The SourcePoint 10 loudspeaker from MoFi Electronics (footnote 1) is an interesting, even unusual design. Sized somewhere between a conventional standmount and a small floorstander (but intended to be used on stands), the SourcePoint 10's beefy cabinet is similar in size to my 1978 Spendor BC1, but the SP10's 10" coaxial driver, which utilizes Andrew Jones's "Twin-Drive high-flux neodymium magnet system," is all new. The SP10 is heavy—at 46.2lb, nearly as heavy as the somewhat larger DeVore Fidelity O/96 (55lb). Perched on its dedicated stand—whether positioned vertically or horizontally, as John Atkinson, who reviewed the SourcePoint 10 for the February 2023 issue, did it—it's solidly a standmount.
Up front, the SourcePoint 10's sculpted façade recalls Eero Saarinen's TWA terminal at New York's Kennedy Airport; the baffle's multisectional face and diagonal lines give it a streamlined look. Its appearance is subtle—I found the review pair's dark walnut veneer a bit boring, to be honest—yet it has an innate, understated power. Anyway, the sound's the thing, not the appearance.
The sound of this big box, which was designed by Andrew Jones, one of hi-fi's most lauded designers, is contemporary. In his review, Stereophile Technical Editor John Atkinson called the SourcePoint 10 "a high-dynamic-range, almost full-range" loudspeaker. It made his much smaller KEF LS50 sound, well, small. Among other observations, he found that the SourcePoint 10s could play loud while maintaining composure. He cued up the 24/96 Qobuz version of "All Too Well (Taylor's Version)" from Taylor Swift's album Red (Big Machine Records) and "turned up the volume so that the spl at my chair averaged around 100dB (C-weighted). This is about as loud as I can stand to listen, but the sound remained clean, with the bottom-octave bass line in the chorus swelling magnificently into the room." JA concluded, "When you consider the clean, superbly well-defined low frequencies, the natural-sounding midrange, the high sensitivity, the easy-to-drive impedance, the ability to play loudly without strain, and the affordable price, the SourcePoint 10 gets a thumbs-up from this reviewer."
This reviewer is always on the lookout for overachieving standmounts to complement the floorstanders in his (my) Greenwich Village listening lab. I was eager to hear the SourcePoint 10s, partly because of its interesting design and its Andrew Jones origins.
I evaluated them with several amplifiers I had on hand: the Parasound Hint 6 Halo, Ayre EX-8 2.0, and PrimaLuna EVO 400 integrateds and the Pass Labs XA-25 and Shindo Haut Brion power amps. Also in the system: VPI's Avenger Direct turntable with its 12" Fatboy Gimbal tonearm and the VPI Shyla MC cartridge. (See my VPI review elsewhere in this issue.) Phono preamplification and equalization were carried out by a Manley Chinook phono preamp. Digital data were converted to analog music by a Holo Audio May DAC. I used Analysis Plus Silver Apex loudspeaker cables and interconnects by AudioQuest (Pegasus), Shindo Labs, and Triode Wire Labs (Spirit II).
John Atkinson thought that his 20' (left side), 25' (right side) × 16' room might be just a bit too small to allow the SP10s to attain optimal tonal balance. Mine is even smaller, but it's flexible: I joined two rooms together and pushed my listening seat back until it was more than 10' from the speakers, giving them breathing space. I did a bit of positioning work to dial them in, ending up with the rear plane of the speakers 36" from the front wall.
Connecting up the Ayre EX-8 2.0 integrated, which is capable of delivering 100Wpc into 8 ohms or 170Wpc into 4 ohms, and spinning, on the VPI turntable, the 12" EP Quadranite (Low Battery Records 006) by drum-and-bass terror squad Xpression, I heard sweet, extended treble (clattering hi-hats and airy snare), natural, clear midrange (unctuous, oily synths), and the kind of stomach-churning electronic subbass that causes my illegally subletting downstairs neighbors to complain to the leaseholder, who is currently living who-knows-where and can't help them anyway because they're not supposed to be living there. (People ask how I play loud music in a small NYC apartment? That's how.) The massive and deep soundstage suited the club music I was blasting and caused me to smile and dance, my hammering foot falls weighing additional torture upon the illegal residents below. (I couldn't help dancing, so it's not my fault.)
With this music, the SourcePoint 10 experience was overwhelming. With electronic music generally, the SourcePoint 10s were a revelation, their clear treble aligning with an otherwise warmish sonic cast and human-damaging subbass that makes me full of glee.
Up for more neighbor annoyance and for power-drumming of a different sort, I put on the 1975 masterpiece Believe It (Columbia PC 33836) by the New Tony Williams Lifetime. The emphasis on this recording was on the SourcePoint 10's coherency and articulation. They reproduced this recording, which was made in Columbia's 30th Street recording studio, as if I was inside a Roman amphitheater and Williams, guitarist Allan Holdsworth, bassist Tony Newton, and keyboardist Alan Pasqua were gladiators. "Proto-Cosmos" scorched my ears; Tony's cymbals and snare drum were biting, resonant, and forceful; his bass drum was as concise and punchy as—no, more than—I've ever heard it. Newton's electric bass was also more immediate than I recalled hearing it before, complemented by Pasqua's cushy Rhodes and Holdsworth's acerbic, maniacal, beautiful guitar solos. The SP10s revealed the deep recesses of the recording studio and the nuances that made Williams's massive, mammoth drums seem real, fast, and complete. Powered by the Ayre, the SourcePoints cut a bold path between warm/ expressive and clean/precise.
What else could this combination do I wondered. The SourcePoint 10/EX-8 2.0 combo proved capable of delicacy, as on Ella Fitzgerald's "Midnight Sun" (from Like Someone in Love, Verve Records MG VS-6000). As Ella's voice caressed my ears, her velvet delivery and creamy tone swayed before me in gossamer waves of emotion. I don't mean that her sonic image wavered: Her corporeal image was there, solid and fixed, at the front of the stage, approximately in the speaker plane. Frank De Vol's orchestra was recessed, playing as lazy and lumbering as a summer sunset. On this recording, the SP10s won me over with their sense of ease, their fleshy tone and images, and their natural dynamics.
Things get better
Parasound's Hint 6 Halo integrated amplifier, which is rated at 160Wpc into 8 ohms or 240Wpc into 4 ohms, proved slightly more resolving, presenting a bit more treble information without sounding grainy or etched. With the Parasound, the SourcePoint 10s produced a more present soundstage, strings and reeds replicated with more immediacy, Ella's vocal exhibiting finer detail and more textural opulence. Emotional engagement increased. The Parasound/SP10 combo emphasized the upper octaves on Tony Williams's "Proto-Cosmos," yet the highs remained smooth, the presentation direct and superdynamic. But be warned: This combination held nothing back. Poor recordings may not fare as well.
In most applications, the PrimaLuna EVO400 integrated (70Wpc into 8 ohms ultralinear; 38Wpc into 8 ohms in triode mode)—my go-to tubed integrated these days—produces sweet tube tone, a generous soundstage, and power sufficient to drive reasonable loudspeakers to reasonable levels. The EVO400 easily drove the SourcePoint 10s, sounding notably refined and delicate in the treble and upper mids. Where before, Ella sang to me, now she whispered. Where before, "Midnight Sun" was meant for an audience, now it was meant for me. The EVO400 lacked the bass grip of the other amps but produced a more physical, live-sounding, engaging sound. With the right partner, the SourcePoints can charm—but then, hey, with the right partner, who can't?
An unlikely pairing produced the most interesting results: the solid state Sugden LA-4 preamplifier and my 6L6GC tube–driven, 22Wpc Shindo Haut-Brion power amplifier. With this combination, listening to Ella was an even more—vastly more—intimate and reverential experience. Ella's voice took on more varied hues of emotional and tonal intensity, with weightier, more visceral microdynamic shifts. The music was rich and immediate, almost wet. This was the most soul-stirring SP10 combo I'd yet heard. Sounding tremulous, full of mystery and magic, Ella and the orchestra undulated and heaved. Or maybe it was me.
The Sugden/Shindo/SourcePoint system did less well with the rock-styled flamboyance of the Tony Williams album. Instrumental lines didn't come across as clean as they did through the integrated amps. The soundstage felt more cramped, the top-end flattened. The low end was gentler. Tone, though—particularly on Holdsworth's guitar—was richer.
Finally, I connected the Sugden preamp to the Pass Labs XA-25 power amplifier (rated at 25Wpc into 8 ohms but actually more powerful). The Pass Labs amps drove the SourcePoint 10s with beauty and brilliance, unflagging grace, and a wide-open, deliciously airy, stadium-wide soundstage. Believe It quaked. Tony Williams's drums were splendidly clear, supercharged, bat-out-of-hell fun. Treble had a lovely, shimmering, burnished quality on cymbals, snare drum, guitars. Charged particles of air surrounded the performers.
The wrap
I was floored by the SourcePoint 10's chameleonic ability to sound good, even great, with every amp I connected it to but so different with each one. In his room, JA found the high end of the SourcePoint 10 a bit out of balance with the midrange and the lows. In my room, I found the 10's extended highs its crowning glory, superb with all the amplifiers I tried, from sweet and lush (Ella) to concise and fiery (Tony Williams). Different strengths with different amplifiers. There were consistencies, however. The midrange was consistently transparent, and with sufficient juice, the low end was consistently deep, tight (to varying degrees), round, and fast.
Other speakers have different (and some superior) virtues. My old Spendor BC1s can sound sweeter. My DeVore Fidelity O/96s have a richer personality overall. The Volti Audio Razz goes deeper in the bass—subjectively at least—and provides a richer midrange. But those floorstanders are all more expensive than the SP10s. At a similar price, the Klipsch Forte IVs are great but offer less resolution, clarity, and refinement.
The SourcePoint 10 is heavy as hell for its size—a mark of quality but also a source of sore muscles. But its versatility—its ability to delight playing all styles of music with a wide variety of amplifiers—make it, in my opinion, a contender for Loudspeaker of the Year, and most definitely deserving of an audition.—Ken Micallef
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COMMENTS
The sound quality of these speakers is nowhere near the level of hype it is receiving! Mr. Atkinson seems to like it, but it does not sound like he is doing backflips, nor that the speaker is in any way a giant killer.
If so, where is the speaker a let down, man?
Just asking for clarification of your position- "Nowhere near"...
Yes, I have heard it. The Mofi is roughly in the same ballpark price wise as my Harbeth C7es3-XD.
I would NEVER trade my Harbeths for the Mofi. Not even close.
AS another plus, my Harbeths are made in the UK, not China.
Very valid comparison. Thank you!
... Suntan capacitors from Hong Kong?
https://www.on-mag.fr/images/stories/2017/02/gal_harbeth_superhl5plus/6Harbeth_SuperHL5Plus.jpg
https://www.suntan.com.hk/
... imported, as well.
So, how much of the speaker's content can be imported into the UK before the finished product can no longer be considered to be "made in the UK", versus merely assembled in the UK from foreign and domestic components?
If we start looking at it like that, we could make the same argument for many, if not every product.
A lot of scotch is aged in bourbon barrels. The bourbon barrels are from the USA. I guess scotch isn't really Scottish...
The measurements are WAY better than I thought they would be. Interesting that they chose the side mounted configuration for the review, because very few people, other than sound engineers, would use them that way.
Regardless of what one thinks about the sound of these speakers, I do appreciate the extended discussion of the design decisions (and their alternatives) that went into the creation of the speakers. Usually, design decisions are glossed over for fawning praise or superficially discussed. I wish more in-depth discussion of design decisions and their alternatives would be incorporated into reviews of equipment - speakers or electronics.
I was excited to read this review given this is an Andrew Jones design and an unusual one at that, but the reviewer clearly lacked any interest in reviewing this speaker. I came close to dozing off part way through it, but forced myself to read it until the end. Two thumbs down.
As an Andrew Jones design owner myself I always read reviews of one of his designs with extra interest. Good to read that Andrew Jones stays true to his design philosophy. I myself own the Elac's Adante AS-61 which I bought at the end of the sales cycle as a demo model (I wonder why the Adante series has not been a commercial success, because of the sound or because of the looks, too big for a contemporary look, do large speakers only sell if they have a vintage retro look? After all, the Adante only received very good international reviews (BE/DE/NL/UK/USA, the ones I read). I assessed them in a direct comparison at the time with the Cabasse Murano (no radiator design) which sounded a fraction better but also cost more than double my demo model deal. The Adante replaced my older Elac speaker (which now serve in the study) with their famous jet tweeter. Fresh and tight, the Adante sounds mature in comparison, more deep bass and attack (and why the Adante is so big I guess, good deep bass requires cabinet volume). The dealer described the Adante at the time as Andrew Jones's working-class Tad. I think that not doing justice to Elac. Anyway what strikes me is that Andrew Jones often changes assignments, from Kef, Infinity, Pioneer, Tad, and Elac now to MoFi Electronics. I don't know if that speaks for him.
I have this speaker as well and think it is fantastic. I, too, wonder why the Adante line was not a bigger hit, but don't mind too much as it is like I uncovered a rare gem. I am sure it was due to a number of reasons, most likely that it did not fit the "affordable" marketing optics that Elac was pushing with Jones' less expensive designs, including the previous Pioneer offerings (I am sure most folks purchasing at the Debut or UniFi level have never heard of TAD). Of course, it could have been because of Guttenberg's not so glowing CNET review or the silly one over at ASR... Anyway, I would love to demo the Sourcepoint to hear what AJ has concocted. It would have to be very good indeed to make me consider giving up my Adantes! Unfortunately, I am sure it is.
You guys are way critical of John here... impolite and harsh.
That being said, say what you want. I enjoy freedom as well.
This product speaks to the mastery of Andrew Jones as a speaker designer, especially in light of him working for several mfgs. It's validation not condemnation.
tin,ten,whats that word?ah yes,tannoy.
I would lean toward a set of the ZU AUDIO UNION 6 SUPREME Loudspeakers and save a couple of bucks in the process. I love the concept of a a large single driver speaker. One that is made in the USA is pretty amazing too.
There is already a pair for sale used on Canuck audio mart.
I entered a room at Montreal Audio Fest last month. I sat down because I had to know what was prodicing this clean, balanced and nice music. I was much impressed. I have Raidho X3 speakers in one system and Qconcept 500 in the other. What I can say is that Andrew Jones hit one out of the park. With basic electronis and cables, It was filling a large room with beautiful music. I did not know Andrew Jones before. I met him and now I know who he his: a darn good speaker designer.
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