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Fyne audio BEATS KEF LS50

nopiano

Well-known member
Feb 15, 2009
614
381
19,270
I’d expect the Fyne to sound a bit beefier than the KEFs, and I rather like their styling. They certainly show why the engineers needed to break away from Tannoy, who seem to have progressed nowhere in recent years.

The LS50 have truly established themselves when they are seen as the King that needs to be dethroned!

 

matthewpiano

Well-known member
Nov 23, 2007
493
325
19,270
The reviewer does not specifically conclude that the Fynes BEAT the LS50s. His review is quite balanced, and he avoids making absolute statements by focusing on the different characteristics of the two speakers, also making reference to partnering equipment.

I haven't heard the F500s, my experience of Fyne Audio being limited to my Dad's F302s, which are excellent compact floorstanders. That being so, I am unable to comment specifically on Fyne Audio speakers, but I can draw out some salient points made in the review with reference to my own experiences of the LS50 Metas.

The reviewer makes reference to the exposing nature of the LS50s, and I would agree that they do not flatter poorer recordings. The level of detail and insight they offer is a significant factor in how well they reproduce beautifully recorded acoustic music including artists such as Natalie Merchant, Diana Krall, Cara Dillon and Martin Simpson. They also do a great job with electric albums such as Mock Tudor (Richard Thompson), The Courage of Others (Midlake) and The Sophtware Slump (Grandaddy). Small-scale jazz and classical music also sounds great - Oscar Peterson Trio, Charles Lloyd, Beaux Arts Trio, and even the Menuhin/Kempff recordings of Beethoven works for violin and piano.

There are issues when turning to less well recorded albums such as Liege & Lief (Fairport Convention), and they do head into some problems with larger-scale recordings such as Mahler symphonies, some operatic recordings and quite a bit of progressive rock. In more complex mixes (Eg. the latest Fish On Friday album), voices can occasionly become overly recessed. My B&W 606s communicate the music from these recordings better, similarly to how the reviewer describes the Fynes, and that's one reason why I'm currently taking a break from the LS50s in their favour.

Some of this also comes down to how exposing the LS50s are of partnering electronics. The reviewer makes reference to the Marantz MCR-611, which I know very well. This would not make a good partner for the LS50s. It's a very talented all-in-one unit and can sound very persuasive with a good range of speakers, but it doesn't have the power or resolution to provide what the KEFs need. Even my fairly powerful Musical Fidelity and NAD amps aren't quite up to getting the best out of the KEFs, and that will be a contributing factor in some of the issues experienced with larger scale recordings and complex production.

No speaker is perfect in every situation, and it ultimately comes down to which compromises you're most prepared to make. Nobody is pretending the LS50s (in whatever version) are perfect, and neither is the reviewer slamming them or even expressing an opinion that the Fynes are absolutely better.

As I've said before @Surly Sid, I'd be fascinated to read your direct experiences with reference to musical examples. It would give us a far more interesting idea of your own viewpoint than simply sharing videos that you interpret as supporting your hitherto wild claims.
 

plastic penguin

Well-known member
Apr 28, 2008
1,883
230
20,070
Having home demoed the original LS50 passives, they sounded mightily good to me. I can fully understand why people rave over them. The only thing I can't gravitate to is the aesthetics, but as we all know that's very subjective.

Not sure why the OP has a real 'beef' over the Kefs. Has he explained why they don't grab him? There are certain brands I don't particularly like, due to system synergy etc etc. but I would never slag them off on a public forum.
 
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Surly Sid

Well-known member
Feb 6, 2020
217
64
870
The reviewer does not specifically conclude that the Fynes BEAT the LS50s. His review is quite balanced, and he avoids making absolute statements by focusing on the different characteristics of the two speakers, also making reference to partnering equipment.

I haven't heard the F500s, my experience of Fyne Audio being limited to my Dad's F302s, which are excellent compact floorstanders. That being so, I am unable to comment specifically on Fyne Audio speakers, but I can draw out some salient points made in the review with reference to my own experiences of the LS50 Metas.

The reviewer makes reference to the exposing nature of the LS50s, and I would agree that they do not flatter poorer recordings. The level of detail and insight they offer is a significant factor in how well they reproduce beautifully recorded acoustic music including artists such as Natalie Merchant, Diana Krall, Cara Dillon and Martin Simpson. They also do a great job with electric albums such as Mock Tudor (Richard Thompson), The Courage of Others (Midlake) and The Sophtware Slump (Grandaddy). Small-scale jazz and classical music also sounds great - Oscar Peterson Trio, Charles Lloyd, Beaux Arts Trio, and even the Menuhin/Kempff recordings of Beethoven works for violin and piano.

There are issues when turning to less well recorded albums such as Liege & Lief (Fairport Convention), and they do head into some problems with larger-scale recordings such as Mahler symphonies, some operatic recordings and quite a bit of progressive rock. In more complex mixes (Eg. the latest Fish On Friday album), voices can occasionly become overly recessed. My B&W 606s communicate the music from these recordings better, similarly to how the reviewer describes the Fynes, and that's one reason why I'm currently taking a break from the LS50s in their favour.

Some of this also comes down to how exposing the LS50s are of partnering electronics. The reviewer makes reference to the Marantz MCR-611, which I know very well. This would not make a good partner for the LS50s. It's a very talented all-in-one unit and can sound very persuasive with a good range of speakers, but it doesn't have the power or resolution to provide what the KEFs need. Even my fairly powerful Musical Fidelity and NAD amps aren't quite up to getting the best out of the KEFs, and that will be a contributing factor in some of the issues experienced with larger scale recordings and complex production.

No speaker is perfect in every situation, and it ultimately comes down to which compromises you're most prepared to make. Nobody is pretending the LS50s (in whatever version) are perfect, and neither is the reviewer slamming them or even expressing an opinion that the Fynes are absolutely better.

As I've said before @Surly Sid, I'd be fascinated to read your direct experiences with reference to musical examples. It would give us a far more interesting idea of your own viewpoint than simply sharing videos that you interpret as supporting your hitherto wild claims.
I have heard a lot of Julie London on the KEF LS50s. Her voice usually sounds full and warm. That is how her voice sounds.

On the LS50s, her voice sounds thin and a bit metallic. Certainly not full, warm and smooth as it should. Getting female voices right is one of the top jobs for a speaker; it is a must do. The LS50 fails at this.
 

Surly Sid

Well-known member
Feb 6, 2020
217
64
870
Does he have a real beef or, is he just trolling us?
As I have said before, I am not a troll. I am a conversation starter.

My local dealer sells Fyne audio. Great gear! Sounds great, beautifully built and oozes quality. You get your money's worth at every price point. Those ex Tannoy people did a good thing leaving Tannoy and forming Fyne.
 

SteveR750

Well-known member
Mar 11, 2005
537
24
18,895
Why so much vitriol aimed at one particular product? If it's the (mis)representation (by) of an industry that is the real issue, why not challenge that? If you think that so called expert reviewers are talking nonsense then better to put that out there? Oh wait, blind A/B testing, so maybe not a good idea. The posts about how great Amazon HD hi res music sounds probably indicates you're wasting your time!
 

matthewpiano

Well-known member
Nov 23, 2007
493
325
19,270
I have heard a lot of Julie London on the KEF LS50s. Her voice usually sounds full and warm. That is how her voice sounds.

On the LS50s, her voice sounds thin and a bit metallic. Certainly not full, warm and smooth as it should. Getting female voices right is one of the top jobs for a speaker; it is a must do. The LS50 fails at this.
OK, that's a start. So on which speakers have you heard Julie London's voice sound 'full and warm'? This at least offers a reference point on where you stand.
 
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TrevC

Well-known member
Jun 12, 2013
372
169
19,070
I have heard a lot of Julie London on the KEF LS50s. Her voice usually sounds full and warm. That is how her voice sounds.

On the LS50s, her voice sounds thin and a bit metallic. Certainly not full, warm and smooth as it should. Getting female voices right is one of the top jobs for a speaker; it is a must do. The LS50 fails at this.
Cry me a river.
 
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