KEF loudspeakers: amplifier matching with the Blade Two & LS50


There’s no prayer like desire. At the Munich High End show last year, KEF launched the Blade Two, a downsized take on its popular Blade floorstander with dimensions and sticker price hacked back to reach those in smaller living spaces and/or with thinner wallets.

The Blade Two contains just as many parts as its forerunner but they’ve been condensed into an enclosure that measures two thirds the volume. Bass driver size has been reduced by a third too – from 9” to 6” – and the top quarter has been lopped from the MSRP: the Blade Two sell for US$24K.

However, at that very same 2014 event KEF was also launching the equally new but more traditionally-styled Reference Series. Relegated to static display, the Blade Two sat dutifully silent on the sidelines while the Reference One pounded out its stuff, powered by Arcam amplification.

At the Munich High End this year, KEF let the Blade Two loose, showing precisely how the aspirational audiophile can have his cake – terrific sound – and eat it whole without the starchy aftertaste of aesthetic conservatism. The Blade Two look incredible, sounds even better. If there was a Best in Show for this commentator at the M.O.C. in 2015, KEF’s Blade Two were it — and judging from his own show report at 6moons, I’m confident Srajan Ebaen agrees.

The new Blade Two owner must then ask: “Which amplifier?” With the Hobson’s choice of Johan Coorg’s show room demo, KEF once again demonstrate what’s possible with Arcam electronics and as good as this particular pairing sounded in Munich (and simultanesouly echoing the audiophile’s curse), I’ve convinced myself that better is just around the corner. Looks wise the Blade (Two) scream for something from Devialet’s recently re-christened Expert Series. I know Ebaen’s angling for a Blade Two to review (or even own) and given his forensically thorough approach to the review craft, amplifier-matching intel will spill in time.


Stateside, KEF America do the show and tell with Parasound electronics. Per Munich, it’s just as likely that this demo space partnership is born of regional commercial alliances as it is of optimised sonic performance. I hear nothing to complain about when the standmounted LS50 are driven by John Curl’s Halo range but I also know from back-to-back showroom auditioning with the Magnepan 1.7 in Australia that the Sanders Magtech (for example) is a more revealing amplifier, far more capable of micro-dynamic avidity and separation.

The LS50 standmount was orginally intended as a limited edition model to celebrate KEF’s 50th year in the hi-fi biz but consumer demand proved so strong that they sensibly decided to continue its production indefinitely. Genetically engineered with the Blade’s DNA, the LS50 is another example of KEF coming good on both sonic and aesthetic impact. The coaxial driver advancements made whilst developing the original Blade at KEF’s R&D facility in Kent also feature in the LS50. And thanks to a hefty push for alternative clothing from KEF’s Hong Kong owner GP Acoustics, the LS50’s curved front baffle, rose-gold Uni-Q driver array and piano black finish position it as a seriously progressive looking piece of audio furniture.


Back in Sydney and back on an entry-level streak, DAR has scored another long-term loaner on a pair of LS50 thanks to the generosity of KEF’s Australian distributor. Not for formal review you understand but to extend the investigation into price-appropriate amplifier matching territory. 2013’s first installment remains one of DAR’s most visited posts, possibly reflecting the LS50’s unerring popularity in the budget sector. I can’t think of another standmount at US$1500 that I would recommend over and above the LS50. Several Stateside reviewer colleagues agree.

Furthermore, I receive more emails about the KEF LS50 than any other loudspeaker. Readers want answers to the never-ending conundrum that comes with owning passive loudspeakers: “Which amplifier do I gots to get?”

Fresh from its victory lap with the super-affordable Pioneer SP-BS22-LR standmounts, I asked myself: how would the NAD D 3020 respond to time spent further upstream? Would NAD’s future-facing entry-level integrated cut it with a loudspeaker costing thrice its own asking price?

For those looking for a short cut to the brutal truth the answer is no. The NAD’s vocal clarity, so enjoyable via the Andrew Jones-designed Pioneers, morphs into inner-throat strain at the hands of KEF’s US$1500 standmounts. A result that showed up for tea despite D/A conversion being offshored to a Resonessence Labs Concero HD, itself fed by an Antipodes DX server. Loudspeaker cable used was AudioQuest’s Rocket 88.

Listening for longer to the NAD/KEF combo exposes the pairing’s shortcomings with the dynamic charge, specifically that demanded by Belle & Sebastian’s “Enter Sylvia Plath” (whose refrain could easily double as a Pet Shop Boys outtake). The NAD runs out of puff before the Rega Brio-R and even on a micro level the guitar-strummed transients that bounce around this song’s outer limits adopt more of a metallic sheen when reproduced via the NAD. Guitar strings sound more natural at the hands of the Rega.


Staying with the NAD but switching over to New Order’s eighties classic “Thieves Like Us”, detail focus remains strong but the LS50 exposes the NAD’s tendency to line the eyes of the song’s synthesiser-driven melody with chromatic aberrations. Next to the Rega’s marginally fatter tonal mass and moister textures the NAD sounds thin and reedy.

It’s worth noting that the Brio-R’s 60wpc (into 8 Ohms) is double that of the D 3020 and the Rega runs in Class A/B whilst the NAD uses Class D, specifically Hypex’s UcD. Whether any of the audible deltas is attributable to these differences is for engineers to quibble over.

Consideration might also be given to differences between the loudspeakers themselves. Both loudspeakers models come in at 85db sensitivity and yet the NAD integrated performs admirably with the SP-BS22-LR but less so with the LS50 – the admiration falls away.

Lenbrook’s promotional propaganda promises consistent performance from the NAD D 3020 – its UcD output stage is designed to be more (impedance) load invariant than that of the Rega. The Brio-R’s manual explicitly recommends partnering with 8 Ohm nominal loudspeakers and than sustained exposure to 4 Ohm loads will cause the “the case to exceed 40° C above the ambient temperature”. Bang on. After half an hour driving the 4-Ohm-stable Magnepan MMG to half-decent SPLs, the Brio-R’s case becomes almost too hot to touch. Flipping it around, real-world application lays plain the Rega’s greater comfort in an around an 8 Ohm ‘safety’ zone with only sporadic exposure to impedance dips.

Perhaps the Brio-R’s strengths are more apparent when dueling on the LS50’s (nominal) 8-Ohm more level playing field than with the Pioneer’s (nominal) 6 Ohm load stacking the odds against its ability to keep pace with the NAD?

Perhaps it just took a more copacetic loudspeaker match for the Rega to reveal itself as a more satisfying amplifier? Functional differences aside, I prefer playing Brian Eno’s Before And After Science with the Rega Brio-R hooked up to the KEF LS50.


That said, I wouldn’t recommend either pairing to the dyed-in-the-wool audiophile looking to max out returns on his LS50 investment. For that we must shift focus to the high current delivery of Vinnie Rossi’s LIO or the REDGUM RGi60. And if you can’t go high current, go high output power. Digital dudes are directed toward the Peachtree Nova125SE or Wyred4Sound mINT whilst phono fanatics should consider the Rogue Audio Audio Sphinx.

What’s best with the KEF LS50? I’ve not heard everything – an impossible task – but no amplifier has yet matched a pair of Wyred4Sound mAMPs for soundstage enormity, internal capaciousness and layer separation, into which going DAC direct will save you dollars but adding a pre-amplifier proper will beef up tonal mass and muscularity.

Of course, KEF could end all the sturm und drang of amplifier matching soon enough if it re-applied the Hifi-your-computer logic (that birthed the two X300A models) to the LS50, thus bringing an active model to market. Just sayin’, always prayin’.

Further information: KEF | KEF America | NAD | Rega Research | Advance Audio Australia






Written by John H. Darko

John lives in the NOW + HERE = NOWHERE. He derives an income from the ad revenues of DAR. John is also an occasional staff writer for Stereophile, 6moons and TONEAudio.

Twitter: DarkoAudio
Instagram: DarkoAudio
Facebook: DAR


Leave a Reply
  1. You said it. I sure *am* Jonesing to review a Blade 2. I’m simply so booked that I haven’t even contacted KEF yet to see whether they’d be interested. On the LS50, you might want to train your cross hairs on the April Music Stello S100 MkII. It’s a $1’200 50wpc class A/B Mosfet amp I just wrote up. Even on the 85dB Enigma M1 monitors in the big room, it fared very well. Now it’s an permanent duty on the desk top driving the Boenicke W5se.
    It accepts both RCA and XLR and is nicely compact and stylish to also look right next to an LS50. Not sure of course whether you’ve got April Music distribution Down Under…

    • Thanks for the amp tip, Cap’n. I know Stello used to have a distributor here but not sure if that’s still the case. No biggie: I can always have Simon Lee send me one direct. 😉 That is, when I have time in the schedule. Right now I’m fully booked well into September.

      The Blade / 2 will be around for a while yet and they won’t fall into the volatility of ‘speaker of the month’ machinations that can often bedevil entry-level products. Oh – and like 6moonbeams #2 dialled into Zu, #3 will be ‘KEF’-connected.

  2. Not exactly on topic but in passing you mentioned Sanders Magtech amps. Do you know if this company still operates as its website seems to have disappeared?

  3. I’ve been enamored of KEF’s products since I first heard them 30 years ago. Couldn’t afford them then, can’t afford them now. It’s nice to dream though.

  4. I am demo’ing a Muse 200 integrated amp right now. Made in California and beautiful to look at. Over $4,000 new but less than half of that on the used market. 200wpc into 8 ohms and doubles down to 400wpc into a 4 ohm load. Incredible power with minimal coloration. This amp will make nearly any speakers sing to the max. I am using it now with some Usher BE-718 Tiny Dancers which it drives with more authority than any amp in my stable. I can only imagine how it would take control of the LS50 bad boys, which I unfortunately sold when I stumbled upon some Focal 1008 BE’s. I would love to hear opinions of this Muse from anyone like me who has been lucky enough to demo one.

  5. The LS50’s made my “Stereophile Class A” Exposure 2010S2 integrated amp sound terrible, so I know first hand how frustratingly difficult it is to build a system around them. After trying a few affordable amps that are easy to demo (Rega, Peachtree, and Marantz), I finally just bit the bullet and bought a Parasound Halo A21 with a DSPeaker Anti-Mode 2.0 for a DAC / Pre-amp w/ upgraded power supply. I’m very happy with the combo but it was not the value that I was hoping for.

    • Slightly off topic from me. That’s quite an effort you made to get the sound you wanted and raises a question I’ve often pondered about. Just how does the HIFI reviewer ensure a good or bad review item isn’t significantly tainted by the supporting equipment? I’m assuming they use a range of equipment to dial out the differences?

      Help John?

      • By trialling different combinations over many weeks and with consistent application of peripheral gear, in this case the outboard RL DAC, Antipodes server and AudioQuest cables that I know well and have yet to cause compatibility issues with other hardware.

  6. I have the LS50’s paired with Audio Research VSi55 I got used on audiogon. They are a phenomenal match. I couldn’t think of doing much better…
    I tried the Peachtree Nova 125 prior and although a grip of the more powerful amp was present it was just without comparison to me in terms of the musicality, detail and warmth brought out in these speakers by the ARC.

    If I had a balanced source I would like to try a Ayre Ax-7e someday…

    Other equipment:
    Entry level Transparent cabling
    Bluesound Vault as a source using the on board DAC.
    Soon to be compared/switched to a Auralic Aries Mini on preorder…


    • I’m glad you found your own sense of nirvana Sam. Just to clarify, I’m recommending the Nova125SE and not its forerunner the Nova125 which came on a little too shy with microdynamic zap for my tastes.

  7. I can’t imagine you ever have a need to come to Adelaide, but if you do, you are welcome to pair the KEFs with my Peachtree Grand Integrated X1. They make my Dynaudios leap out of their little boxes!

  8. I use LS50’s and Devialet 120 (Melco N1A as source). The latest Devialet (8.1) firmware is nice and SAM is in its second incarnation. You can’t miss with this setup.

  9. Wonder how LS50s would pair with the H80 from Hegel. I have the feeling that it could make them really shine.
    Awesome article!

    • Have tried pairing LS 50 with Hegel H80, Primaluna Prologue 1 & Quad 909 with so-so results. LS 50 is fussy with room interaction & my gut feeling tells me LS 50 needs disproportionally higher quality (hence priced) amp. I had high expectation considering its reputation, but now feeling very much frustrated.
      On other note, Hegel H80 with PMC Gb1i is the best sound I got so far in my household. Highly recommend PMC & Hegel combo.

      • I have to make reservation on my earlier judgment; the Kef ‘s performance have improved significantly with the proviso: 1) Placement from back wall @ 1,8m. Moved to room size 6m wide & 10m length, seating position 3,5m from the speakers. 2) Toe-in directed towards listening seat, 3). Good recordings only. Good results with both Hegel H-80 and Primaluna Prologue 1. Have added Shunyata PS8 distributor, don’t know whether it plays any part in this. The mid-to low veil has been reduced significantly.

  10. Perhaps a little off piste… But wondering how the Ls50s’s would fare with a Gato Audio DIA250. Might be a tidy little minimalist solution. Also allows for addition of a vinyl source. Tick.

  11. Ever since the LS50s came out I’ve been using a NAD C 390 Digital Direct amp and love the combination. Now of course after reading this article and the comments I’m second guessing my choice. I’ll admit that it took me about a month of listening before the pairing declared itself fit for the job in my mind (and ears). It’s funny because just this morning I was considering purchasing the Naim Mu-So for the room where my LS-50/NAD combo resides. I put on the latest Vampire Weekend and San Fermin records and said heck no. Not required.

  12. I also use the nad 390 (plus the remedy) with great results. I purchased the ls50 for a city i spend some days a month at and i dont miss my system built around the maggies 20.7s (which is a better system, of course).

    John, not sure how you could possibly test the ls50 with low power amps and get results that could be remotely perceived as musical. You must be using recordings with squashed dynamics. Ls50 requires a minimum amount of power with good recordings and the nad 390 150 wpc @8 ohms barely makes the mark (with better recordings in a medium room).

    When reviewing you should provide the DR of your recordings. It would help a lot!


    • Sorry Bernard, I couldn’t think of anything more joyless that researching/publishing the DR of every song I listen to. As I said in the piece (which I assume you read?!), the best result I got from the LS50 was with Wyred4Sound monos: 250wpc. The NAD D 3020 didn’t cut and the Rega Brio-R barely.