusion of Hartley Loudspeakers and Tri-Art Audio represents a powerful blend of legacy and innovation. With Tri-Art's commitment to hands-on craftsmanship and a deep understanding of materials science, Hartley's timeless designs are poised for a renaissance. The combined expertise allows for both the faithful recreation of classic models and the development of new designs that honor Hartley's sonic heritage while incorporating modern advancements. Tri-Art’s acquisition of the company ensures that Hartley's unique sound signature, cherished by audiophiles for decades, will continue to inspire and captivate listeners for generations to come. The integration of in-house manufacturing capabilities means greater quality control and the ability to experiment with new materials and techniques, pushing the boundaries of what's possible in loudspeaker design. The future looks bright for this revitalized brand.