Sometimes I see a new product (in this case speakers) that get lots of press and discussion only to see lots of them for sale a little later. Right now there are many pairs of Kef LS50s coming up for sale (both the regular and W versions). Are these just a flash in the pan or just showing up on the market because so many have been sold? In my mind there is nothing like a product that has stood the test of time. Am I just being a sceptic?
I also think that the LS50s need high end gear to sound their best. I bought them over to a friend's house, and we hooked them up to his his VPI>Pass Labs>ARC chain, and they sounded amazing. It was hard to believe that they only cost $1000.
However, many people bought the LS50s to replace their $500-$1000 speakers and then hooked them up to entry level amplification: AV receivers, lower powered bargain integrateds, etc.. They didn't really get the full measure of what the KEFs can do. Hence the many pairs that are up for sale.
Right now there are many pairs of Kef LS50s coming up for sale (both the regular and W versions).
IMHO: They look good = Buy. Later ... They sound crap = sell. I’ve never liked Kef. I just don’t get those metal drivers and I think that is why they suck.
One challenge with the LS50 is that the Elac UB5 is very similar sounding for a fraction of the price...albeit without the cool factor or build quality.
The LS50s are mostly a single point source and that is an improvement over the BBC type monitors, especially near field.
LS50s are bass shy and are a little hot in the upper mids...which can cause fatigue and eventually a breakup.
With the excellent word of mouth when they first came out, KEF probably sold a lot. Some of their buyers were caught up in the excitement of the moment. A couple of years later, they’re looking for the next big thing.
The number of used Martin Logan speakers (and to a lesser extent) Monitor Audio for sale, is more of a cause for concern.
More generally, technical progress is slow. As for source technology, we have witnessed two breakthough moments. The first was the introduction of the vinyl lp that made 78’s obsolete. The second was the cd and the digital technology behind it, which made vinyl obsolete (whatever audiophiles may want to believe). With the cd, we have probably achieved sonic perfection. At the time, this was also the limit of what was technically possible. These days much higher resolutions are technically possible, but the question is if (unlike our dogs) we can actually hear the difference: human hearing is not that good. A similar plateau has been reached with amplifiers. Ever since output transformers were largely abandoned decades ago, amplifiers have reached a state of sonic perfection where technical improvements were still possible (current ampifiers do measure better than those from the seventies), but again the question is whether we can hear those improvements. A good example of the technological continuity that was inaugurated is Quad’s current dumping technology, first presented in 1975 in their 2x100 watt 405 model, and still the basis of their current 2x140 watt Artera model. The biggest benefit of advancing technologies has been higher output powers for lower manufacturing costs. With speakers there has not been such a plateau, since speakers are still far from perfect. Slowly but steadily speakers have improved, with new materials, new computer simulation design technology and new manufacturing technology. But progress is slow. I am now listening to my Harbeth P3ESR desktop speakers, proud descendents in a direct line from that remarkable BBC design from the seventies, the LS3/5a. I still have both models, so I can compare: the new Harbeth is much better, but it is also clear that they share a family resemblance. Progress has only been incremental. The same can be said about my main speakers, now the Quad 2805 electrostats, but the ELS57 before. My hunch is that the biggest jump in domestic audio quality will be the adoption of more advanced dsp technology in active speakers, both to improve on traditional crossover technologies, and to equalize room effects. I also expect one other trend, even if it will do nothing to improve sound quality: reduction of energy consumption. Here in Europe, concerns about climate change have not only introduced mandatory specifications for energy consumption by refrigerators or vacuum cleaners (our new one only consumes half of our previous one, but is also much better), but now also for televisions. High end audio is obviously a much smaller and hence less important market to address, but the writing is on the wall.
I think you have two things going on with the LS50 that are causing them to come up for sale in greater numbers. First, the LS50W appears to be an improved model...which in many people's minds devalues the original LS50. Second, the LS50 purchase price new seems to have dropped from $1500 to $1000 https://www.crutchfield.com/shopsearch/kef_ls50.html which means owners of LS50s thinking of selling may want to sell before the price drops even more.
As for LS50Ws...no doubt that at $2000 there are a lot of great choices and people who bought them are probably a little concerned seeing how much the price of the LS50 dropped.
The LS50s don't do everything perfectly. In my opinion if you want scale and dynamices, there are better choices at $1000...but if you have a small to moderate size room and you want tonal purity and great imaging, the LS50s remain a great choice.
Those of us who have saved years of copies of Stereophile can go back and look at speaker ads from companies and designs long since vanished. And yet Vandies, Maggies, Triangles, and several others are still around in more or less their original config.
Any product line is going to be susceptible to style without substance - or simply to the whims of the market.
Interesting topic crwindy. I am concerned that when my "legacy" gear wears out I will not be able to replace it and get the same performance. Classe, Thiel, vintage CJ as an example.
The latest greatest doesn't always stand the test of time, or get the opportunity. Manufacturers of high end gear is thinning out, and most of the survivors, in order to survive and even grow, are on high speed innovation programs. They are training us to always look to upgrade.
It is not really an update on the venerable LS3/5a (that was indeed also built by Kef, among many others). That honour goes to the Spendor Classic 3/5, and even more so to the Harbeth P3ESR. The LS50 is a rather different animal, if only because of its co-axial drive unit.
Isn’t the LS50 an update on a classic British Broadcasting (LS5?) monitor design? (Might be wrong about that, though) I read KEF was responsible for mftg. the LS5 for some period back in the day. If the LS5/LS50 "connection" is true, one might argue the LS50 represents a design (if not the exact product) that has indeed stood the test of time.
LS50s are great monitors for a small space. They are excellent for a desktop type of application. I think a lot of people buy them and expect huge sound with bass. That is not what the LS50's do.
The LS50's have become a gateway drug for me since I will be buying larger KEF's for bigger rooms solely based on the quality of the LS50.
have not hear them but they are overwhelmingly well received for SQ
people may be tired of having big gold eyes staring at them, may be anticipating the rumored upgrades, may be dying for lack of bass, or may be moving up to Kii 3's
That was my concern. Prior speakers, Merlin VSM (just revisions over years), and just got Vivid 1.5, a 10 year old design. I will look for a tried and true for the second set.
LOL. It is just fashion. Few companies survive on the merit of their designs. Most are forced to come up with something new every 3 years.
The measure of truly high performance equipment is that it DOES NOT change much over decades and people still buy it! (yup - sounds crazy but it is true - musicians still buy Gibson Les Paul largely unchanged for 50 years!)
PMC, ATC and Harbeth stick to their high performance designs for decades.
Meanwhile B&W and most others have more designs than Imelda Marcus has shoes...that is because they sell fashionable items and always need new models to drive sales.
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