Gang-Twanger
Resident Wharfedaliophool
Nice pickup, dude... Those are adored by many. The 104/2's seem to me like they're halfway-between the warm, engaging British speaker sound (like Wharfedale, B&W, Quad) and the neutral British speaker sound (Harbeth, Rogers, Spendor), judging by your review. One thing's for sure, great upper-bass seems to be a quality of both. I had already heard that the 104/2 had good upper-bass, but I also get what you're saying about needing that lower octave, and that's why the RSPM's are by far my favorite of the speakers you own (and that's why I bought my W90's). Plus, the old IMF sound is closer to my ideal sound than the Kef sound. But also, the RSPM's, like you said, were IMF's TOTL speakers, whereas the 104/2's were not. It would be like comparing my W90's to a pair of Bozak 302a's.
I would imagine those RSPM's are outstanding with classic rock and pop. really do justice to something like George Harrison's "All Things Must Pass" (an extremely-hard album for a speaker to reproduce). I bet they make "Isn't It A Pity" sound incredible, and I bet they're better than most at handling the muddy, distorted mess of a mix that is "Let It Down" (That Hammond organ part really-needs to be nice and clear because it's essential to the mood of the song... Listen during the verses where the organ-player speeds up and slows down the Leslie, and you'll see what I'm talking about).
Back to the 104/2's, how are they with classical, full-orchestra stuff? Or better yet, how would you expect them to do with something like Walter Murphy's "A Fifth Of Beethhoven" or Eumir Deodato's "Also Spracht Zarathustra"? Just wondering (I'm sure the RSPM's really nail that stuff home, but I'm curious about the Kef's in that regard). I love that 'classical funk' stuff. Most of it is extremely-well-recorded and sounds amazing with big speakers, plus a huge string section goes very-well with a funk or disco beat (I like "A Fifth Of Beethoven" even more now than I did when I was a kid growing up in the '70's).
I would imagine those RSPM's are outstanding with classic rock and pop. really do justice to something like George Harrison's "All Things Must Pass" (an extremely-hard album for a speaker to reproduce). I bet they make "Isn't It A Pity" sound incredible, and I bet they're better than most at handling the muddy, distorted mess of a mix that is "Let It Down" (That Hammond organ part really-needs to be nice and clear because it's essential to the mood of the song... Listen during the verses where the organ-player speeds up and slows down the Leslie, and you'll see what I'm talking about).
Back to the 104/2's, how are they with classical, full-orchestra stuff? Or better yet, how would you expect them to do with something like Walter Murphy's "A Fifth Of Beethhoven" or Eumir Deodato's "Also Spracht Zarathustra"? Just wondering (I'm sure the RSPM's really nail that stuff home, but I'm curious about the Kef's in that regard). I love that 'classical funk' stuff. Most of it is extremely-well-recorded and sounds amazing with big speakers, plus a huge string section goes very-well with a funk or disco beat (I like "A Fifth Of Beethoven" even more now than I did when I was a kid growing up in the '70's).
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