Founded back in the 1960s, KEF (an acronym for Kent Engineering Foundries) has long operated at the leading edge of hi-fi loudspeaker design.

Even though the company has undergone numerous changes, its approach to design and technology has remained remarkably consistent throughout.

High-quality manufacturer

A good example of this impressive track record is the XQ20, a compact standmount which forms part of a new mid-price XQ range of speakers. There are five models in total - two standmounts, two floorstanders and a centre speaker.

All are based around KEF's proprietary co-axial Uni-Q driver array and cunningly curved cabinetwork, beautifully lacquered in real wood veneer finish.

The variations depend upon enclosure volumes, driver diameters, and the addition of extra bass-only drivers in the floorstanders.

Inside KEF's latest speakers

This £1,000 per pair is the larger of the two standmounts. It's a two-way design based on the very latest version of a 165mm Uni-Q drive unit, loaded by a front port and an enclosure of approximately 16 litres (the curved tapering renders exactitude difficult here and KEF doesn't supply the relevant data).

This solitary drive unit has an interesting history. Taking advantage of the development of ultra-compact and powerful rare-earth magnets containing neodymium, iron and boron, the Uni-Q driver made its debut back in 1988.

It's a variation on the co-axial theme, placing a tiny tweeter on the end of the pole-piece in the centre of the bass/mid cone, so that it actually sits at the latter's effective acoustic centre, creating a 'coincident' variation on the co-axial theme.

Hit and miss construction

This construction has both advantages and disadvantages. On the plus side, it makes crossover integration between midrange and tweeter relatively simple from an acoustic point of view.

It also ensures that output is entirely consistent and symmetrical at any given measurement axis (the formal term is 'axi-symmetric'). It's therefore also free from the vertical axis 'lobing' that is invariably created in the crossover region where the two sources are spaced apart, as in conventional two-way systems.

However, it can also be pointed out that placing a tweeter so that it's recessed down in the neck of a cone is not an ideal way to create wide dispersion, while the additional complication is that said cone is moving to and fro in response to the music signal.