KEF

For over fifty years, the recognizable loudspeaker driver logo has been a symbol of quality English sound. Over the years, KEF has repeatedly surprised the world with bold technological solutions in line with the main idea formulated by its founding father: “innovation in sound.”

In 1961, Raymond Cook founded KEF. But before the first speaker was born in a small hangar located on the banks of the Midway River in Kent, many events occurred in the life of its author and developer that led him to create his own manufacturing company. Raymond Cook was born in 1925. Since childhood, he loved music and played the violin from the age of eight. His youth fell on the years of the Second World War, and even then his love for music showed itself. While serving in the United Kingdom’s armed forces as a communications operator, Cook organized a circle of classical music lovers. After completing his service, he received higher education, graduating from the University of London with a degree in electrical engineering, after which he got a job as an engineer at Philips, and then moved to the Air Force Development Department, joining a team of highly qualified engineers involved in the development of audio equipment. There he met Gilbert Briggs, founder and owner of the Wharfedale company.

Raymond Cook

Having become a technical specialist at Wharfedale, Raymond Cook not only developed acoustics, but also implemented all kinds of audio installations. While working on the sound for London’s Royal Festival Hall, he collaborated with another legendary audio engineer, Peter Walker of QUAD. A few years later, as technical director of Wharfedale, Raymond Cook decided to create his own company, in which he could realize his most daring ideas and projects. This is how KEF was born. The name of the company is an abbreviation, but the first letter in it has no relation to the surname of the creator, as it might seem at first glance. KEF is an abbreviation for Kent Engineering & Foundry.

As we mentioned at the beginning, KEF was located in a hangar on the banks of the Midway River. The premises and some technical facilities previously belonged to a metalworking enterprise that had fallen into disrepair. Perhaps it was the picture of disappearing production that prompted Raymond Cook to think that success can only be achieved by keeping up with modern technologies and being one step ahead of competitors. It was then, in the early 60s, that he decided to take an incredibly bold step for that time – to use new polymer materials in production. At that time, the use of polymers was popular in many areas of industry, but not in conservative audio. Absolutely all manufacturers of speaker systems used paper to produce speaker cones and didn’t even think about anything else.

KEF LS3/5A (1960)

KEF engineers did things differently. Under the leadership of Raymond Cook, in just a year, the first KEF K1 speaker system was developed and presented, the speakers of which were made with the active use of synthetic materials. The acoustics were three-way, the diaphragms of the woofer and midrange speakers were made of vacuum-formed Polystyrene, and the cones of the tweeters were made of Melinex or Mylar. The unusual acoustics attracted the attention of buyers and provided the young company with a successful entry into the Hi-Fi market. To strengthen its position, after the K1 model, Celestion bookshelf speakers were released, which have a similar set of speakers. We can say with complete confidence that the modern abundance of construction materials for speaker cones is a direct consequence of what Raymond Cook did in the early 60s. If he had not then decided to depart from the classical canons, it is unknown whether we would now have drivers with Kevlar, carbon fiber, polypropylene and various other diffusers.

KEF MODEL 104 (1970) 

The next significant milestone in the history of KEF, as well as in the history of the entire audio industry, was the collaboration of Raymond Cook with his former colleagues from the Air Force. In 1966, the Air Force company placed a large order for him. Understanding perfectly well how high the quality level of monitor speaker systems should be, Raymond followed the already familiar path that ensured the initial success of his company – he directed all his attention to the search for even newer and more advanced construction materials. Thus, in 1967, the 5″ bass/midrange speaker B110 was born. Its cone was made of a fundamentally new material – Bexstren, which provides an exceptionally smooth frequency response, which no other speakers of that time, including Polystyrene and Neoprene, could boast of. previously used in KEF speakers. This was a real breakthrough in the field of sound quality. Over the next decade and a half, until Bextren was replaced by the more modern Polypropylene, about three million KEF speaker systems with speakers of this type were produced. Speakers with Bextren diffusers are actively used in acoustics of many famous world brands.In

the same 1967, a new compact T27 tweeter with a Melinex cone was developed. Somewhat later, in 1974, these advanced drivers were combined into the LS3/5A model, developed as part of an order from the Air Force. And it was these acoustics that brought KEF worldwide fame. About two million copies were sold worldwide and the LS3/5A model is still in demand

KEF 104/2 (1984) 

In 1970, Raymond Cook received Her Majesty’s Award for Excellence in Exporting, which was an important event for a company that had less than a decade of history at the time. In 1970, another speaker with a backtrain cone was developed – the 8″ B200, which strengthened KEF’s position in the world market. A

year later, in 1971, another significant event occurred in the development of the audio industry – computerization of production was carried out for the first time. It happened again At KEF, Raymond Cook kept abreast of all the technological innovations that could be applied to his work in any way, and quickly realized that the accuracy of computer measurements would be much higher than the result of assessing the sound of speakers “by ear.” Computers of the time Of course, they did not have the capabilities of modern ones, these were the simplest four-bit machines. But, in addition to mathematical calculations, they made it possible to solve one of the impossible tasks at that time: to measure and compare speakers. Thus, as a result of computerization of production, the developers of the KEF company were able to select pairs of speakers according to the sensitivity parameter with an accuracy of 0.5 dB, which in turn made it possible to minimize the difference in the sound of paired speaker systems. As is known, for stereo listening, the identity of the acoustic systems included in one pair is an important parameter that affects the reliability and clarity of the sound picture. And in those years, stereo sound had already become widespread.

KEF MODEL 105 (1977) 

The active use of computers in the design and production of acoustics laid the foundation for a new series of KEF acoustic systems, which first appeared in 1973 and was called Reference. Model 104 was the first speaker system to have compact “home” dimensions and the sound quality of a studio monitor. The Reference series was a premium product with high quality workmanship. The successful sales of the 104 around the world brought Raymond Cook not only recognition for his engineering talents, but also a second Her Majesty’s Award for Excellence in Export.

The Reference series received a very interesting continuation in 1977. The new model, which received the index 105, surprised not only end consumers, but also KEF’s competitors with its appearance. The midrange and tweeter speakers were installed in a small section mounted on top of the woofer module. The new concept is called POD, which can be translated as “cocoon”. The name indicated the fact that the speakers were located separately, however, in this design, not only the problem of the mutual influence of midrange/high frequency and low frequency drivers was solved. The location of the emitters was coplanar. Visually, the speakers were at different distances from the front panel of the speaker system, but if you mentally connect their acoustic centers to each other, you get a straight line. Thus, all three sound sources are equidistant from the listener, which has an extremely positive effect on the phase response of the sound of the acoustic system. In addition, the MF/HF section could be rotated relative to the LF module in the horizontal plane and tilted by several degrees in the vertical plane. This ensured convenient placement of the speakers in the room. It was possible to focus the sound on the listening area without rotating the speaker base.

KEF MAIDSTONE (1990) 

Further development of KEF’s flagship acoustics took place within the framework of the POD concept. Following the 105th model, an improved modification 105/2 appeared, and then a significantly redesigned model 105/4, which received a new low-frequency section on dual B200 speakers. The 105 series acoustics occupied a leading position in the world of high-end audio systems until 1985, when its successor, the new flagship of the KEF line, model 107, was born. This model was distinguished by a radically modified bass section. Two woofers were installed inside the housing, divided by partitions into three volumes isolated from each other. The speakers radiate in phase into the middle chamber, the port of which is brought up, directly under the midrange/high frequency unit. The woofers inside the housing are tied together with a metal pin, uniting them into a single rigid structure. Since the speaker cones move towards each other, this combination ensures mutual damping of parasitic vibrations, preventing them from being transmitted to the body. A similar solution was previously used and was worked out quite well on the 104/2 model, thanks to which the 107 model achieved a high level of quality and depth of real reproduction of low frequencies up to 20 Hz. To better match the acoustics with the room, an active low-frequency equalization circuit was developed, called KUBE (KEF Universal Bass Equalizer). The 1990 modification, 107/2, received two pairs of terminals for dual-cable or dual-amplifier connections, which opened up new opportunities for improving the audio system and provided another six years of successful sales until 1996.

KEF Reference Model Three (1995) 

At the end of the 1980s, two new directions appeared in the KEF product range: built-in car and home acoustics. The Custom Series series of built-in acoustics for the home has been updated several times and has now been supplemented with all-weather acoustics that can be used outside the home. From 1987 to 1993, KEF took an active part in the European-sponsored Archimedes project. The goal of the project was to fundamentally study the influence of the room on the sound quality of acoustic systems. The result of this was the development of a unique Uni-Q sound emitter technology (development began in 1988) and the emergence of speaker systems with new non-standard housing shapes optimized from the point of view of diffraction.

Uni-Q technology, the first acoustic systems using which appeared in 1991, became possible with the advent of another structural material, without which it is difficult to imagine modern acoustics. In the late 80s, Raymond Cook was able to obtain at his disposal a new material for creating magnetic systems – a neodymium-based alloy (NdFeB). Initially, neodymium magnets were developed for NASA space programs, but they also found worthy use in audio systems. The main advantage of such magnets is a powerful magnetic field combined with small overall dimensions. As a result of this, KEF developers were able to create high-performance RF emitters of small sizes. What was this for? In order to place the tweeter directly in the center of the midrange speaker. It would seem that the idea is not new, because even before the advent of drivers based on neodymium magnets, coaxial speakers were created in which the HF emitter was installed inside the midrange or midrange/bass section. However, Uni-Q is truly a unique technology. Uni-Q speakers combine the acoustic centers of both emitters, that is, they are both coplanar (equidistant from the listener) and coaxial (located on the same acoustic axis). This arrangement of the speaker was called co-incident. In fact, KEF engineers, led by Raymond Cook, managed to create a point sound source that has all the capabilities and advantages of two-way acoustics.

KEF IQ9 (2007) 

The advent of Uni-Q technology made it possible to create not only high-quality acoustics of the Q and Reference series, but also compact cinema satellites of the KHT series. In fact, the entire subsequent history of KEF is based on this technology in one way or another. Over the past two decades, Uni-Q technology has undergone two modifications, during which diffusers were improved, voice coil diameters were increased, diffraction properties were optimized, and waveguides were used to improve sound dispersion. Each subsequent version of the Uni-Q speaker significantly improves on the previous one, demonstrating more advanced and advanced technological solutions.

One of the most important advantages of Uni-Q drivers is the combination of excellent focus of the sound picture with a wide comfortable listening area. When using conventional acoustics, the comfort zone when listening to stereo and, especially when watching movies, turns out to be extremely small. Moving to the side significantly worsens the perception of sound. The use of Uni-Q technology allows you to expand the comfortable listening zone, making it an excellent solution for home theater.

KEF Reference Model 207 (2001) 

Multichannel acoustics became the main direction of development of the KEF range in the first decade of this century. All lines of acoustic systems were required to receive classic bookshelf or dipole acoustics for the rear and acoustics for the central channel, and branded subwoofers appeared. But the most noticeable and significant step was the appearance of sets of 5.1 speaker systems in the KHT series.

The KHT 2005 kit has become the most recognizable and, perhaps, the most popular 5.1 kit of the beginning of the century. The unique ovoid shape of the satellites minimizes diffraction distortion, making them an ideal frame for Uni-Q’s specially designed compact drivers. The sound quality was exceptional, thanks to which KHT home theater sets from KEF were actively sold around the world and in their segment became even more popular than home theaters from Bose.

The evolution of the KHT2005 model led to the appearance of the 3000 series kit. The satellites became more powerful, thanks to a new version of the Uni-Q emitter, with an increased diameter of the diffusers, the central channel became different from the others, thanks to the use of a pair of additional speakers. The new original subwoofer attracted the most attention. It has a futuristic, rounded and fairly flat body. Moreover, the driver and passive radiator used in it had absolutely flat diffusers. Similar emitters could be seen in KEF speaker systems since the distant 60s, but it was in cinema technology that this technology came in handy.

KEF Blade (2012)

The KEF KIT100 and KEF KIT200 theater acoustic sets did not have rear channels. Their role was played by flat emitters installed in the side walls of the front pair of satellites. The side speakers are connected to the outputs of a conventional AV receiver, intended for connecting the rear speakers. The effect of ambient sound is achieved by reflecting the sound wave from the walls of the room.

Another equally impressive use of flat emitters was demonstrated in the early 2010s in a new series of cinema acoustics, designated by the letter T. The T-series satellites have a thickness similar to that of a modern super flat TV: 3.5 cm, and this size also fits acoustic housing, and a speaker with a magnetic system located inside, and a grill. A specially developed proprietary system for mounting acoustics of the T series, Selecta-mount, allows you to make installation the simplest and most aesthetically pleasing. Flat wall mounts and slender floor stands visually highlight the ultra-thin profile of the speaker cabinet. For ease of installation, both stands and wall brackets have their own, conveniently located terminals for connecting speaker cables. The satellites themselves are switched using special connectors that are fixed when the speaker system is tightly installed on a stand or bracket.

KEF MUON (2010) 

Other new products of the early 2010s showed that half a century later, KEF is still ready to make bold experiments and try fundamentally new solutions. Over the past few years, several high-quality iPod docking stations have been created that come complete with the brand’s egg-shaped speakers. The line of cinema devices was supplemented by a soundbar and a subwoofer with wireless connection. There is even a device that is neither completely nor even partially an acoustic system, which is a very bold step for a traditional acoustic brand. The universal wireless system KEF Wireless System is a set of devices that allows you to connect a pair of speaker systems wirelessly. The kit includes one transmitter and a pair of receivers with built-in power amplifiers. The wireless audio signal transmission system operates on dedicated frequencies in an interference-free mode, transmits CD-quality sound and does not require any configuration at all.

In the new century, KEF has established a new tradition for itself: creating super-acoustics, developed on the verge of art and technology. In 2007, the Muon acoustic system was released in the amount of 100 pairs, and in 2011, the release of another exclusive acoustic system was timed to coincide with the 50th anniversary: ​​Blade. Both models are live demonstrations of the company’s most advanced technologies and deliver uncompromisingly high-quality, reference-quality sound. The Muon and Blade acoustics, as well as the older lines of mass-produced KEF acoustics, deserve the closest attention, which we will definitely pay to them in upcoming publications.

KEF KHT 3005 (2012) 

To ensure strict quality control, chambers with measurement equipment are manufactured in the UK to allow loudspeaker measurements to be taken at the factory in China. In real time, the measurement results are displayed on a monitor, which allows you to evaluate whether the parameters of the acoustic systems fall within the tolerance range. Whatever your system, tastes, requirements and character – this English KEF brand will justify them all. And even more than you think!

This is all easy to explain. Over many years of work, you gain vast professional experience and look into the future more confidently than others. This is exactly what happened to the company KEF (read: “Kef”). Based in one of the enviable corners of England (Kent), it acquired the best engineers, created a first-class production, paved the way into the sensational field of home audio and more than repaid the payments of happy consumers, receiving their blessing. It would be a sin not to take advantage of such a powerful head start. It is today that young firms must convince consumers of honesty, competence, dedication and progress. KEF was one of the very first. She still confidently dictates fashion. It “cuts through” those markets where young people are forced to jostle with each other. The KEF emblem is better than any diplomatic passport. Well, the habit of improving the initially beautiful sound is the most advantageous of audio ideologies. My only advice to the future buyer of KEF acoustics: start by listening to the model marked Reference. You won’t regret it, even if you don’t have enough money for it. In the current market, the word “standard” is quite worn out, but in this case the standard is double. Both according to the category of the product, and according to the merits of the brand. The benchmark for everyone in the industry. Do you know how KEF prepares for sale? Each product is submitted to inspection in an anechoic chamber, and if there is the slightest discrepancy with the standard, it is sent for revision. Then the acoustic pair is checked for compliance. If the “duet” has formed, they are assigned numbers that are stored in a perpetual archive, and the speaker system goes on sale.

KEF LS50 Wireless Nocturne (2018) 

If we talk about KEF’s flagship line – the Reference series, then these systems are assembled by hand from start to finish. Only 16 pairs of Reference 207s are produced by the factory per month! What does KEF sound like? Some say that KEF eliminates the equipment between the concert hall and the listener. Others emphasize the “invisibility” of the acoustics, because “the best audio system is the one that does not show presence.” Still others talk about the “transparency” of the sound. The most valid comment is your own. And the best incentive will be the price. It is acceptable for family budgets of all levels.

To date, all KEF series have defeated competitors in their price categories. For example, the KEF KHT 2005/3005 home theater system, popularly called “eggs,” became the most “order-winning” system in the world, setting a kind of record and winning ALL(!) known awards. KEF acoustics are acoustic intelligence. It is this definition that best suits the speaker systems created by KEF Audio engineers.

A unique development – the Uni-Q module, a patented design of a point sound source, the result of many years of research in the field of sound reproduction. KEF acoustics demonstrate the best power and sensitivity. Each model has an impeccable tonal balance, so the volumetric “soundscape” created by KEF acoustics fills the space so organically that everyone present in the room can enjoy the full spectrum of sound information, regardless of the space they occupy. KEF acoustics is a perfect acoustic system that gives you everything you need to fully perceive acoustic images.