Kef Reference 207/2

R220,000.00 R88,000.00

I don’t often make special mention of a speaker’s dynamic capabilities in my reviews, because my relatively small room (about 24′ by 15′ with a 7′ ceiling) tends to overload before the speakers themselves max out. But the Reference 207/2s were so free from grain and compression that I tended to play my music much louder than usual. They also responded well to very high power. I began the review with the 300W (into 4 ohms) Mark Levinson No.33H monoblocks, and then moved on, first to the 300W into 4 ohms Boulder 860, then to the 1000W/4 ohms Parasound Halo JC 1 monos. Toward the end of the review period I borrowed a pair of Musical Fidelity 550k Supercharger monoblocks, which my measurements last September had indicated would deliver 850W into 4 ohms before clipping. The Levinsons and Parasounds take a balanced input; for the Musical Fidelity, which has only a single-ended line input, I used the same Ayre balanced cables but with XLR-RCA adapters on each end, to minimize the variables.

Oh my. The MF-KEF combination worked a treat. There was as much slam as with the Parasounds, but the highs were a tad smoother, a touch silkier. Just before embarking on this review, I received the finished pressings of my latest recording of Minnesotan male-voice choir Cantus. Tautologically titled Cantus (CD, Cantus CTS-1207), this isn’t organized around a theme, like my six earlier CDs of the ensemble, but is a collection of popular encores, one of which, “Mogamigawa funa uta,” is an arrangement of a Japanese folk song. There are foot stomps at the beginning and near the end, and in the mixing, to create a bigger sound, I cheated a little: I layered on top of one another three different takes of the nine singers stamping their feet. Through the KEFs driven by the Musical Fidelitys, it sounded as if I’d layered six takes—an awesome thump pressurized my room. Yet the combination didn’t smear the low-level subtleties of the scoring of Morten Lauridsen’s gloriously tonal “Ave dulcissma Maria,” on the same CD.

Summing Up
While spaces remain in my heart for the Sonus Faber Amati homage, the mbl 111B, the Dynaudio Confidence C4, the original Revel Ultima Studio, and the Wilson Audio Sophia, I must say that the Series 2 revision of KEF’s Reference 207, the 207/2, is overall the best-sounding full-range speaker I have used in my current listening room. To all intents and purposes, it is without flaw. The lows are extended and well defined, the midrange is pure, the treble is free of grain and naturally balanced, the dynamics are awesome, and the stereo imaging is accurate and stable. The 207/2 simply defines neutrality, but without losing sight of the musical message. $20,000 is still a lot of money, but for a pair of speakers of this caliber, it’s tempting to declare the big KEF a bargain, considering that you can pay five times as much for speakers that sound only as good.
Bottom Line “I am not worthy, I am not worthy.” That’s what I thought when I first started listening to these speakers. But not surprisingly, I quickly grew accustomed to their luxurious sound, and I soon realized I could get very used to this level of fidelity. Clearly, at $20,000 a pair, I expect speakers to sound good. Fortunately, these KEF’s did not disappoint in any way. Their level of transparency was simply marvelous. If your ears are sufficiently sophisticated, you’ll be amazed to hear what other speakers have been concealing in your disc collection all these years. What more can I say? With the 207/2, KEF has earned its place as the Rolls-Royce of speaker builders.


Technical Information

Minimum Frequency Response

40 Hz

Crossover Type



91 dB

RMS Output Power

400 W


8 Ohm

Maximum Frequency Response

55 kHz

Driver Type

250 mm Woofer, 25 mm Titanium Tweeter, 165 mm Neodymium Midrange, 19 mm Super Tweeter, 250 mm

Physical Characteristics


400 mm


685 mm

Weight Approximate

66 kg


1290 mm


1290 mm (H): 400 mm (W): 685 mm (D)