KEF REFERENCE 107 - Page 11

prominent,
turn
the
right-
hand
knob
on
K-UBE
(Contour)
anti-clockwise.
If
the
speakers
sound
‘thin’, turn
the
knob
clockwise.
Experiment
with
different
records,
giving
yourself
time
to
get
used
to
the
way
the
Contour
contro!
operates.
If you have difficulty achieving a suitable balance try experimenting with the speakers’
position,
remembering
that
moving
them
closer
to
a
wall
or
corner
will
produce
more
bass,
away from walls will give less.
It may take some time, and a number of records before the right setting is achieved.
Once the correct speaker position and contour setting has been established you should be
able to leave the contour setting where it is and ignore it.
USING THE CONTROLS: EXTENSION AND Q FACTOR
An
ideal
reproducing
system
must
have
a
very
extended
low-frequency
response
if
the
true
character
of
the
lowest
musical
sounds
and
concert
hall
ambience,
are
to be
accurately
conveyed.
l
Although such information is present on the finest modern recordings it is seldom heard
correctly due mainly to deficiences in the low-frequency performance of most conventional
loudspeaker systems. i
In Model 107 these deficiencies can be removed by means of K-UBE’s Extension and
Q-Factor controls.
The
Extension
control
allows
Model
107’s
lower
cut-off
frequency
to
be
set
to
50,
35,
25
or
18Hz.
The
cut-
off
frequency
you
choose
will
depend
on
the
type
of
programme
material
and
conditions
of
use.
For critical listening to music containing significant low-frequency information (e.g. pipe
organ, synthesiser, piano or percussion) then a setting of 25Hz or 18Hz should be chosen.
The
higher
settings
of
35Hz
and
50Hz
should
be
used
for
less
critical
listening,
when
the
source material does not require extension or is of inferior quality. These settings should
also be used if Model 107 is to be used to provide continuous high-level background music
at parties, thus avoiding the possibilities of amplifier overload.
The
Q-Factor
control
allows
you
to
vary
low-frequency
damping
and
will
normally
be
set
to
Q=0.5,
at
which
setting
the
system
is
critically
damped.
Higher
or
lower
Q
values may be
required
if
incorrect
equalisation
has
been
applied to
the
recording,
or if
the
recording
acoustic
is
too
dry
or
too
reverberant.
A
higher
Q-Factor
will
increase
overhang
or
'boom'
and
a
lower
factor
will
produce
less
overhang,
sounding
drier
or
tighter.
Only
your
ears
can
guide
you
in
the
use
of
these
two
controls,
so
wide
are
the
variations
of
programme
over
which
you
now have control.
CAUTION: K-UBE applies PRECISELY the right amounts of equalisation to your system.
The use of graphic equalisers, or your amplifier’s Bass or Loudness controls is not only
unnecessary,
but
may
lead
to
the
possibility
of
amplifier
overload
and
consequent
damage.
USING THE CONTROLS: TAPE MONITOR
If
your
tape
deck
is
connected
to
the
rear
of
K-UBE
(see
section
3.2.2)
and
you
wish
to
play
a
tape,
push
in
the MONITOR
button on
the
rear of
K-UBE.
For
listening
to
signals
going
onto
the
tape
when
recording,
the
button should
be
out.
Note that the signal passing through the K-UBE to the tape deck is not modified. K-UBE is
only operative on replay. At all other times, leave the TAPE MONITOR button out.
11