The Reference: Why We’re Crazy About KEF’s New Reference RangeCategories: Hi-Fi, Speakers

KEF The Reference. If you’re reading this, I can almost guarantee you know what it is that I’m talking about. There isn’t much out there that is quite as iconic as this incredibly desirable range. When it comes to hi-fi… where do your loyalties lie? Some of you may well have them, but from working in hi-fi we often witnessed our customers happily chop and change and try out new brands when they upgrade. Sometimes they go back to their original preference, sometimes they don’t. But what we have noticed is the fierce loyalty that KEF – and their Reference range – inspires. We have customers who have been following The Reference range – through each of its morphs – for decades. Some since the very beginning! But what is it that inspires such fierce loyalty?

To answer that question, we have to take you back to the very beginning, and to the core values of what makes KEF The Reference… well, The Reference!

A Brief History

‘Of all art, music is the most indefinable and the most expressive, the most insubstantial and the most immediate, the most transitory and the most imperishable. Transformed to a dance of electrons along a wire, its ghost lives on. When KEF returns music to its rightful habituation, your ears and mind, they aim to do so in the most natural way they can … without drama, without exaggeration, without artifice.’ ~Raymond Cooke

It all began, as it so often does, with one man. This smiley gentleman here is Raymond Cooke. British born Raymond was a WWII veteran who spent a year as a sound engineer for the BBC. He moved on from this to work as a Technical Director for Wharfedale – who I’m sure you have heard of. Taking what he learnt as a member of the Wharfedale team, Cooke left in order to pursue his dream and put his own designs into action. In 1961 he set up shop in a ‘nissen hut‘ on the grounds of Kent Engineering & Foundry, a metalworks company. Which explains nicely where the name KEF came from. They have moved on from the old nissen huts, but KEF’s headquarters still stand on the very same ground in Tovil, Maidstone.

Cooke left Wharfedale in order to have the freedom to experiment with new materials and technologies. He intended to produce speakers which were capable of producing a sound that was as close to natural recording as possible. His year spent with the BBC paid off, and his relationship with them continued as he manufactured several BBC designed loudspeakers while he improved his own designs. A fruitful endeavour for both parties! KEF – led by Cooke – went on to be considered pioneers and great innovators, winning award after award and creating technology which continues to inspire other leading manufacturers decades down the line. Their tendency to sell raw drivers to their competitors – rather than keep them for themselves  – solidified them as true leaders in this field. In 1979, Cooke received an OBE for ‘Export Achievement’. In later years, KEF sadly fell into receivership. But this was far from the end. They were picked up by GP Acoustics who allowed them to continue with their research and innovation on their site in Kent.

A Reference History

Always at the cutting edge, Cooke made the decision to invest in computer software – a pretty big deal in the very early 70s. This was a bold move, intended to improve the measurements taken in loudspeaker design. The move paid off. It was due to this precision, computer assisted measuring that the first incarnation of the Reference series (Reference  was born. Here is a brief rundown, with the technical description on behalf of KEF. Check out their website for full descriptions and tech specs!

1973 – 1987

104 (1973-1976) ‘…an 8 inch two-way system with an passive radiator augmenting the low frequency response, a format that was developed previously for the Cadenza system. The B200 bextrene coned bass driver for the 104 had a short coil/long gap magnet system for low distortion and the system included a three position acoustic contour control, which allowed +/-2dB of midrange level adjustment.’ The subsequent success of this pure KEF loudspeaker, and its unique technology, promoted the 1976 release of an updated version: the Reference Series Model 104AB (1976-1980) an abbreviation for ‘Acoustic Butterworth’ which combined the filter and driver system allowing for the filter response to be optimised to provide the accurate acoustic roll-off necessary for perfect integration.

5/1AC (1973-1976) ‘For many years [we] were the exclusive manufacturers of the LS5/1A monitor for the BBC, a high performance system that demanded meticulous production control. The Reference Series Model 5/1AC was a KEF designed, active system based on the same speaker, and it found use in many of the new independent radio stations of the day. The system was a two-way with active crossover network, internal 75W power amplifiers for each drive unit, thermal overload protection circuit and a three position bass equalization.’

103 (1976-1977) ‘A novel feature of this system was the rotatable steel baffle which could be turned through 360 degrees to present the drive units vertically aligned regardless of the orientation of the cabinet, thus ensuring the broad horizontal dispersion necessary for optimum stereo imaging and minimal tonal variation.’

101 (1979-1986) ‘… combined the T27 tweeter with the SP1057 version of the B110 in a 6.7 litre closed box. The system was fully overload protected by the S-Stop system, included mechanical decoupling of the bass driver to minimize colouration and each pair were acoustically matched to within 0.5dB. The result was a system with accurate tonal balance and detailed stereo imaging – being suitable for use with the best electronics – and able to fit unobtrusively into the listening room.’

105 (1979-1987) ‘Continuing the lineage of KEF’s high-end loudspeakers that started with the K1 Monitor, Model 105 was a three-way system of modular design, allowing the enclosure of each unit to be optimised for its respective frequency operating range. The result was a smooth and continuous dispersion pattern that gave superior imaging not only in the central position, but over a wide listening area.’

105.2 (1979 – 1987) ‘… was a landmark product – not just for KEF, but also for the loudspeaker industry as a whole. Physical form followed acoustical function in this radical looking system that set new standards for tonal accuracy and precise stereo imaging. Such was its performance and reputation that in its revised form it remained in production until 1987. Continuing the lineage of KEF’s high-end loudspeakers that started with the K1 Monitor, Model 105 was a three-way system of modular design, allowing the enclosure of each unit to be optimised for its respective frequency operating range. The result was a smooth and continuous dispersion pattern that gave superior imaging not only in the central position, but over a wide listening area.’

1980 – 1996

103.2 (1980-1985) ‘… the successor to the highly regarded 103, and continued with the same two-way closed-box format, using an 8” bextrene coned bass driver which used the new three mounting-point chassis to allow mechanical decoupling from the cabinet. It was designed using KEF’s ‘total system design’ approach where drive units, filter networks and enclosures are studied and developed together to achieve a targeted response. The result was a loudspeaker which achieved a broad frequency response with optimum efficiency and yet a surprisingly small enclosure of just 19 litres.

105.4 (1980-1984) ‘‘In response to the demand for a loudspeaker system with the performance of Model 105.2 but in a smaller package, KEF introduced Model 105.4. +This new system followed the same basic design philosophy of the 105.2, but with a more compact bass enclosure comprising two 8” bextrene coned bass drivers in place of the single 12” unit, and the new T33 fabric domed tweeter in place of the melinex domed T52. The result was a system that had the essence of the 105.2 sound, its tonal neutrality and pin point stereo imaging, but at the expense of a slight loss in bass extension.’

104/2 (1984-1986) ‘… a loudspeaker that was to develop a strong reputation around the world for its technical innovation and acoustic performance. Such was its success that it remained in production for over ten years and, following on from the Model 105.2, was further evidence of the technical capability of KEF’s research and development facility which had been progressively developed through the 1970s and 80s. A high output, high sensitivity speaker system possessing exceptional dynamic capability, able to reproduce a very wide dynamic range at high output levels.’

102 (1986-1990) ‘… with its dedicated KUBE active low level equaliser responded to the need for a compact system with very high sound quality devoid of the usual restrictions in sensitivity, bass extension and maximum loudness capability. The new KUBE [KEF Universal Bass Equaliser] allowed a combination of these parameters that would not be possible with conventional passive systems. Ideal for locations where space is at a premium, the hybrid dividing network technique creates the character of a full sized design with little compromise in power handling, sensitivity or loudness capability.’

103/3 (1986-1993) ‘… improving on the redoubtable Model 103.2 was no easy task, for this compact and refined two-way loudspeaker, much admired for its accuracy, ruggedness and consistency, had enjoyed great popularity among domestic and professional users for many years. But technology and techniques advance steadily, and the 103-sized performance package had been considerably improved. Model 103/3 was a three-way system incorporating KEF’s unique coupled cavity bass loading method, and its own version of the KEF KUBE low-level equaliser. The combination of these two design elements provides unusually extended low frequency response and exceptional power handling.’

107 (1986-1990) ‘This innovative model provided quite outstanding performance with an unusually high degree of user convenience. This was achieved by combining many of the tried and tested Reference Series features with a new concept in active low-level equalisation, KUBE . The result was a unique combination bass extension down to a genuine 20Hz, and good sensitivity, from a surprisingly compact system which is sonically flexible enough to be tailored to its specific surroundings.’

1990-2000

101/2 (1990-1994) ‘The smallest speaker in the Reference Series, Model 101/2 represents the maximum possible performance in the minimum possible size. Realistic sound levels, deep powerful bass with refined high frequency extension, result in satisfying musical reproduction. Model 101/2 makes an ideal high-quality speaker for a small system, and a near perfect second or dialogue speaker for use in surround –sound or multi-room applications.’

102/2 (1990-1992) ‘… a three-way single coupled cavity speaker. The cabinet is the same width and depth as 101/2, but is 170mm taller. The enclosure contains a 106mm Uni-Q unit similar to that used in 101/2, together with a 160mm paper cone/foam surround bass unit mounted inside the cabinet, venting through a contoured port on the front baffle below the Uni-Q driver.’

102/2  (1990-1995) ‘This innovative model provided quite outstanding performance with an unusually high degree of user convenience. This was achieved by combining many of the tried and tested Reference Series features with a new concept in active low-level equalisation, KUBE (KEF Universal Bass Equaliser). The result was a unique combination bass extension down to a genuine 20Hz, and good sensitivity, from a surprisingly compact system which is sonically flexible enough to be tailored to its specific surroundings.’

101/3 (1992-1994) ‘The 1993 revision to this long-standing quality bookshelf loudspeaker converted it to a reflex enclosure for extra bass and output capability. With added refinements to the drivers and crossover network, the 101 found a new lease of life and continued to be a strong product for KEF in the bookshelf monitor sector.’

One (1994-99) ‘…a three-way floor standing system with a single unit coupled cavity bass section. It offered refined musical reproduction in a compact enclosure. It could be used as a main speaker in small to medium sized rooms or as a rear speaker in a multi-channel system with one of the larger models at the front.

Two (1994-99) ‘… a three-way floor standing system with a twin coupled cavity bass section. It offered a significant performance increment over the Model One and was the direct descendent of Model 103/4. It was ideally suited to use as a main speaker in small to medium sized rooms in a stereo or multi-channel system. It was updated in 1997 to include a boundary compensation device – switch-able attenuation of the bass output for use in small rooms or for positioning close to the room boundaries.’

Three (1994-99) ‘… a four-way floor standing system with a twin coupled cavity bass section using 8 inch (200mm) bass drivers and was the successor to the highly regarded Model 105/3. It was ideally suited to use as a main speaker in medium to large sized rooms in a stereo or multi-channel system. It was updated in 1997 to include a boundary compensation device – switch-able attenuation of the bass output for use in small rooms or for positioning close to the room boundaries.’

Four (1994-99) ‘… a four-way floor standing system with a twin coupled cavity bass section using 10 inch (200mm) bass drivers and was the top model in the range. It was ideally suited to use as a main speaker in medium to large sized rooms in a stereo or multi-channel system. Model Four developed a strong reputation around the world for delivering top quality performance in an elegant enclosure, and at a price which made it remarkable value compared the high end competition.’

LS3/5A (1994-1998) ‘… designed by the BBC as an outside broadcast monitor speaker. This ultra compact system used the KEF B110 and T27 bass and treble units, a complex crossover network, and an enclosure of which the construction was specified very carefully to minimize colouration of the sound by panel vibrations. Licenses were offered to companies willing to manufacture these for the BBC and, in 1975, Rogers was the first to take up the opportunity. Such was the reaction amongst audiophiles that the LS3/5A developed a strong reputation for use in high quality domestic audio systems.’

109 (1997-2000) ‘… Model 109 was the result of a desire to produce a new high-end system with pure sonic performance as the prime objective. The design was a mixture of proven sophisticated techniques, such as the four-way format with high slope crossovers, developed in the 105/3 and Model 4, together with conceptually simple but strikingly effective elements such as the low distortion, direct radiating bass section.’

2000-2006

One~Two (2000-2001) ‘Model One was a three-way floor standing system with a single unit coupled cavity bass section. It offered refined musical reproduction in a compact enclosure. It could be used as a main speaker in small to medium sized rooms or as a rear speaker in a multi-channel system with one of the larger models at the front.’

Two~Two (2000-2001) ‘Model Two was a three-way floor standing system with a twin coupled cavity bass section. It offered a significant performance increment over the Model One and was the direct descendent of Model 103/4. It was ideally suited to use as a main speaker in small to medium sized rooms in a stereo or multi-channel system. It was updated in 1997 to include a boundary compensation device – switch-able attenuation of the bass output for use in small rooms or for positioning close to the room boundaries.’

Three~Two (2000-2001) ‘Model Three was a four-way floor standing system with a twin coupled cavity bass section using 8 inch (200mm) bass drivers and was the successor to the highly regarded Model 105/3. It was ideally suited to use as a main speaker in medium to large sized rooms in a stereo or multi-channel system. It was updated in 1997 to include a boundary compensation device – switch-able attenuation of the bass output for use in small rooms or for positioning close to the room boundaries.

Four~Two (2000-2001) ‘Model Four was a four-way floor standing system with a twin coupled cavity bass section using 10 inch (200mm) bass drivers and was the top model in the range. It was ideally suited to use as a main speaker in medium to large sized rooms in a stereo or multi-channel system. Model Four developed a strong reputation around the world for delivering top quality performance in an elegant enclosure, and at a price which made it remarkable value compared the high end competition.’

201 (2001-06) ‘Model 201 was a four-way reflex system for use on a shelf or the dedicated stands, and offered high performance in a compact package in the tradition of well-known KEF designs such as Model 101. It was suitable as a main speaker in small to medium sized rooms or as a surround speaker in systems based around Model 203 or 205 as front speakers.

202c (2001-06) ‘Model 202c was a four-way reflex centre speaker for use with the 201 or 203 as main speakers. It used the same driver complement as the 203 and continued the tradition of successful, high performance Uni-Q based centre-channel loudspeakers where the uniform dispersion characteristics are key to creating an accurate and natural sound-field over a wide listening area. The bass response was adjustable for TV or free space location and a switch-able  ‘HF lift’ facility was available for those installations where it was used behind a screen.’

203 (2001-06) ‘Model 203 was a four-way floor standing reflex system primarily for use in free space, but also usable against a boundary with the correct setting of the three position ‘boundary compensation device’. It was the successor to Model 2 and Model 103/4 and was suitable as a main speaker in small to medium sized rooms or as a surround speaker in multi-channel systems based around Model 205 or 207.’

204c (2001-06) ‘Model 204c was an ultimate performance four-way reflex centre speaker for use with the 205 or 207 as main speakers. It continued the tradition of successful, high performance Uni-Q based centre-channel loudspeakers where the uniform dispersion characteristics are key to creating an accurate and natural sound-field over a wide listening area.’

205 (2001-06) ‘Model 205 was a four-way floor standing reflex system primarily for use in free space, but also usable against a boundary with correct setting of the three position ‘boundary compensation device’. It was the successor to Model 3 and was suitable as a main speaker in medium to large sized rooms or as a surround speaker in multi-channel systems based around Model 205 or 207 front speakers.’

206ds (2001-06) ‘Model 206ds was an ultimate performance four-way reflex dipole surround speaker for use in the very best home theatre systems. It continued the tradition of successful, high performance Uni-Q based dipole surrounds such as the TDM34DS THX approved model.’

207 (2001-06) ‘Model 207 was a five-way floor standing reflex system primarily for use in free space, but also usable against a boundary with correct setting of the three position “boundary compensation device”. It was the successor to acclaimed speakers such as Model 4 and 105/3 and could trace its heritage back to the 105, which was distinctive for its innovative use of modular enclosures. Model 207 was suitable as a main speaker in medium to large sized rooms, in two-channel or multi-channel systems, or as a studio monitor – to which the superior tonal balance and stereo imaging qualities of Uni-Q are perfectly suited.’

KEF Reference Today

In true KEF fashion, the left the audiophile hanging for some time following 2006. Aside from the occasional fluttering of an upgrade here or a new edition there, there hasn’t been a new advance on their Reference Series for the best part of a decade. But unless you’ve spent the last few months hidden in a cave, you will know that recently all of that changed with the release of the hotly anticipated THE REFERENCE series.

Beautiful, we’re sure you’re agree. But what does this collection consist of? So far, there are six models: x2 floorstanders, x1 bookshelf, x2 centres and a sub. As with everything Ref, from the very beginning, they’re designed to work harmoniously together as an effective 5.1 system (perfect for AV audio, of course) and they all contain the unique technologies that make the Reference series as consistantly iconic as they are.

– Uni-Q Driver Array – a state-of-the-art 25mm (1in.) vented aluminium dome tweeter at the exact acoustic centre of a highly sophisticated 125mm (5in.) midrange driver, which act as a single source that fills the listening space evenly. Deep, powerful and room-filling

– Bass Drivers – a new 165mm (6.5 inch) LF driver with a massive vented magnet assembly and a large aluminium wire voice coil. Together, they drive an exceptionally light, stiff and strong alloy cone with allows for controlled, tight and immersive bass at any volume

– Composite Front Baffle – constructed from a remarkably strong laminated aluminium and resin composite and secured via high-loss pads and high tensile bolts, the drivers sit within this precision engineered baffle adding tremendous stiffness to the cabinet

– Flexible Ports – Pioneered for the multi-award winning LS50 innovative, this technology features adjustable ports for fine-tuning bass output

– Crossover Design – every high grade component is auditioned in order to find the combination with the lowest distortion and smoothest response

– Cabinet Design – the shape and bracing is are computer-optimised to minimise secondary radiation from the cabinet walls, and then they are finished by hand. They are precision engineered to eliminate panel resonance, stray reflections or box colouration

– Stands & Plinths – as with everything else Reference (and indeed, KEF), the tiniest details are painstakingly explored and perfected to achieve absolute optimisation, right down to a spirit level built into the plinth and spike sets easily adjusted by neatly concealed screws

Some may call it excessive – but excessive is what makes good things great in the world of hi-fi. And people notice – which is why References have maintained their fanbase since their conception in the early 70s.

The Reference One

A compact but hugely effective bookshelf ideal for use in a smaller system, or within a 5.1 surround. They Innovative engineering which were pioneered for the venerable and critically-acclaimed LS50, but in true KEF style, it takes it further still. These bookshelves are small, but they are mighty. And coupled with some suitable stands, there isn’t much they won’t achieve wth their accurate and measured yet highly musical sound.

The Reference Three

Elegant and innovative, the first of the two floorstanders in the new range features the full whack of Reference technology, with 6.5″ bass drivers to boot. This allows it to function beautifully as a small, yet purposeful step up from the One bookshelves. It delivers the same high level of immersive accuracy, yet with a powerful underlying bass that will always be prominent – but never dominent. The result is an immensely spacious and holographic soundstage that has to be heard to be believed.

The Reference Centre Speaker

Strictly for AV audio enthusiasts, this is KEF’s crown jewel of Reference level cinema quality surround sound. Believed by many – including us – to be one of the finest (if not the finest) centre speaker that has ever been made. For those who are unaware, the centre speaker is  the source of dialogue and vocal action, making it absolutely vital for cinema-quality surround sound. Incorporating all of the Reference’s technology staples, and a few extra touches, the Reference Centre Speaker replicates detail like no other centre speaker we’ve heard. The human voice never sounded so intricate, not even when heard in real life. Yes, it’s beyond even that.

The Reference Subwoofer

A sub is an essential piece in the AV jigsaw. While every other piece creates the sound – it’s the sub that creates the stage, or to put it another way, the feeling that makes having a surround sound system truly worth the trouble. Boasting an impressive two 500W Class D Amplifiers, each driving a 9″ long throw, ultra low-distortion driver secured in a heavily-braced acoustically inert cabinet. It creates a depth that can be felt in every fibre, adding a whole new impact to the drama unfolding on screen. It manages to be both thunderous and roaring, whilst remaining controlled and accurate. Not an easy task – but such is the magic of Reference.

The Reference Five

And finally, the pièce de résistance. At a RRP of £10,500, The Reference Fives are not exactly budget friendly, but what you get for your money is truly breathtaking. These are the flagship speakers of this range – and KEF’s golden boys. With four 6.5″ bass drivers which complete a concoction that results in one of the finest soundstages that money can buy. Accurate, clear and deep, these are speakers that can take your experience of music to the next level.

When you look at their – somewhat vast – history, you can understand why KEF have the dedicated following that they do. A KEF-head is a real and wonderful thing, and judging by the interest we’ve had in the most recent additions to our demonstration room, they are pretty chuffed with the new References. The question is, are they worth the near decade-long gap?

Our answer…indubitably.