Last year, KEF took a big step by equipping the LS50 with a metamaterial that significantly improved the rendering. Now the British brand is taking this remarkable Meta audio technology to its highest levels. Does that make the already acclaimed Reference family even more of a benchmark? We are going to work with the KEF Reference 1 Meta with a price tag of 4,500 euros each.
The Reference line has been KEF’s loudspeaker that has to offer top performance for decades. And by decades we actually mean ‘almost fifty years’. And yes, that’s a lot of history. But unlike many nostalgic hi-fi brands, KEF does not linger in the past with the Reference speakers. You will soon discover that if you look at the path that the Reference line has taken since its inception. A lot has changed since that first Reference Model 104aB from 1973. The generation that was introduced in 2014 already brought a series of innovations and a more modern design. Now it’s time for the next step, one that everyone expected. After all, KEF likes to use the fruits of its latest audio research in its top models. But their latest technology was in the cheaper oneLS50 models . An update for the Reference performance beast had to come and so we can now get started with the KEF Reference 1 Meta.
| What | 3-way bookshelf speaker |
|---|---|
| Frequency range | 45 – 35,000 Hz (+/- 3dB) |
| Impedance | 4 Ohms (with minimum of 3.2) |
| Sensitivity | 85 dB/W/m |
| crossovers | 450 and 2,100 Hz |
| Dimensions | 44 x 20.5 x 42.2 cm |
| Weight | 18.2kg |
The benchmark
Fun fact: the Reference name was not originally a hi-fi stereotypical reference to indicate that the speaker was a ‘reference in its class’. However, a ‘perfect’ copy was used that served as a touchstone during manufacture, so that all Reference speakers that were built were of a consistent quality. So it was not just about performance but also about quality control . That was necessary in the seventies, when more loudspeaker brands had mixed reputations in that area.
Meanwhile, the Reference loudspeakers are positioned as benchmarks. They are loudspeakers that have to stand the comparison with competing top models. Showpieces also from the R&D department in Maidstone, UK, today headed by the widely respected young engineer Jack Oclee-Brown. So there is some evolution in these speakers – which is not surprising given half a century of development. Incidentally, the QC approach is still present. KEF says that each pair of Reference may deviate a maximum of 0.5 dB from the proposed standard. Consistency remains important.
At KEF, the Reference speakers are not the highest models. They are, however, the best speakers with a ‘conventional’ design. The Blade 1 and 2 and Muon that (literally) tower above the Reference are very groundbreaking in terms of industrial and acoustic design. The Reference family is also classically built, with the Reference 1 Meta upright speakers as entry-level speakers, the slim Reference 3 Meta floorstander as the middle class and the Reference 5 Meta as the largest column model. Two center speakers – the Reference 2 Meta and 4 Meta – and the Reference 8b subwoofer round off the whole. Although we must mention that there are also some high-end built-in speakers that strictly speaking belong to the Reference family. You can recognize them by the ‘REF’ reference in their model name. This makes it possible, for example, to build a home cinema and music room with separate Reference speakers for the stereo channels and built-in models for the surround channels. Of course it is a high-end project with a hefty price tag.
Modest size
You could call the Reference Meta 1 a bookshelf speaker. In terms of height and depth, that may still be true, the depth of 42 cm means that you would probably rather place it on a stand. KEF itself suggests the S-RF1 floor stand, for sale for 1,200 euros per pair and available in black or white.
A more unique feature of the Reference Meta 1 is its 3-way design. You don’t often come across this with more compact high-end speakers, simply because there is usually no room for a woofer, midrange and tweeter. At KEF it is possible, thanks to its Uni-Q driver.
This is a coaxial driver, which you could translate as ‘2-in-1’. After all, the tweeter is hung independently in the middle of the midrange driver. The Uni-Q driver is very recognizable by the striking waveguide in the middle. It always reminds us of the quarters of an orange. The cone around it moves independently of the center and spreads out the center frequencies. KEF is certainly not the only one who uses coaxial designs, but the British brand is really a convinced lover of the technology. Virtually all speakers it produces contain such a Uni-Q driver.
A major advantage of Uni-Q, which immediately applies to the Reference 1 Meta, is that it takes up little space. This speaker is 3-way and yet it’s no bigger than most 2-way rivals. More importantly, however, the Uni-Q driver allows both mids and highs to come from one point. That increases the sense of realism, because, say, the sounds of a piano are not distributed over drivers that are spread over the front of a speaker. So there is a higher phase coherence, with the added bonus that a KEF usually still sounds good up close. For example, the LS50 is also often used for nearfield listening.
Copper and more
The Reference 1 Meta is a luxury product. So we are not surprised that KEF offers different color versions, because whoever buys his dream speaker still wants some choice. The British are doing it smartly by combining three cabinet finishes with different driver colors. In this way, even more editions are created.
The beautiful walnut edition is only available with a completely silver front, but the high-gloss white Reference 1 Meta is available with an ice blue Uni-Q driver or with one in champagne gold. The same goes for the classic black piano finish, which is available with matte black drivers or – and this is really nice – a copper-colored Uni-Q driver with large copper-colored surround. As you would expect at this price point, the drivers are really seamlessly built-in and the speaker exudes a more luxurious luxury. The Reference 1 Meta above all looks very modern. You can also say timeless, given that this design is almost ten years old and still looks fresh.
The rear is also finished to the same high quality as the rest of Reference 1 Meta. In addition to a large nameplate, you’ll discover that the speaker is ready for bi-amping/bi-wiring – with a real KEF twist. No wire bridges are provided between the speaker terminals. Connecting or disconnecting the same terminals is done by turning a rotary knob. We saw this before with the lower R-series.
The step to Meta
As mentioned, the Reference loudspeaker family received a major upgrade this spring. The same also happened with the high-end Blade speakers. It was written in the stars that new versions of these top models would arrive. It was clear that KEF would not wait to revamp these speakers, after a previous successful update to both the active and passive versions of the LS50 crowd favorite. You will not see from the speaker itself that anything has changed. Unless you face the big nameplate in the back. After all, the big improvement is on the inside. Like the addition of ‘Meta’ to both the Reference and Blade names, the primary focus here is on using the MAT metamaterial in the Uni-Q driver that is KEF’s signature.
But what exactly is that MAT metamaterial? It is important to realize that this time it is not about a driver made of a new material. You often come across that story when a brand brings out a new composite or metal to build new drivers with. In this case, the metamaterial – which is completely synthetically created – is actually almost less important than what the KEF designers did with it. It is therefore very much in the DNA of the brand to raise the bar through R&D. After all, the company always invests a lot in research into materials and computer simulations, perhaps more than average. It is true that over the years KEF was able to discover in which (detail) areas there were still profits to be made. With many small steps it was able to further optimize its designs. In the case of MAT, it is a bigger jump. KEF, together with a specialist company, identified a material that is very consistent and can be pushed into a certain shape. A kind of maze, it seems when you see it. This maze pattern has not been chosen randomly, but very specifically dampens unwanted frequencies. Why is that useful? For KEF it was an excellent opportunity to further optimize the Uni-Q driver. By placing a circle of the meta material on the back of the tweeter in the Uni-Q driver, air movements that arise when the tweeter moves inwards are cleverly eliminated. And this without the disadvantages that you have when you use heavy damping material. It’s really smart and has a big impact on the display, we already discovered that with the together with a specialist company, found a material that is very consistent and that can be pushed into a certain shape. A kind of maze, it seems when you see it. This maze pattern has not been chosen randomly, but very specifically dampens unwanted frequencies. Why is that useful? For KEF it was an excellent opportunity to further optimize the Uni-Q driver. By placing a circle of the meta material on the back of the tweeter in the Uni-Q driver, air movements that arise when the tweeter moves inwards are cleverly eliminated. And this without the disadvantages that you have when you use heavy damping material. It’s really smart and has a big impact on the display, we already discovered that with the together with a specialist company, found a material that is very consistent and that can be pushed into a certain shape. A kind of maze, it seems when you see it. This maze pattern has not been chosen randomly, but very specifically dampens unwanted frequencies. Why is that useful? For KEF it was an excellent opportunity to further optimize the Uni-Q driver. By placing a circle of the meta material on the back of the tweeter in the Uni-Q driver, air movements that arise when the tweeter moves inwards are cleverly eliminated. And this without the disadvantages that you have when you use heavy damping material. It’s really smart and has a big impact on the display, we already discovered that with the tracked down a material that is very consistent and can be pushed into a certain shape. A kind of maze, it seems when you see it. This maze pattern has not been chosen randomly, but very specifically dampens unwanted frequencies. Why is that useful? For KEF it was an excellent opportunity to further optimize the Uni-Q driver. By placing a circle of the meta material on the back of the tweeter in the Uni-Q driver, air movements that arise when the tweeter moves inwards are cleverly eliminated. And this without the disadvantages that you have when you use heavy damping material. It’s really smart and has a big impact on the display, we already discovered that with the tracked down a material that is very consistent and can be pushed into a certain shape. A kind of maze, it seems when you see it. This maze pattern has not been chosen randomly, but very specifically dampens unwanted frequencies. Why is that useful? For KEF it was an excellent opportunity to further optimize the Uni-Q driver. By placing a circle of the meta material on the back of the tweeter in the Uni-Q driver, air movements that arise when the tweeter moves inwards are cleverly eliminated. And this without the disadvantages that you have when you use heavy damping material. It’s really smart and has a big impact on the display, we already discovered that with the but very specifically attenuates unwanted frequencies. Why is that useful? For KEF it was an excellent opportunity to further optimize the Uni-Q driver. By placing a circle of the meta material on the back of the tweeter in the Uni-Q driver, air movements that arise when the tweeter moves inwards are cleverly eliminated. And this without the disadvantages that you have when you use heavy damping material. It’s really smart and has a big impact on the display, we already discovered that with the but very specifically attenuates unwanted frequencies. Why is that useful? For KEF it was an excellent opportunity to further optimize the Uni-Q driver. By placing a circle of the meta material on the back of the tweeter in the Uni-Q driver, air movements that arise when the tweeter moves inwards are cleverly eliminated. And this without the disadvantages that you have when you use heavy damping material. It’s really smart and has a big impact on the display, we already discovered that with the By placing a circle of the meta material on the back of the tweeter in the Uni-Q driver, air movements that arise when the tweeter moves inwards are cleverly eliminated. And this without the disadvantages that you have when you use heavy damping material. It’s really smart and has a big impact on the display, we already discovered that with the By placing a circle of the meta material on the back of the tweeter in the Uni-Q driver, air movements that arise when the tweeter moves inwards are cleverly eliminated. And this without the disadvantages that you have when you use heavy damping material. It’s really smart and has a big impact on the display, we already discovered that with theLS50 Meta and LS50 Wireless II .
Naturalness first
A first thing we always appreciate about the better KEFs is their coherence and excellent behavior in the time domain. The naturalness often referred to when talking about their speakers has to do with how that Uni-Q functions. It ensures that a very spacious and well-defined sound image is created. In combination with the Hegel H590 in our test room, we experience a very fascinating soundstage that comes at you in a grand and detailed way. Add to that flawless timing and ‘Hi-De-Ho’ and ‘Eosophobia’ on Jack White’s ‘Fear of the Dawn’ are delivered super tight. Not only does the Reference 1 follow every tempo change without hesitation in these psychedelic rock songs, every little effect and tone of a musical instrument is excellently positioned. Although these are upright speakers, we also do not immediately want an upgrade to a floorstander with a better layer extension. After all, KEF has the habit of providing its smaller speakers with good bass reproduction. Well, the Reference 1 isn’t that small either. But it still remains an all in all compact speaker. We are surprised by the strong bass tone around 41 Hz in Kimbra’s ‘Top of the World’.
We do believe that some people have to get used to the more neutral interplay of mid and high that rolls out of the Uni-Q driver. As a result, the Reference 1 may not immediately stimulate your ear with over-sharp details, but it can initially appear a bit flat. We believe that is the intention. His forté is creating something that comes across as very realistic and natural, and in the long run that will be the better option for many.
For example, we listen to Tchaikovsky’s Fifth Symphony in E minor, originally recorded in 1975 with the Berlin Philharmonic Orchestra conducted by von Karajan and recently reissued by Deutsche Grammophon. From CD, with a Project CD Box RS2 T-transport connected to the Hegel. It is striking how we can really imagine the orchestra in its entirety, playing there in the Berlin concert hall. Just as you would expect from Tchaikovsky, there is a lot of dynamics, with silent parts that swell into a grand symphony or suddenly explode. Those last dynamic jumps really don’t challenge the Reference 1 Meta. Although, as always with KEF, it is important to provide a good amplifier. For example, the Hegel H590 may provide more than is necessary for these speakers. Perhaps a cheaper H390 and perhaps an H190 will suffice. But it is grateful to have that enormous wealth of the Norwegian available.
Although it is already a few years old, ‘The Chopin Project’ remains a permanent stop in our test trajectory. Alice Sarah Ott’s hesitating piano playing on ‘Eyes Shut’ always moves, and that is certainly the case now. The honesty and purity of these Reference 1 Metas conveys all the information. As a result, you not only experience the instruments fully, you also really hear the space in which they are played. It probably also has to do with KEF’s concern not to create additional, unwanted sounds, but this speaker is also quiet. What do we mean by that? Not that the Reference 1 Meta can’t play loudly – then the speaker can, of course, even thanks to the 2 x 301 Watts of de Hegel. However, with some tracks, such as more classic rock songs or techno, you can really hear the silence between notes. It’s measured, tight. Instruments that often play a secondary role, such as an electric bass, come through with more detail and character of their own. It all feels very accurate – but also well balanced.
Conclusion – KEF Reference 1 Meta
The MAT material was a major upgrade for the LS50. And that is also the case here. The Reference 1 Meta becomes even more of a speaker that ‘speaks the truth’. Apart from that technical improvement, the Reference 1 Meta is an excellent bookshelf loudspeaker of the highest class. Despite its more compact size, it delivers a very complete high-end display with an emphasis on naturalness and insight.
- Perfect timing
- True-to-life, coherent display
- Very luxuriously finished
- Honest, precise KEF sound great for vocals and stringed instruments
- Bold bass performance for a standmount
- Deeper cabinet does not fit every stand
- Correct match with amplifier required
