Foreword / YouTube Video Review
This pair of speakers was loaned to me by a viewer, brand new in box.
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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.
Information
Specs from the manufacturer can be found here.
Retail cost if $750/pair USD.
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 and with the grille off.
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 (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
Impedance
Response Linearity
Step Response
Group Delay
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.
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.
For information on how to read the below data, watch this video:
- Full bandwidth (20Hz to 20kHz)
- 80Hz to 20kHz
Parting / Random Thoughts
See video linked above for subjective and objective analysis.
Overall, my impression of the speaker is that it is relatively neutral with good tonality, but it does have some limitations in terms of output and mid-range distortions.
The speaker features a two-way design with a 6.5-inch mid-woofer and a 1-inch ring radiator tweeter. The ring radiator tweeter has a more narrow dispersion pattern in the higher frequencies compared to a dome tweeter design, so it is recommended to aim the speaker directly at the listener, without toeing it out or facing it towards the room.
Let’s start with the pros. The speaker has reasonably tight focusing and imaging, allowing for easy pinpointing of images within the soundstage. The bass response in-room is good down to about 50 Hz, but it lacks the thump and authority in the mid-bass and kick drum frequencies. The mid-range of the R200 is neutral and pleasing, except for some issues around the 800 Hz to 1 kHz range, where there is a slight tinny or glare-like quality in certain instruments and vocals. Above 10 kHz, there is an artificial sound reminiscent of boosted EQ in the higher frequencies.
Now let’s delve into the data to better understand these observations. The impedance data shows that the speaker is close to a 4-ohm nominal load, so it is recommended to use a 4-ohm capable amplifier to drive it properly. The frequency response data indicates that the speaker has a mostly linear response within a 1.5 dB range up to 10 kHz, with peaking above that frequency. There is a resonance around 1 kHz that could explain the perceived glare in vocals and instruments in that range.
The vertical response data reveals that there is a noticeable difference in sound above and below the tweeter plane, emphasizing the importance of keeping the ears on the tweeter line for consistent sound. Distortion measurements at 86 dB and 96 dB show reasonable performance, but there is a peak in second-order distortion around 6 kHz to 7 kHz. Multi-tone distortion measurements indicate higher distortion levels in the 800 Hz to 1 kHz range at higher output levels.
Compression tests show that the speaker can handle a dynamic range of about 20 dB at lower volumes, but at higher volumes, there is compression and distortion, particularly in the low frequencies. Using a crossover at around 80 Hz or 100 Hz can help mitigate these issues.
In conclusion, the Polk R200 bookshelf speaker offers a relatively neutral sound with good tonality, but it has limitations in output and mid-range distortions. It is important to keep the volume in check to avoid audible issues. While the speaker performs reasonably well overall, it may benefit from the use of a subwoofer and careful EQ adjustments to address the specific frequency response and distortion characteristics.
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