Foreword / YouTube Video Review
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The review on this website is a brief overview and summary of the objective performance of this speaker. It is not intended to be a deep dive. Moreso, this is information for those who prefer “just the facts” and prefer to have the data without the filler. The video below has more discussion with respect to the technical merits and subjective notes I had during my listening sessions.
- 1” aluminum dome tweeter
- 6-1/2” third-generation aramid fiber cone midrange
- two 6-1/2” third-generation aramid fiber cone woofers
- chambered cabinet with internal bracing helps maximize driver performance
- bass reflex enclosure with rear-firing ports
- outrigger feet and carpet spikes included
- power handling: 30-180 watts
- frequency response: 31-38,000 Hz (-6 dB)
- impedance: 6 ohms
- sensitivity: 87.5 dB
- 7-3/4"W x 43-1/8"H x 10-9/16"D
- weight: 38.8 lbs.
- warranty: 3 years
As of this writing MSRP is approximately $1300/pair.
CTA-2034 (SPINORAMA) and Accompanying Data
All data collected using Klippel’s Near-Field Scanner. The Near-Field-Scanner 3D (NFS) offers a fully automated acoustic measurement of direct sound radiated from the source under test. The radiated sound is determined in any desired distance and angle in the 3D space outside the scanning surface. Directivity, sound power, SPL response and many more key figures are obtained for any kind of loudspeaker and audio system in near field applications (e.g. studio monitors, mobile devices) as well as far field applications (e.g. professional audio systems). Utilizing a minimum of measurement points, a comprehensive data set is generated containing the loudspeaker’s high resolution, free field sound radiation in the near and far field. For a detailed explanation of how the NFS works and the science behind it, please watch the below discussion with designer Christian Bellmann:
IMPORTANT SETUP INFO: This speaker was measured with the reference point at the tweeter. Speaker was broken in. No grille was used.
Measurements are provided in a format in accordance with the Standard Method of Measurement for In-Home Loudspeakers (ANSI/CTA-2034-A R-2020). For more information, please see this link.
CTA-2034 / SPINORAMA:
The On-axis Frequency Response (0°) is the universal starting point and in many situations it is a fair representation of the first sound to arrive at a listener’s ears.
The Listening Window is a spatial average of the nine amplitude responses in the ±10º vertical and ±30º horizontal angular range. This encompasses those listeners who sit within a typical home theater audience, as well as those who disregard the normal rules when listening alone.
The Early Reflections curve is an estimate of all single-bounce, first-reflections, in a typical listening room.
Sound Power represents all of the sounds arriving at the listening position after any number of reflections from any direction. It is the weighted rms average of all 70 measurements, with individual measurements weighted according to the portion of the spherical surface that they represent.
Sound Power Directivity Index (SPDI): In this standard the SPDI is defined as the difference between the listening window curve and the sound power curve.
Early Reflections Directivity Index (EPDI): is defined as the difference between the listening window curve and the early reflections curve. In small rooms, early reflections figure prominently in what is measured and heard in the room so this curve may provide insights into potential sound quality.
Early Reflections Breakout:
Floor bounce: average of 20º, 30º, 40º down
Ceiling bounce: average of 40º, 50º, 60º up
Front wall bounce: average of 0º, ± 10º, ± 20º, ± 30º horizontal
Side wall bounces: average of ± 40º, ± 50º, ± 60º, ± 70º, ± 80º horizontal
Rear wall bounces: average of 180º, ± 90º horizontal
Estimated In-Room Response:
In theory, with complete 360-degree anechoic data on a loudspeaker and sufficient acoustical and geometrical data on the listening room and its layout it would be possible to estimate with good precision what would be measured by an omnidirectional microphone located in the listening area of that room. By making some simplifying assumptions about the listening space, the data set described above permits a usefully accurate preview of how a given loudspeaker might perform in a typical domestic listening room. Obviously, there are no guarantees, because individual rooms can be acoustically aberrant. Sometimes rooms are excessively reflective (“live”) as happens in certain hot, humid climates, with certain styles of interior décor and in under-furnished rooms. Sometimes rooms are excessively “dead” as in other styles of décor and in some custom home theaters where acoustical treatment has been used excessively. This form of post processing is offered only as an estimate of what might happen in a domestic living space with carpet on the floor and a “normal” amount of seating, drapes and cabinetry.
For these limited circumstances it has been found that a usefully accurate Predicted In-Room (PIR) amplitude response, also known as a “room curve” is obtained by a weighted average consisting of 12 % listening window, 44 % early reflections and 44 % sound power. At very high frequencies errors can creep in because of excessive absorption, microphone directivity, and room geometry. These discrepancies are not considered to be of great importance.
Horizontal Contour Plot (normalized):
Vertical Contour Plot (normalized):
Additional Measurements
Impedance
Response Linearity
Horizontal Frequency Response:
Vertical Frequency Response:
Step Response
Group Delay
Burst Decay
This data is full anechoic where most spectral decay type graphics are created using quasi-anechoic data. For more information on the differences between Burst Decay and Cumulative Spectral Decay (CSD) graphics please see Section 6.5 of the ARTA User Manual linked below. I would like to extend a professional "thank you" to Ivo Mateljan for this software.
Harmonic Distortion
Harmonic Distortion at 86dB @ 1m:
Harmonic Distortion at 96dB @ 1m:
Dynamic Range (Instantaneous Compression Test)
The below graphic indicates just how much SPL is lost (compression) or gained (enhancement; usually due to distortion) when the speaker is played at higher output volumes instantly via a 2.7 second logarithmic sine sweep referenced to 76dB at 1 meter. The signals are played consecutively without any additional stimulus applied. Then normalized against the 76dB result.
The tests are conducted in this fashion:
- 76dB at 1 meter (baseline; black)
- 86dB at 1 meter (red)
- 96dB at 1 meter (blue)
- 102dB at 1 meter (purple)
The purpose of this test is to illustrate how much (if at all) the output changes as a speaker’s components temperature increases (i.e., voice coils, crossover components) instantaneously.
Multitone Distortion
The following tests are conducted at (4) approximate equivalent output volumes: 70/79/87/96dB @ 1 meter. The (4) voltages listed in the legend result in these SPL values. This test signal is dense, similar to pink noise and excites the entire spectrums listed below at the same time. The test signal lasts 30 seconds. This is different than the sine wave test signal used to measure frequency response. The purpose of this distortion and compression test is to illustrate how much (if at all) the output changes as a speaker’s components temperature increases (i.e., voice coils, crossover components) over time.
Given the test signal is similar to pink noise and exciting the entire spectrum at the same time I also include compression results, which is captured at the same time distortion is captured. Sometimes these results differ from the compression results you see above (namely with powered designs incorporating DSP-based limiting).
Note: The KLIPPEL software shows compression in the positive scale.
The test was conducted in (3) manners:
- Full bandwidth (20Hz to 20kHz)
- 80Hz to 20kHz
The reason for the two measurements is to simulate running the speaker full range vs using a high-pass filter at 80Hz. However, note: the 2nd test low frequency limit at 80Hz is a “brick wall” and doesn’t quite emulate a standard filter of 12 or 24dB/octave. But… it’s close enough to illustrate the point.
- Full bandwidth (20Hz to 20kHz)
- 80Hz to 20kHz
Parting / Random Thoughts
See video linked above for full subjective and objective analysis. An AI-generated summarized transcript is provided below:
- Build & Design
- Internals show good damping material and a braced cabinet
- Separate midrange chamber ensures acoustic isolation
- Visual build is attractive; overall look gets praise
- Midrange driver is confirmed to be different from woofers using quick impedance sweeps
- Subjective Listening Impressions
- Positioning:
- Best when pointed directly at the listener
- Can work close to walls due to shallow bass rolloff
- Bass:
- Solid extension to 50–60 Hz in room
- Clean, with good output and minimal distortion
- Works decently for music without a sub, but may still need one for home theater
- Soundstage & Imaging:
- Wide soundstage (close to ±60°)
- Good instrument separation (e.g., Norah Jones – Waiting)
- Some minor tradeoff when towed out — wider stage but reduced imaging precision
- Resonances Noticed:
- Vocal “drone” noted with female vocals
- Verified by data: blip in group delay and impedance near 250–300 Hz
- Possibly addressable with EQ or boundary reinforcement
- Tonality:
- “Neutral-ish” with slight dip in 1–3 kHz range
- Shaker on MJ’s Wanna Be Startin’ Somethin’ stood out; EQ fixed it
- Compared favorably to Audio First Fidelia bookshelf when EQed
- Subjectively “warm” due to mild scoop between 800 Hz – 2.5 kHz
- Final Verdict:
- Recommended — great value at ~$1,300/pair
- Performs better than Polk R500, potentially competitive with R700
- Positioning:
- Measurement Data (Klippel NFS)
- Frequency Response:
- On-axis shows shallow rolloff
- F3: 71 Hz, F10: 29 Hz
- Average sensitivity: ~87 dB
- 200–300 Hz resonance region confirmed
- Slight dip in midrange (~1–3 kHz), followed by mild bump at 10 kHz
- Spinorama (CTA 2034):
- Overall directivity is good
- Slight mismatch between midrange and tweeter handoff (~2.5 kHz)
- Could be improved by lowering tweeter crossover
- Estimated in-room matches subjective impressions well
- Burst Decay:
- Shows slow decay in lower midrange and 10 kHz region
- Midrange resonance likely audible (matches vocal drone noted earlier)
- Dispersion Patterns:
- Horizontal:
- ±70° wide dispersion
- Smooth directivity control via waveguide
- Vertical:
- Narrower; must sit at tweeter level
- Less forgiving of vertical positioning
- Horizontal:
- Distortion:
- 86 & 96 dB — both very clean
- Multitone distortion below 3% threshold
- High output capability
- Compression:
- Minor low midrange compression artifacts, but all < 1 dB — very good
- Group Delay & Impedance:
- Group delay wiggle at 250–300 Hz confirms resonance
- Impedance dips:
- Minimum ~3.4 ohm
- EPDR: ~1.5 ohm
- Most 4-ohm stable amps will drive it fine; AB amps should be well-ventilated
- Frequency Response:
- Pros
- Wide, clean soundstage
- Strong bass extension and output capability
- Excellent value at price point
- Clean cabinet internals and construction
- Good performance even without a subwoofer for music
- Cons
- Resonance around 250–300 Hz affects vocals
- Slight midrange dip — warm tonality
- Shaker (10 kHz) stands out unless EQed
- Vertical listening window is limited
- Could benefit from a slightly lower tweeter crossover point
- Conclusion
- Solid 3-way tower at a reasonable price
- Outperforms comparable models like Polk R500
- Recommended for both music and moderate home theater use
- Use EQ to fine-tune vocal region and treble bump if desired
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