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Sonically, the success of the R-300 rises and falls on the performance of the coincident-driver technology that has all but defined KEF for decades. Here there is none of the shouty, “cupped-hands” coloration that early coincidents were often guilty of. Nothing’s perfect, however. I noted a bit of added honk during Tom Scott’s sax solo on the aforementioned Gaucho. However, I found the Uni-Q-equipped R-300 was at its most insightful reproducing the human voice—the instrument most familiar to all of us. On a variety of vocals, my impression was not just one of focus, which the R-300 has in abundance. Unscientific as this may sound, a singer’s voice achieved a unity, a oneness, on an almost subconscious level that most compacts in this range can’t quite muster. Normally, at some point during a performance, I have the minute impression of listening to separate drivers—a hint of blur, like failing to line up a photographic image in the crosshairs of a camera’s focusing screen. Not with the Uni-Q. It’s a terrifically coherent speaker with unimpeachable driver integration. Læs hele testen fra The Absolute Sound
