Foreword / YouTube Video Review
These speakers were loaned to me by Emotiva. They did not see the review before it was published.
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.
< coming soon >
Information and Photos
Some specs from the manufacturer:
The Airmotiv T2+ are three-way floor standing tower loudspeakers that deliver a superb listening experience with both stereo and surround sound music and movies. The Airmotiv T2+ combines exceptional accuracy, amazing precision and detail retrieval, and unsurpassed smoothness - all in one truly great sounding loudspeaker. The Airmotiv T2+ features a 32 mm Airmotiv folded ribbon tweeter, a 5-1/4” woven fiber midrange, dual 8” woven fiber woofers, and a ported cabinet. The Airmotiv T2+ is the perfect choice for a truly awesome stereo sound system, or as one of the critical main front speakers in a high-quality surround sound or home theater audio system. Or, for the absolute ultimate in surround sound, use a full set of Airmotiv T2+’s.
Price is approximately $999 USD for the pair.
If you are interested in purchasing this speaker, please consider using the following affiliate link which earns me a small commission at no additional cost to you: Buy from Emotiva
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:
The reference plane in this test is at the tweeter. Testing was performed without the grille.
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 Frequency Response (0° to ±90°):
Vertical Frequency Response (0° to ±40°):
Horizontal Contour Plot (not normalized):
Horizontal Contour Plot (normalized):
Vertical Contour Plot (not normalized):
Vertical Contour Plot (normalized):
“Globe” Plots
Horizontal Polar (Globe) Plot:
This represents the sound field at 2 meters - above 200Hz - per the legend in the upper left.
Vertical Polar (Globe) Plot:
This represents the sound field at 2 meters - above 200Hz - per the legend in the upper left.
Additional Measurements
On-Axis Response Linearity
Impedance Magnitude and Phase + Equivalent Peak Dissipation Resistance (EPDR)
Near-Field Response
Nearfield response of individual drive units:
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.
Long Term Compression Tests
The below graphics indicate how much SPL is lost or gained in the long-term as a speaker plays at the same output level for 2 minutes, in intervals. Each graphic represents a different SPL: 86dB and 96dB both at 1 meter.
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).
The tests are conducted in this fashion:
- “Cold” logarithmic sine sweep (no stimulus applied beforehand)
- Multitone stimulus played at desired SPL/distance for 2 minutes; intended to represent music signal
- Interim logarithmic sine sweep (no stimulus applied beforehand) (Red in graphic)
- Multitone stimulus played at desired SPL/distance for 2 minutes; intended to represent music signal
- Final logarithmic sine sweep (no stimulus applied beforehand) (Blue in graphic)
The red and blue lines represent changes in the output compared to the initial “cold” test.
Parting / Random Thoughts
If you want to see the music I use for evaluating speakers subjectively, see my Spotify playlist.
I always listen to speakers before I measure them. This ensures I am not swayed by the measurements before I listen. Listening done on-axis but I also turned the speakers to face out into the room as well. I found on-axis to provide the best overall response. Listening volume between 80-95dB at 4m.
Overall a very impressive tower speaker that provides nice linearity within about ±2.50dB on-axis, low distortion and compression and all for under $1000 for a pair.
- Mild resonance ~350Hz that sometimes calls attention to itself
- I didn’t think the soundstage was terribly wide, though the data indicates a nice ±50-60° radiation width through the upper midrange. I believe this is due to the
- Enclosure resonance around 1.5kHz would sometimes call attention to itself with the right instruments/vocal but it was not common in my music/movie auditioning.
- Surprisingly good horizontal sound power and early reflections directivity. Though, the vertical has some lobing between the woofer to midrange and midrange to tweeter.
- Surprisingly deep soundstage that I didn’t notice in the Emotiva B1+ I reviewed recently. Interesting anecdote.
- Really good dynamic range. Low volume levels provide nice punch from kickdrums (“December, 1963” is a good song for this). They also have the ability to play relatively loudly while still having good range as well so turning them up doesn’t result in a loss of dynamic range. This is especially useful for movies.
- I’d say output was limited to about 100-102dB at 4 meters (stereo pair). Above this region there was audible straining of the speakers that may be giving up. The data suggests this is tied to the HF region and a pretty quick uptick in LF distortion. Still, this is very loud and a proper subwoofer would remedy the LF limitation.
If you’re looking for a really, really good tower speaker for a reasonable cost, I definitely think the Emotiva T2+ should be on your list for consideration.
As stated in the Foreword, this written review is purposely a cliff’s notes version. For more details about the performance (objectively and subjectively) please watch the YouTube video.
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