Audiophilepure

https://www.enjoythemusic.com/superioraudio/equipment/0223/Dali_Kore_Floorstanding_Speaker_Review.htm

Following that, we listened to “Carmen” under Lorin Maazel with Julia Migenes and Placido Domingo, a recording from 1984. Of course, dynamics, authentic reproduction of the entire frequency spectrum and presentation of details are important criteria for an orchestra as well. Here, however, high demands for credible, physical voice reproduction and high tonal fidelity of instruments as well as solo and choral voices were added to that. In addition, the voices are also supposed to be distinctly detached from the orchestra. The depicted stage was large and perfectly to scale in terms of width, height, and depth – broad grins and incredulous head shaking were unavoidable. It was like “taking a bath in the music” as might be experienced with a select few big line-source speakers, if you’re lucky. The release of happiness hormones occurred to a degree that is only rarely experienced; goosebumps, foot tapping, and occasionally watery eyes alternated.

https://www.stereophile.com/content/kef-ls60-wireless-loudspeaker

Some readers may be incredulous about my comments on the bass performance of the LS60s, which was in fact remarkable for their size and very good in absolute terms. But it’s true: As well as those four small woofers performed (supported by DSP), they could not equal the Blade Two’s larger drivers. Extension rivaled that of the Blade Two’s, but only at lower output levels. The LS60’s DSP progressively rolls off the lowest frequencies as you raise the volume, painlessly accommodating themselves to Hofmann’s Iron Law, pushing it to its limits. With tracks from Tierro Band, Alison Kraus, Sara K, and, to a degree, Dead Can Dance, all cited above, the LS60s had ample bass until they were turned up too loud for musical enjoyment and neighbor comfort. With big orchestras (Mahler, Holst, etc.), organ, and—just a guess here, since I didn’t listen to these genres—hard rock, techno, or electronica, a subwoofer or two would provide a simple solution.

Using subs with the LS60 was a piece of cake because the necessary tools are built into KEF Connect. I ran an RCA interconnect from the sub output of each LS60 cabinet to an SVS SB-3000, which, conveniently, were already sitting behind the little KEFs, and set them up as stereo subs. High Pass and Low Pass filters were set at 92.5Hz, sub gain at –9.0dB, with positive polarity—all determined by ear then checked with Room EQ Wizard. With the subs installed, the LS60s became monsters, their output capacity unleashed. The low bass was perfectly integrated, superior to that from the sub-less Blades. Ease and transparency increased in the lower midrange, marginally but meaningfully, best revealed by acoustic guitar, presumably due to the lightened load on the LS60’s woofers.