KEF Blade Two Meta loudspeaker Page 2

Sure, these are foxtrots, most of them suitable for dancing, but they are sophisticated and fascinating. Each disc covers a different geographical area: Austria and the Czech lands; Germany; Central and Eastern Europe; France and Belgium. The composers and arrangers include many great names from the first half of the 20th century—Krenek, Martinu, Hindemith, Gieseking, Weill, Shostakovich, Saint-Saëns, Satie, Milhaud, Ravel, Ibert—and many of the pieces are adaptations of music from opera, concert, stage, and film. I loved them so much that I made them the playlist for a recent birthday party. Wallisch is known to me from his marvelous Mozart recordings; he plays a Steinway D in the Jesus-Christus-Kirche, Berlin-Dahlem, a venue that has hosted more than 1500 recordings. The Blade Two Metas justified the Steinway, delivering dynamic range, percussive punch, and treble sparkle that no dancehall piano could approach but that this music deserves. The deep space of the Kirche spans widely beyond the Blades, but Wallisch and the big Steinway seem unconstrained sitting between them.

I got hooked on Weber's opera Der Freischütz decades ago when I discovered a marvelously dramatic performance on Electrola LPs, conducted by Joseph Keilberth and featuring the golden-age voices of Elisabeth Grümmer, Rudolf Schock, Hermann Prey, and Gottlob Frick. It is available on CD as Warner Classics 9481772. Since then, I've added several more recordings of Der Freischütz to my library, including the consensus favorite, conducted brilliantly by Carlos Kleiber with a stellar cast that includes Gundula Janowitz, Peter Schreier, Theo Adam, and Bernd Weikl (2 CDs + Blu-ray, DG 4838706). Unfortunately, the remastering has not resolved the imbalances between the voices and orchestra; the Keilberth remains beloved, and more modern recordings (stereo and multichannel) have not challenged my preferences—until now.

René Jacobs's rethinking of Der Freischütz (2 CDs, Harmonia Mundi HMM90270001) is a revelation and not just because of the refreshing sounds of the Freiburger Barockorchester, which contrast with the more "classic" orchestras, although there's that, too. HM's engineers get everything right, with great clarity and a single acoustic shared by voices (spoken and sung) and the orchestra. Via the Blade Two Metas, I heard lots of delicious detail in the orchestra and impressive impact, despite the smaller forces. In the Wolf's Glen scene, I felt the space close in with the incantations and expand gloriously as chorus, orchestra, and singers approach a climax then fade at the end. I never—not once—thought to myself, "This is great, but it would be even better in multichannel."

822kef.Stravinsky

Simon Rattle's tenure with the London Symphony has generated some interesting recordings; none are more impressive than their recent traversal of Stravinsky's big three ballets, The Firebird, Petrushka, and The Rite of Spring (24/96 download, LSO Live LSO5096). These readings are intense and engaging, reminiscent of the young Rattle in Birmingham and among the best-sounding recordings the LSO has produced at the Barbican (footnote 3).

I started with the Firebird, which begins with an almost subliminal rumbling in the lowest strings. Hearing nothing, I turned up the volume and restarted. Now, those deep, deep murmurings, produced by strings but with accents from the lowest winds and brass, were arrayed clearly across a wide, deep stage. Soon came the transition to filling the soundstage with Stravinsky's colorful orchestration, but the clarity of the instruments remained impressive, especially at the low end. For example, in "Danse Infernale de Tous les Sujets de Kastchei," the bass drum accentuates the explosive opening and is the pulse of the accelerating dance. Unlike many other recordings (and speakers that reproduce them), which present the bass drum as floor-shaking but of indeterminate size and location, the Blades place it clearly at the left rear of the orchestra. None of its power is lost.

A spacious, transparent soundstage that integrates well-defined bass is a hallmark of the Blade. From the kickdrums and acoustic bass on Jane Ira Bloom's "Song Patrol," from Early Americans (24/96 PCM rip from a Sono Luminus Blu-ray, SLE-70005), to Buster Williams's solos on "Concierto de Aranjuez" from that bassist's album Griot Libertè (DSD64 rip from High Note SACD HCD 7123) and Jay Bellerose's drum beat on "Sister Rosetta Goes Before Us" from Robert Plant and Alison Krauss's Raising Sand (16/44.1 download, Rounder), I hear them all with great clarity and presence with the Blades.

822kef.bac

The most impressive experience I had with the Blades was with Bob Belden's kaleidoscopic 12-part symphonic suite, Black Dahlia (DSD64 rip from Blue Note SACD 72435417452). Released in 2001, Black Dahlia was inspired by a brutal, unsolved murder in a very noir 1947 Los Angeles, which has inspired, in addition to this musical work, two novels and a movie. Freed from the literal, Belden's musical account is almost purely emotive. As the first anguished chord burst from the Blades, the spell is cast. Belden guides us through these dark, bluesy, brass-driven pieces with fascinating melodies, Latin-inspired rhythms, and brilliant scoring. The Blades' expansive view went well beyond immersive. It was transporting. Play it loud to complete the illusion and be consumed by the music.

So far, I've offered no criticism of the Blade Two Metas' performance, but lurking in the back of my mind is John Atkinson's observation about the original Blade Two: "In my relatively modest-sized room (greatest dimensions: 27' long by 16.5' wide), the Blade Twos' low frequencies were too generous in absolute terms." My room is slightly smaller than his, nominally 24' long by 14.5' wide, but it's open to two adjacent spaces yielding a total volume that's comparable to John's. Was the Meta's bass overgenerous in my space?

With the familiar "First Tears" by Eriks Ešenvalds, from The Doors of Heaven (24/88.2 PCM download, Naxos), performed by the Portland State Chamber Choir under Ethan Sperry (and recorded by John Atkinson), I heard and appreciated more differentiation of individual voices as well as a clearer distinction between those voices and the hall. But I heard no difference in tonal balance. Listening with the Blades to a new recording of Beethoven's Sonatas for Violin and Piano, Nos.1, 5, and 10 from Rachel Podger and Christopher Glynn (DSD256 download of Channel Classics CCS SA 44222), I found Podger's violin and Glynn's Erard fortepiano to be sweet and warm—uncharacteristically warm—but the warmth is on the recording. These performances, which verge on romantic, were ideally balanced in the acoustic of St. John's Church, Upper Norwood.

However, there were indications elsewhere of an excess of bass. Asked to choose between two modern recordings of Fauré's Requiem—Lawrence Equilbey's with Accentus and L'Orchestre National De France (CD, Naive V5137) and Mathieu Romano's with Ensemble Aedes and Les Siècles (24/96 FLAC download, Aparté AP201)—I waffle. I love Romano's pacing and the acoustics of his space, but Equilbey's ensemble is richer as, especially, are the organ tones which are the foundation of several sections. Listening to these recordings on the Blades, I was stunned. For the first time, Romano's opening chord was firmly supported by a deep pedal tone that was distinct from the low tones of the orchestra, and the chorus enters with air and satisfying weight. Switching to the Equilbey, the Blades revealed the organ as excessively powerful, out of keeping with the delicacy of the Requiem—more Saint-Saëns than Fauré—and that impression carried through the piece. Immediately, my preference shifted to the Romano. Later I had second thoughts. Still waffling.

On Nils Lofgren's introduction to "Keith Don't Go," from Acoustic Live (16/44.1 FLAC stream, Vision Music/Qobuz), the lower tones and the spiky upper tones are well-known for their richness and presence. When first played on the Blades, at my usual volume setting, I was stunned at how much larger and riper it sounded. Backing the volume down 2–3dB pulled the guitar down to life-sized while keeping it in good balance with the vocals. Here, as in the Fauré, I will say (with apologies to the great Mae West): A bit too much of a good thing can be wonderful.

Reflections and comparisons
I compared the Blade Two Meta with my Revel Studio2 with an A/B switch box. I found that if I stood directly in front of a Blade Two or a Studio2 and switched from one to the other, they sounded almost exactly the same. So I measured their frequency responses on axis from the same 1m distance and found that, above about 200Hz, they were both flat and matched each other to within ±2dB. Below 200Hz, they varied more.

When I stepped back and sat in my listening seat, things were quite different. In normal listening, even with the speakers aimed directly at the listening position, the bulk of the energy that reaches listeners' ears is reflected sound, but the amount and spectral character of the reflected sound depends on the speaker's dispersion. When, sitting in my usual location, I switched from the Blades to the Studio2s, the latter seemed more forward. The treble was emphasized, and the bass was fuller but not as deep.

When I switched from the Studio2s to the Blades, the latter at first seemed a bit more distant but also more spacious, and the Blade's upper bass was less prominent while its low bass was firmly defined. That said, these differences were not huge. When I turned on the system each day, not remembering which speakers were in use, I sometimes guessed wrong. I had to walk over and look at the switch to be sure, or just sit and listen longer; eventually, those identifying characteristics emerged.

Conclusions
The Blade Two Metas are consistently rewarding and satisfying and gave me great pleasure with all the recordings I played. They offer a remarkably open, transparent, coherent soundstage and taut, extended bass. Are they flawless? That would be a strong claim, but I have not yet found a flaw.

In sum, as of today, the Blade Two Metas are the best speakers I've heard in this room (or perhaps anywhere), and I urge an audition to anyone interested in music reproduction of the highest quality. The Blades were picked up about 24 hours ago, and I miss them already.


Footnote 3: Rattle has announced his departure from London, set to occur in early 2023. An article in the London Times said that one reason for his departure was dissatisfaction with the quality of London's concert halls and the declining prospect that the city will build a new one.—Jim Austin
COMPANY INFO
KEF, GP Acoustics (UK) Ltd.
US distributor: GP Acoustics (US) Inc.
10 Timber Ln.
Marlboro, NJ 07746
(732) 683-2356
ARTICLE CONTENTS

COMMENTS
remlab's picture

but this is as close as I've ever seen. I know KEF has always done nonstop R&D over the decades and will continue this practice, but how on earth could they ever improve on this design? I'm sure that HD and IM distortion measurements are just as flawless as everything else. Crazy.

volvic's picture

Have heard them over the years in different iterations, improvements etc., and they never fail to amaze. They seem to do everything right and not many speakers have ever done that for me, maybe Focals, MBL and Verity Audio. Very special speakers, wish I had the space and the cash for a pair.

JRT's picture

...for another interesting, well thought out, well executed, and well written review of an interesting loudspeaker. And I also appreciate the efforts of JA1 in providing measurements and associated useful commentary.

You gentlemen do not receive enough positive feedback in the comments section for the high level of competence in all of the good work which you provide here, and the significant effort that goes into that.

Edit: I had a question about the Uni-Q coax utilized in this loudspeaker, but reading the KEF whitepaper at the link provided in footnote 2 answered my question.

Mev Dinc's picture

your excellent review moved them to the top of the list.

johnnythunder1's picture

Any time I've seen the Blade speakers I think of the ridiculous "fish fountain" from Jacques Tati's Mon Oncle. https://medium.com/@hyeoh/bong-joon-hos-parasite-and-jacques-tati-s-mon-oncle-d1b23564db93

remlab's picture

..sometimes in the near future. Trickle down technology(Kind of). I know the magazine frowns on one piece audio solutions, but it would still be a very interesting review in comparison with the Blade 2

JRT's picture

KEF's LS60 Meta wireless is a two piece (if you ignore counting the added componentry included in varied domestic IT infrastructures) consisting of a seemingly proper pair of floor-standing DSP filtered active loudspeakers with added functionality.

Compared to KEF's Blade II Meta and LS50 Meta, the LS60 Meta utilizes a smaller diameter Uni-Q coax, allowing for the narrower baffle, which may be a little more conducive to domestic harmony with a non-audio-enthusiast spousal-type weighing in with counter demands on room decor. And it will sound better than an aging Bose Lifestyle modular hideaway system.

All of that is in contrast to the one piece wireless Sonus Faber Omnia boombox audio enabled plant stand, in Stereophile's review recently posted here.

https://www.stereophile.com/content/sonus-faber-omnia-wireless-loudspeaker

rpeluso's picture

So with this review I gather that you now think the Perlisten S7t speakers are the second best you have ever heard, is this right?

Kal Rubinson's picture
Quote:

So with this review I gather that you now think the Perlisten S7t speakers are the second best you have ever heard, is this right?

Yes and I wrote a somewhat detailed and, perhaps, sophistic explanation of the situation but that did not make it into print. Bottom line is that I was not sufficiently motivated to buy the S7t and I moved on. It is still a speaker that I would recommend to anyone for serious consideration.

P.S.: The LS60s are on the to-do list.

wannarock2's picture

yeah the LS60 wireless could be the bargain of the design.
(kal thinking surround sound ☀‿☀)

yyz's picture

I am curious how the Blade 2 Meta, my next speaker, would sound with overwhelming power such as with the Rotel Michi M8 monos.

About 5 years ago I heard the Blade 1 with the Hegel H30 monos which are similar power wise to the Michi M8. It was a real fun listen, but the Hegel was not very clean sounding on top. When I demoed the lower powered Michi X5 integrated, it seemed cleaner sounding than the Hegel H30 with the some new B&W speakers. As a frame of reference, the Benchmark AHB2 is as clean as it gets for my ears.

The upcoming KRELL KSA i400 uber amp is something that I think would be excellent with the Blade 2 Meta. I have owned 2 of the new KRELL XD amps and I am now considering trading one in for this uber KRELL amp.

I also have my Benchmark AHB2 monos available, which I know will be good not sure about being great with the Blade 2 Meta due to power. The single AHB2 stereo was awful with Magico A3 (not enough power) and the monos were not the best with my now sold hard to drive Thiel CS3.7 speakers.

b-baij-jo's picture

I've had the B2Ms for a month now and I am over the moon. As for amplification, I am using a Zanden 8120 (re. 100 tube watts) to drive them with excellent results. I am running a pair of subs - and using a mere 5th of their power. I am very satisfied. Amazing clarity and coherence - and add in exceptional soundstaging, imaging, and dynamism - the you have a speaker that is hard to beat. Order yours soon as the wait was loooong - but worth it.

ejlif's picture

for about 3 years. I came to slowly realize they are one of the most dull and uninspiring speakers I ever owned. I'd take a pair of Klipsch Forte over a pair for pure enjoyment of playing music. I went back and forth over and over for a year putting different speakers in and out and comparing and eventually I sold them. I thought they would be my dream speaker. I loved the looks. I was quite disappointed with the actually product in real life. Light and made of plastic. The entire base is just a piece of plastic and they aren't even heavy. I'm perplexed out how they come up with such a high price for these. Seems like they are double or triple what they should be based on the quality. Mine is a case of different strokes for different folks I ended up far preferring the sound of lower power tubes and efficient speakers over the power hungry Blade 2. I tried for 3 years to like these speakers but could never warm up to them.

Kal Rubinson's picture

Fair enough indication of an alternate perspective and your decision to move on. From my POV, I've yet to hear a Klipsch speaker that I could live with (and that includes the originals).

Jim Austin's picture

After all, your tastes are your tastes. But as to that lightweight "plastic" cabinet, someone should set the record straight. Here's what JA wrote after measuring the original Blade 2 (not the meta): "The Blade Two's enclosure is extremely inert, and the force-canceling woofer arrangement seems to work as advertised." The result with he Metas was a bit different: " Although the sidewalls emitted an audible "bonk" when I rapped them with my knuckles, especially in the region behind the twin woofers, I didn't find any significant resonant modes on these walls. This is a testament to the effectiveness of the Blade Two Meta's use of opposed and mechanically connected woofers on the two sidewalls. A couple of modes between 400Hz and 600Hz were present on the front baffle (fig.2), but these modes were very low in level and should not have audible consequences."

Another perspective: Here's an image of the larger Blade Meta, from the recent Audio Advice Live show in Raleigh. The speaker is playing loudly in a highly resonant space.

Jim Austin, Editor
Stereophile

remlab's picture

There is no law that says you have to like objective accuracy(Some people actually believe this). After all is said and done, if it doesn't move you...

steve59's picture

It would have been great if KR or JA had reviewed both speakers. Would blade 1 owners benefit more by upgrading to meta's or using equal money on better components?

I was able to get an extended audition of the perlisten s7t and found the listening window to be to small to be practical even if the effect is polarizing.

Kal Rubinson's picture

To be sure but those kinds of comparisons generally demand that the reviewer already possessed the original pair. So, we do it when we can and JA did it with the LS50s, original and Meta.

I think you are spot-on in your observation of the Perlisten S7t.

MikeP's picture

I liked the Kef Reference 5 Meta's even more! I believe they are the best kept secret in Kef's line right now ! Please review them and find out...

MikeP's picture

Compare them to Grandinote Mach 18's or Mach 36's please ! Go listen to Mitch's system in Long Island, New York. Mitch has the Grandinote Mach 36's maybe the best speakers on the planet ! Mitch's E-mail is pennpalmitch@gmail.com Anyone can go listen to Mitch's system.

Kal Rubinson's picture

To be honest, those Grandinote speakers are too tall, too large and too expensive for me and my room. I also find the design concepts difficult to accept without some objective measurements to support them. (All this is said without having heard them and, therefore, are not criticisms of the speaker, itself.)

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