Foreword / YouTube Video Review

These speakers were loaned to me to review by the manufacturer. I was not paid nor did I receive any other form of compensation for this review.

All my reviews are done on my own time with great care to give you all the best set of data and information I can provide in order to help you make a well-informed purchase decision. I offer this for free to all who are interested. In return, if you want to support this site please see the bottom of this review for ways you can help. It is greatly appreciated.

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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.

Manufacturer Specs:

• three-way driver array:
• 10" midrange driver with concentrically mounted 1-1/4" tweeter
• two 10" bass drivers
• Master Edition crossover features high-quality components built onto separate boards for low- and high-frequency circuits user-adjustable three-position high-frequency switch (Low/Mid/High)
• power handling: up to 200 watts RMS
• frequency response: 27-30,000 Hz
• sensitivity: 91 dB
• impedance: 6 ohms
• two pairs of binding post terminals (bi-amp compatible)
• real wood veneer cabinet
• designed by audio legend Andrew Jones
• Dimensions and warranty:
  • 15-5/8"W x 48-13/16"H x 19-15/16"D
  • weight: 160 lbs. (each)
  • warranty: 5 years

As of this writing MSRP is $7995/pair (including shipping).

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: Per the manufacturer, this speaker was measured with the reference point between the midrange and the tweeter. Speaker was broken in. I have provided the standard CEA-2034 measurement at 0° and also 15° horizontal aiming. It is typically recommended to listen to coaxial speakers slightly off-axis. Therefore, I have provided both sets of data.

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

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.

ARTA User Manual

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:

1. 76dB at 1 meter (baseline; black)
2. 86dB at 1 meter (red)
3. 96dB at 1 meter (blue)
4. 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:

1. Full bandwidth (20Hz to 20kHz)
2. 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.

1. Full bandwidth (20Hz to 20kHz)

2. 80Hz to 20kHz

Parting / Random Thoughts

See video linked above for full subjective and objective analysis. An AI-generated summarized transcript is provided below:

Initial Impressions & Overview

• The MoFi SourcePoint V10 Master Edition is an outstanding speaker and one I can recommend without hesitation
• It retails for approximately $8,000 per pair
• These were loaned to me by MoFi for review, with no payment or other compensation involved
• If I stopped reviewing speakers and had the space to keep one pair, these would be among the speakers I would seriously consider buying
• In my personal ranking, they sit behind only the KEF Blade 2 Meta, despite costing far less
• They also compare favorably with speakers such as:
  • Dutch & Dutch 8C
  • JBL 4367
  • JBL M2
• This is a new Andrew Jones design that debuted at AXPONA in Chicago

Size, Weight, and Setup

• These are genuinely large speakers:
  • Approximately 49 inches / 125 cm tall
  • Approximately 160 pounds / 72–73 kg each
• Their size means they need a reasonably large room and plenty of space around them
• I would place them at least two feet from the front wall
• They perform best with a slight toe-out:
  • Approximately 10–15° behind the listening position
  • Pointing them directly at the listener is not ideal
• Slight toe-out helps smooth the upper-midrange and treble response

Treble Adjustment Options

• The rear panel includes three treble settings:
  • High
  • Medium
  • Low
• The High setting applies little or no attenuation
• Medium lowers the treble by approximately 1.5 dB
• Low reduces it by another 1.5 dB
• This gives roughly 3 dB of total treble adjustment
• These controls make it possible to fine-tune the high frequencies without external EQ
• I still recommend equalization for bass, but the rear switch is useful for tailoring the overall tonal balance

Subjective Listening Impressions

• The overall presentation is large and enveloping
• These create a genuine wall of sound, and the initial presentation can make the volume seem louder than expected
• Part of that comes from their approximately 89 dB sensitivity, but their physical size and proximity also contribute
• Once I adjusted to the scale of the presentation, I found them extremely enjoyable and easy to relax into
• The overall tonal balance is neutral, even though the measurements show a few minor nonlinearities
• These speakers do so many things well that the smaller tonal issues never distracted me during listening

Bass Performance

• In-room bass extension reaches approximately 30 Hz
• Most listeners will not need a subwoofer unless they want very deep content such as pipe-organ fundamentals near 17 Hz
• The bass is deep without sounding bloated or exaggerated
• There is no excessive midbass peak designed to create artificial impact
• Instead, the speaker delivers multiple layers of bass:
  • Deep low-frequency weight
  • Strong midbass punch
  • Clear bass detail and texture
• The combination of true 30 Hz extension and clean output through the 60–80 Hz region creates a sense of scale that smaller speakers cannot reproduce
• Achieving a similar result with bookshelf speakers would require exceptionally well-integrated subwoofers
• Because the bass system is already integrated into the speaker, there is no need to manage separate gain, crossover, or phase alignment

Imaging and Soundstage

• Instruments and vocals remain firmly positioned within the soundstage
• The soundstage is not simply wide and rectangular—it feels more spherical and three-dimensional
• Instead of hearing hard boundaries between the speakers, the sound seems to form a large sphere around the listening position
• Depth layering is excellent, and the presentation feels unconstrained by the physical cabinets
• I consider this lack of clearly defined soundstage edges a major strength

Driver Integration and Coherence

• Large multi-driver speakers can sometimes reveal the location of individual drivers or crossover regions. With poorly integrated designs, sounds can appear to shift vertically as they pan across the soundstage. This is especially distracting once it becomes noticeable. I never heard that problem with the V10. The coaxial design and crossover integration keep images stable and cohesive. Vocals and instruments sound like they originate from one unified source rather than separate drivers. The transition between bass, midrange, and treble remains seamless even at high output levels.

Dynamics and Output Capability

• Dynamic capability is exceptional
• I stress-tested the speakers at approximately 100 dB from 10 feet away
• They showed no obvious signs of strain, weakness, or distracting distortion
• Bass remained controlled while vocals and midrange content stayed clean
• There was no grainy or compressed character when complex music was played loudly
• These can reproduce deep bass and midrange information simultaneously without the loss of clarity that often affects smaller or less capable speakers

Objective Data Highlights

• Average measured sensitivity is approximately 89 dB
• The on-axis response shows a few minor irregularities:
  • A small saddle around 80 Hz
  • A dip near 300 Hz
  • A few small high-frequency variations
• The 300 Hz dip appears to be related to an enclosure resonance
• Measuring the speaker approximately 15° off-axis smooths the upper-midrange and treble response
• The CTA-2034 data shows generally good linearity and strong overall behavior
• The estimated in-room response closely matches what I heard
• Although I could identify some measured imperfections, none of them became significant listening distractions

Directivity and Listening Window

• Horizontal radiation is approximately ±60°
• Vertical radiation is also very wide, approximately ±60°
• This creates a large and forgiving listening area
• Listeners are not required to keep their ears locked precisely at tweeter height
• The wide vertical coverage makes the speakers suitable for:
  • Multiple seating positions
  • Standing or moving around the room
  • Multi-row home theater seating
• This broad coverage contributes heavily to the enveloping and immersive presentation

Distortion and Compression

• Harmonic distortion is extremely low at both 86 dB and 96 dB
• Distortion remains below approximately 1% through most of the audible range
• Multi-tone distortion shows a small peak around 4 kHz, but I did not hear it as a problem
• I specifically listened for:
  • Graininess
  • Midrange compression
  • Loss of clarity during complex passages
• None of those issues stood out
• Long-term compression is practically nonexistent, even during 30-second pink-noise testing
• Short-term dynamic compression is also extremely low
• These speakers maintain their tonal balance and dynamics exceptionally well as volume increases

Impedance and Amplifier Compatibility

• Minimum impedance is approximately 5.3 ohms
• Minimum EPDR is approximately 3.1 ohms
• Despite their size and output capability, these are not especially difficult speakers for an amplifier to drive
• Changing from a high-damping-factor amplifier to one with lower damping has very little effect through the midrange and treble
• A tube amplifier or another amplifier with high output impedance may reduce bass output around 50–60 Hz
• With a conventional solid-state amplifier, the speaker should present a relatively manageable load

Trade-Offs

• The frequency response is not perfectly smooth
• There are small diffraction-related variations and response oscillations within roughly a decibel
• These imperfections are more visible in graphs than they were audible during listening
• I never found myself focusing on these issues, even after reviewing the measurements and listening again
• The speaker’s trade-offs are outweighed by its combination of:
  • Deep bass extension
  • Wide horizontal radiation
  • Wide vertical radiation
  • Precise imaging
  • Extremely low distortion
  • Outstanding dynamic capability

Final Thoughts

• For me, the V10 offers one of the best overall combinations of compromises I have encountered
• It delivers the scale of a large speaker without sacrificing imaging precision or tonal coherence
• The deep bass, wide coverage, low distortion, and effortless output make it an exceptional all-around performer
• It is not the most perfectly linear speaker I have measured, but its strengths are substantial enough that the minor issues did not interfere with my enjoyment
• In my personal opinion, this speaker is close to exactly what I want from a loudspeaker

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