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.
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- 3-way driver design:
- 1" soft-dome tweeter
- 2" soft-dome midrange driver
- two 6-1/2" woven Kevlar bass drivers
- frequency response: 54-20,000 Hz (±3dB)
- sensitivity: 90dB
- impedance: 6 ohms
- power handling: 25-150 watts RMS
- bass reflex (ported) cabinet with dual rear-firing ports
- removable, classic-style cloth grille
- binding post speaker terminals
- custom crossover and extensive driver tuning for optimized, natural sound
- voice-matched with Wharfedale Heritage-series speakers
- real-wood veneers visually matched with Heritage-series speakers
- designed by Wharfedale’s Director of Acoustic Design, Peter Comeau
- dimensions: 21.69"W x 9.88"H x 12.44"D (including terminals)
- weight: 30.9 lbs.
As of this writing MSRP is $999 for the single speaker.
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 at the tweeter. Speaker was broken in. The grille was used in the testing (as recommended by the manufacturer). I have provided the standard CEA-2034 measurement at both 0° on-axis and 30° horizontal off-axis.
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.
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
Objective Measurement Summary
The Wharfedale Heritage Centre measures reasonably well overall, with good output capability, relatively broad horizontal dispersion for a center-channel speaker, and generally controlled directivity. Its primary weakness is frequency-response accuracy rather than distortion or dynamic capability.
Frequency Response and Tonal Balance
- Measured sensitivity is approximately 88.7 dB @ 2.83 V/1 m, based on the 300 Hz to 3 kHz average.
- Bass extension is approximately:
- F3: 65 Hz
- F10: 47 Hz
- From roughly 100 Hz through 1 kHz, the response gradually falls by approximately 2–3 dB.
- Output then rises through portions of the upper midrange and treble, with elevated regions around 2–4 kHz and 9–14 kHz.
- There is a relatively narrow but deep on-axis cancellation around 7.5 kHz.
- Calculated response linearity is approximately -2.85/+3.38 dB from 80 Hz to 16 kHz.
The frequency-response deviations are predominantly broad rather than consisting entirely of narrow resonances. This suggests the native tonal balance may sound somewhat recessed through portions of the lower midrange/midrange relative to the upper midrange and treble. Importantly, the Listening Window is smoother than the strict on-axis response, particularly around the 7.5 kHz cancellation. This indicates that the narrow dip is strongly angle-dependent rather than representing a comparable reduction in the speaker’s total radiated energy.
Directivity
Horizontal dispersion is relatively broad through the midrange and remains reasonably well controlled through much of the treble. This is particularly important for a center-channel speaker, where listeners are often seated significantly off-axis. Being a 3-way design this center channel tends to have a more consistent horizontal dispersion with about ±40° of dispersion (-6dB). This is sufficient that most home theater or living room setups will have enough coverage for multiple seats. The problem still seems to be the broadening of dispersion in the lower treble which can come across as “bright”. Vertical dispersion is more complicated, with additional lobing and narrowing through portions of the upper midrange and treble.
The Early Reflections Directivity Index also generally increases with frequency. While it is not perfectly smooth, there are no enormous directivity discontinuities through the most important portion of the midrange. The Listening Window, Early Reflections, and Sound Power responses generally retain the broad trends visible in the direct response. This is important because it indicates that much of the frequency-response error should respond reasonably well to EQ. There are still some directivity irregularities, particularly around approximately 500–800 Hz, through portions of the 2–4 kHz region, and in the upper treble.
Estimated In-Room Response
The predicted response falls from approximately 90 dB around 100 Hz to roughly 83–84 dB around 700 Hz to 1 kHz. It then gradually rises toward approximately 86–87 dB through portions of the 3–5 kHz region before eventually rolling off in the highest octave. The 30° Estimated In-Room Response tracks the standard PIR surprisingly closely through most of the audible range. This is a positive characteristic for a center-channel speaker because listeners seated away from the centerline should experience a broadly similar overall tonal balance. As noted above, the horizontal dispersion widens in the lower treble and will likely result in a bright sound signature without EQ (or unless sidewall panel treatment is used).
Harmonic Distortion
At 96 dB @ 1 meter, harmonic distortion performance is impressive. Above approximately 100 Hz, THD is typically around -40 to -50 dB, corresponding approximately to:
- -40 dB = 1%
- -50 dB = 0.32%
- -60 dB = 0.1%
Second-harmonic distortion dominates much of the measured distortion, while the higher-order components are generally substantially lower. Below approximately 70–80 Hz, distortion rises rapidly. This is expected as excursion requirements increase and reinforces the benefit of using bass management and crossing the speaker to a subwoofer. There are no obvious broad midrange distortion problems at the 96 dB test level.
Multitone Distortion
Multitone distortion performance is respectable, although maybe not quite as impeccable as the harmonic distortion sweeps indicate. At the highest 96dB @ 1m drive level, multitone distortion generally remains around -30 to -45 dB through most of the spectrum. At lower drive levels, distortion decreases substantially, generally reaching approximately the -40 to -55 dB range. The progressive increase in distortion with voltage is expected, and there is no obvious indication of an abrupt nonlinear failure mechanism through the midrange.
Compression and Output Capability
Dynamic compression is one of the stronger aspects of the Heritage Centre’s measured performance. At 86 dB, response deviation is extremely small above the bass region. At 96 dB, there is generally only around 0.1–0.3 dB of compression through much of the midrange and treble. Even at 102 dB @ 1 meter, compression remains relatively modest through most of the operating range:
- Approximately 0.2–0.5 dB through much of the midrange
- Some enhancement around 1.7–2.3 kHz
- Increasing compression toward the highest frequencies
- The largest nonlinear behavior occurs in the bass region
The behavior around approximately 55 Hz shows enhancement rather than conventional compression at the highest level. This should not necessarily be interpreted as additional clean output and is more likely associated with nonlinear behavior of the bass system. With an appropriate subwoofer crossover, however, the measurements indicate that the Heritage Centre should be capable of substantial clean output for center-channel duties.
Impedance and Amplifier Load
The minimum impedance is approximately 3.6 ohms above 80 Hz, while minimum EPDR is approximately 2.2 ohms. The impedance remains in approximately the 4–6 ohm range through significant portions of the spectrum and is accompanied by moderately large electrical phase angles in some regions. This is not an exceptionally difficult loudspeaker load, but it is also not particularly easy. A competent AVR or external amplifier capable of comfortably driving 4-ohm loads would be preferable, particularly when high playback levels are required.
Overall Objective Assessment
The Wharfedale Heritage Centre measures better than its raw on-axis frequency response might initially suggest. Its primary weakness is frequency-response accuracy. There is a broad midrange/treble contour along with several localized irregularities, so this is not a textbook-neutral loudspeaker in its native configuration. However, several aspects of the underlying design are quite good:
- Relatively broad horizontal dispersion for a center-channel speaker
- Generally controlled directivity
- Good consistency between the direct and reflected sound
- A Listening Window that is smoother than the strict on-axis response
- Good harmonic distortion performance at 96 dB
- Good multitone distortion performance
- Excellent compression and output capability above the bass region
- Useful bass extension to approximately 65 Hz F3
- Relatively consistent predicted tonal balance across different horizontal listening positions
The primary limitations are:
- Broad frequency-response deviations
- Some directivity irregularities
- A narrow, angle-dependent cancellation around 7.5 kHz
- More complicated vertical radiation
- A moderately demanding 2.2-ohm minimum EPDR
Overall, the Heritage Centre’s principal limitation appears to be its native tuning rather than a fundamental problem with its radiation behavior or dynamic capability. Because the Listening Window, Early Reflections, and Sound Power responses generally preserve the same broad spectral trends, broad-band EQ should be capable of improving the tonal balance considerably. I would focus correction on the broad response trends while avoiding aggressive correction of narrow, angle-dependent features such as the ~7.5 kHz on-axis cancellation.
From an objective perspective, this gives the Heritage Centre a reasonably good foundation: the native frequency response could be better, but the combination of relatively good directivity, low distortion, and strong output capability makes it considerably more promising once appropriately equalized and crossed to a subwoofer.
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