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| image credit: KEF |
By itself, this acoustics is no longer a novelty. But, of course, it is of interest. First of all, by the fact that, according to some observations, it has a distinct character of its own - both similar to the style of KEF, and equally different from other models. For a long time I wanted to deal with these features in more detail.
According to brand representatives, KEF Blade acoustics were not conceived as a production model. The speakers were designed to show the ability of developers to create without restrictions (but still within the real capabilities of the manufacturer), a kind of concept for spectacular demonstration at exhibitions and presentations. No one planned to sell them, but when the number of “I want to buy” requests grew enough to pay for the launch of production, the model from the prototype became small-scale with a price tag of six zeros.
Inspection
It is immediately evident that the acoustics with a claim. The shape really resembles a scalpel blade (blade, translated from English - blade). However, this is more of a play on words, nothing more. In fact, no “sharp” associations arise, and comparisons with a sail or a feather of a bird will be even closer to me - I did not see any rigidity or deliberate sharpness in this form.
It is perceived as very peaceful, and also has an interesting property: with its dimensions and impressiveness, the acoustics do not attract too much attention, but, on the contrary, can fit into the interiors of various styles. From the point of view of acoustic properties, this is not the most important thing, but for speakers that claim, among other things, the role of an art object, this is a very valuable feature. The designers did their job.
By the way, the choice of colors also speaks in favor of the pronounced “interior” component. This model is not available in any veneer or "natural" finish. You can choose from the usual black or white lacquer, as well as red lacquer, a couple of metallic options and a deep dark blue color. And, apparently, for aesthetic reasons, these acoustics do not have any grills at all.
The body is made of composite resin and fiberglass. In other words, it is molded, not sawn and glued like most acoustics. The shape, according to the developers of KEF, is not only a visual idea, but in addition, such a flowing surface without sharp edges behaves better in terms of resonances, and taking into account the internal structure and stiffeners, the case works better than many classic rectangular shapes.
The MF/HF section is separated from the main volume, and the woofers directed to the sides, in fact, rest against each other with their rears and are pulled together with additional ties.
The design of the low-frequency section is bass-reflex. Two ports are located on the back of the case. From below, the case is fixed on an adjustable base with spiked legs. Crossover boards are also located in the lower part of the case.
I note that a few years later the company released a second model - KEF Blade Two, identical in shape and design, but smaller in size and price.
Study of
The basis of KEF blade was the proprietary coaxial speaker KEF Uni-Q, which is now used in most models of the manufacturer. But this is a principle, a design - which does not mean at all that all KEF speakers have the same Uni-Q drivers.
They are structurally similar, similar in materials, but there are differences in the nuances, which can be seen even with an external examination - for example, by the number of "ribs" on the midrange cone.
The inch dome tweeter is made of a lithium-magnesium-aluminum alloy with the addition of an unnamed liquid crystal polymer to the construction. There are not many specifics in this formulation, but in general terms everything is clear - a light and correct dome can be obtained in various ways, including an alloy of different materials.
Looking ahead, I note that KEF tweeters with similar domes do not express a tendency to rigidity or specific coloration, as happens with other manufacturers. In my opinion, they play quietly.
The dome tweeter is recessed into a small aluminum horn, in the shape of which the midrange cone becomes a continuation. The Tangerine Waveguide is also used here in the form of metal petals perpendicular to the dome. Its purpose is to slightly change the radiation pattern, making the sound not so focused and in some way increase the sensitivity of the tweeter. And then the entire Uni-Q coaxial is placed in a rounded funnel-like polymer similarity to a common horn.
The 5-inch Uni-Q midrange driver also features an aluminum alloy cone. The surface of the diffuser has recognizable branded convex "ribs". Everything is aimed at creating a non-colored feed, "fast" point emitter.
There are four bass radiators in the design. They are the same, with rigid polymer 9-inch cones. The coils here are noticeably larger than traditional ones. These speakers also have special features. Fairly elegant, not massive aluminum baskets hold ferrite magnets, close in size to the emitters themselves. In the case, the woofers are installed on the sides and opposite, actually resting against each other and having a rigid mount, which, according to the developers, helps to dampen vibrations mutually.
In addition, the location of the woofers relative to Uni-Q is, in fact, equidistant, crosswise, which is a continuation of the concept of a point source from the mid/high section from the low-frequency section - in its own way, the desire to combine all frequencies along one axis. And KEF developers are certainly proud of this non-trivial technique.
Thus, in general, everything is clear - the application for a decent sound pressure is also visible. The frequencies between the speakers are divided into 350 Hz and 2.3 kHz.
Connecting acoustics to an amplifier is possible in the biamping or biwiring variant, and the jumpers are made atypically - what can be mistaken for the third pair of terminals (in the middle in height) is actually not the terminals, but just “jumpers” that need to be screwed or unscrewed into connection type used. Otherwise, the terminals are of high quality, convenient, suitable for any type of cable cutting.
Acoustics, and the equipment that the system consisted of: Primare CD35 Prisma as a source and preamplifier and an ATI power amplifier, a two-channel from the AT500NC series on Hypex modules - were already run in and warmed up. It only remained to arrange the acoustics correctly. And here is an interesting point.
On the one hand, a point emitter may imply a more or less "selfish" choice of listening point. For one. In the case of the KEF Blade, or rather, in the case of the Uni-Q emitter, the situation is different. The advantages of a point radiator are present here, but even-filled coverage can be larger, wider than a single listening point.
Therefore, it is not entirely correct to draw parallels with a classic coaxial radiator and its behavior. And the arrangement of acoustics can be parallel, and with a turn, and even with a fairly noticeable turn - I can’t say that there is only one single correct option. The owner will need to decide for himself, based on his preferences and premises.
However, it is quite possible to make a comfortable sound on a slightly larger area than one seat with these acoustics. And another common point - this acoustics (at least in the proposed system) do not really like to whisper quietly. But at a volume of medium and beyond - everything is much better.
Listening
To begin with, I put on the CD Pink Martini & The Von Trapps "Dream A Little Dream". It is immediately noticeable that the sound is spectacular and involving. The album itself is written not faded at all - rather, on the contrary. And in our case, this "efficacy effect" is noticeably enhanced. In terms of emotionality, the acoustics play very emphatically, but not rudely.
Practicing vocal parts, focusing, separation are not bad, but the emphasis is not on them. Volume, air and rhythm attract more attention. There is both a pronounced airiness and a noticeable density in the sound. The bass feels quite strong and accented.
The handwriting as a whole is rather bright, emotional, but at the same time restrained. At the same time, tightness is not noticeable, but there is also no tendency to euphoria. All together somehow resembles a system of bookshelf speakers with the signature current KEF sound and at least a couple of good powerful subwoofers.
At the same time, there are formally no defects in the “crosslinking” of frequencies in the range between the bass and midrange / treble sections. And the control is good: there is no hint of a rumble, there is no gap in speed - it's just that the range that is given to the woofers works unexpectedly voluminously and strongly. And at the same time, the bass component has not only speed and attack, but also a kind of velvety softness, texture and variety.
And with such qualities, the MF / HF range does not fall out of the general picture - I did not notice any contradictions in character here. One might suspect harshness or loudness, but there is none.
Then I listened to an old live recording of The Ornette Coleman Trio "At The "Golden Circle" Stockholm - Volume Two". With "volume" there are questions about the recording itself, but how the sound turned out according to this indicator is definitely better than expected. It turns out almost a picture, and with all the shortcomings of the recording - very realistic and airy. And this is also included in the concept of spectacular sound. In terms of dynamics, I did not notice any problems - everything is in its place.
The detail up to a certain point is high, but more with an emphasis on the main tones - you can still notice a slightly faster attenuation of the overtones. The presentation is light and not pedantic-monitor, there are also sometimes questions about the timbres - everything is somewhat lighter than necessary.
But at the same time, getting into the music, into the emotion - even adjusted for rather complex music - is quite confident. It is not worth judging the bass from this recording, but in reality it turns out a lot - and it makes the sound more solid.
The next album is John McLaughlin Industrial Zen. The dynamics are enough for complex passages, and the detail is on the level. But it is also noticeable that the acoustics do not really strive to parse sounds corrosively and meticulously, preferring to take them with emotional pressure, volume and scale, thoroughly supported by basses.
And what pleases is that this is not a vulgar or rude volume. There is no attempt to hammer music into the head. The attitude to the material here is not at all audiophile and not for "academic listening" - rather, entertaining in the good sense of the word.
There is no super-detail, but immersion in emotional empathy turns out to be very natural and weighty. The sound seems unusual, but it evokes emotions quite distinctly. Even on the example of this particular recording - quite complex, dense and saturated - I liked the elaboration of the scene.
Each time she tries to appear not only well-read, but also a little theatrical and concert. Often, while listening, I had the feeling that this was a track for a concert at all - only the picture was not displayed. Including this feeling was traced on completely studio albums.
Then I put on the CD Katatonia "Viva Emptiness". The sound turned out to be thick, assertive, fast, with good intelligibility. And even moderately evil - without smoothing and distorting emotions.
It is also noticeable that the acoustics and the system do not focus on the jambs of the recording, do not pull out everything that, upon detailed examination, could make “metal” with a touch of comedy out of a fairly hard metal. So non-monitoring and non-corrosiveness in this particular case, rather, work for the listener, unless, of course, such an approach disgusts this listener.
Then he put on recordings of works for two pianos - the disc of Ludmila Berlinskaya & Arthur Ancelle "Belle Époque". Here the sound turned out to be neat, but with the same good volume - and with an emphasis not so much on details as on the whole music as a whole, on emotions. The sound is calm: first of all, everything is set by the piece of music and the performance itself, and the acoustics and the system have no tendency to somehow alter this.
The nature of the scene is already approximately familiar: a large form - everything is solid, but without heaviness. Of the nuances that seemed somewhat unusual to me, one can hear not so much the familiar recording style of this album, but also a slightly different presentation. Everything turns out somehow warmer and rounder.
I liked the sound of Cecilia Bartoli, András Schiff Italian Songs. The vocal parts are focused quite well, the proportions are respected, there is grace. But this disc, as it seemed, sounded somewhat in an unusual way.
In terms of style, everything was a bit reminiscent of some American recordings of the 60s - only a little lighter and without obvious gravity to paint the sound with large strokes. But here is some kind of warmth, an emphasis on the voice could be traced.
On the "large form" - a recording of Mahler's First Symphony - the system coped well with the stage and dynamics, the detail was already almost familiar, but the picture turned out to be juicy, exciting and colorful. Again, all this is not about monitor sound, but about KEF Blade's own style - everything is within their character.
Conclusion
Both listening and the KEF Blade Tower Speakers seemed to me interesting and unusual from different angles.
Firstly, although "Blade" can be translated as "blade", but this is the last thing you want to compare the sound with. This acoustics absolutely does not want to dissect music and will not. Knowing what and how KEF sounds, I would say that for attentive listening and even for dissecting music in any audiophile way (and in a good way), the Reference series models are perfect, but not the Blade.
But I can perfectly imagine this acoustics as the basis of a home entertainment center. So that in this system a variety of music plays for several generations of listeners: music for companies and gatherings, soundtracks for movies and concerts, and, perhaps, even the sound of computer games, which is now being paid a lot of attention. Here is such an option for a completely diverse application of KEF Blade seems to me very natural.
And from another point of view, it is interesting to look at Blade: KEF has a lot of things built around the Uni-Q coax, even outwardly a lot is similar, but how different in character the sound can be obtained. However, all the same, KEF has some commonality, and from this point of view, Blade, although a completely separate value, clearly does not go beyond belonging to the manufacturer's catalog.
Musical Material
Cecilia Bartoli, András Schiff — Italian Songs—Canzoni (Beethoven, Schubert, Mozart, Haydn) / Decca — 440 297-2 / CD Stereo
John McLaughlin — Industrial Zen / Verve Records / Universal Music Jazz France — 0602498393284 / CD Stereo
Katatonia — Viva Emptiness / Peaceville — CDVILEF103 / CD Stereo
Ludmila Berlinskaya & Arthur Ancelle - Belle Époque / "Melody" - 10 02563 / CD Stereo
Mahler-Symphony No. 1 - Chicago Symphony Orchestra, Klaus Tennstedt / Esoteric Company / EMI Classics - ESSE-90068 / SACD Hybrid Stereo
Pink Martini & The Von Trapps - Dream A Little Dream / Heinz Records - HNZ014 / CD Stereo
The Ornette Coleman Trio —At The "Golden Circle" Stockholm—Volume Two / Blue Note — TOCJ-9162 / CD Mono
OFFICIAL SITE
K.E.F Blade - international.kef.com
PRICE
€28,000
KEF Blade Specifications
Number of bands: 3
Bass design type: phase inverter
MF/HF driver: coaxial Uni-Q, MF 125 mm, HF 25 mm
LF: 4 x 225 mm, side-mounted with two speakers on the side of the cabinet
Frequency Response: 28Hz - 45kHz (-6dB)
Crossover frequencies: 350 Hz, 2.3 kHz
Sensitivity: 91dB (2.83V/1m)
Impedance: 8 ohms (3.2 minimum)
Recommended Amplifier Power: 100-500W
Harmonic distortion (2nd and 3rd harmonics, at 90 dB at 1 m): <0.5% 40 Hz - 100 kHz, <0.2% 200 Hz - 10 kHz
Output Power: 117 dB
Dimensions (WxHxD): 363x1590x540 mm
Weight: 57.2 kg
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