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Allen Park � There was disappointment, frustration and some bewilderment in the Lions locker room Thursday following their dreadful 24-6 exhibition loss in Cleveland.
There was not, however, any sense of panic or resignation.
"It's just a matter of fixing it now," center Dominic Raiola said. "I don't know about (it being) a wakeup call. We're still in Week 2 of the preseason. It's not good that it happened, but we still have time to fix it.
"That's all I said afterward � just fix it. Take whatever you can from it and fix it."
Offense underwhelming
There's plenty to fix, obviously, in all phases. But perhaps the best place to start is with the offense. In two games, the Lions have managed one offensive touchdown � thrown by backup quarterback Shaun Hill against a backup Jets defense � and six field goals.
Quarterback Matthew Stafford has engineered eight drives and managed a total of seven first downs. The run game has been a non-starter, and Stafford has been relegated to dump-off and check-down passes.
He has completed just six passes to wide receivers, three to Calvin Johnson against the Jets and three to Patrick Edwards on Thursday. Take away a 28-yarder to Johnson and an 18-yard catch and run by Reggie Bush, and Stafford is averaging 7.2 yards on his 12 other completions.
"We had some (vertical) shots schemed in there, but the opportunity didn't really come out to be able to get them out there," coach Jim Schwartz said. "Regardless of whether you throw it deep or you throw it underneath, you've got to be able to get some chunks somewhere. And when I say chunks I mean plus-20 yards."
Stafford, who didn't complete any pass beyond 10 yards and didn't take any deep shots, said the hangups are coming earlier in the possessions.
"We didn't stay on the field long enough to have a chance to," he said, when asked about the lack of a vertical passing game. "We kept hurting ourselves on third down and hurting ourselves on first and second down, as well. Not a bunch of positive plays on first and second down."
You want to throw in a disclaimer here. Calvin Johnson didn't play, and when he doesn't play he takes about two-thirds (exaggerating, but only slightly) of the offensive playbook with him.
The Lions play the Browns in Week 6, so they weren't going to expose much of their arsenal anyway, but without Johnson, well, it was a pretty bland attack.
Saying that, though, Johnson's absence didn't have anything to do with the following:
� Poor blocking up front, especially in the run game, which amassed a lusty 13 yards in 11 carries in the first half.
� Dropped passes by Nate Burleson and Brandon Pettigrew.
� Poor route running and the inability to get any separation by all the receivers.
� Drive-killing penalties.
"The good thing is you keep things pretty vanilla and basic and granola in the preseason," Burleson said. "When you know that you haven�t opened things up, it gives you a peace of mind. That's OK with us. It's not OK that we didn't execute, it's just that we know we didn't open up the playbook.
"We are good with where we are at, we just got to do better."
His point is well-taken in this regard, too. Tight end Tony Scheffler, who is clearly a big part of the passing game, took only three snaps. That even further limited the playbook.
Schwartz, though, was clearly upset with the receiver group. He was hoping somebody � Edwards and Matt Willis got the most first-team reps � would step up and seize that third receiver spot. It didn't happen.
Edwards is doing exactly what he did before he got hurt last year. He flashes in practice and disappears in the game. He hasn't been able to get open or make a play when he has had opportunities.
Chaz Schilens doesn't appear to be the deep threat the Lions were hoping he could be and Kris Durham, Mike Thomas and Corey Fuller have been relegated to third-team reps.
So, it wouldn't be at all surprising if general manager Martin Mayhew isn't scouring the league looking for another receiver or two as we speak.
Trying to right the line
As for the woeful run game, it's time the coaching staff settles on the starting offensive line so it can have a couple of weeks to build some continuity and trust.
Riley Reiff is going to start at left tackle, but he has struggled through two games. Raiola at center and Rob Sims at left guard are known quantities. The Lions feel confident, despite Reiff's slow start, in those three players.
The right side, though, is sketchy. They tried to run right early in the game, behind guard Jake Scott and tackle Jason Fox, with no success.
My guess is rookie Larry Warford will win the right guard spot and Corey Hilliard the right tackle spot. Veteran guard Leroy Harris, who has missed a lot of time coming off knee surgery, played well in the second half Thursday. He might be the last guy left who can beat Warford out.
Hilliard took reps at right and left tackle Thursday and he has gotten the most time with the first unit.
"That's something we've got to get going," Raiola said of the run game. "I don't have an answer for you right now. Of course we want to get that going, especially with an explosive guy like Reggie Bush.
"It's disappointing. I don't think anybody's satisfied in here, which is a good thing. Take it for what it is and come back to work."
Again, there were no major alarms being sounded Thursday night. The players and coaching staff have a firm, unshakeable belief in the potency of this offense. But make no mistake, this is going to be a long week of practice.
"We should be concerned," Bush said. "We're better than this. We have to hold ourselves accountable because we need to put points on the board. That's our job and we didn't do that."


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- Plan 38-102
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ACCA says that the full impact of RTI will be felt by businesses in October when the new Universal Credit system is rolled out.
Chas Roy-Chowdhury, ACCA head of taxation, says: 'UK businesses will wonder what has happened to the Red Tape Challenge when RTI and, subsequently, the new Universal Credit systems kick in. While there will be teething problems when RTI begins on April 6, the full brunt of how burdensome this whole system is for businesses will be felt when the Universal Credit regime comes into force.
'Under the new Universal Credit system, the employer has a strict requirement to report any change in circumstance relating to the pay of an employee in real time, which sounds simple enough. However, while the monthly PAYE return has a 19th of the month filing deadline, RTI reports, called 'on or before' reporting, are in addition to this and allow for changes to an employee's pay which occur outside of the normal PAYE filing. This is the real burden and can create a multitude of additional 'on or before' filings.
'While HMRC has said it will take a soft approach with businesses to errors and delays in the early stages of RTI, even allowing for the recently announced monthly reporting for some employers until October this year, the true penalty will be felt within the businesses themselves who become bogged down in the endless stream of real time reporting when they should be focused on aspiring for growth.
'The Department of Work and Pensions needs to accept that UC regulations should be changed to reduce the disproportionate burden upon businesses. It should be optional for all businesses, not just SMEs, to choose whether they need to file the 'on or before' information more frequently than the monthly payment schedule for UC claimants. The marginal benefits of the strict 'on or before' obligation are by no means clear relative to the obvious extra burden on the whole of the UK employer community, not just those with UC claimants on their payroll.
'Even if the business community and the payroll and accountancy professions that support UK enterprise meet these challenges with success, we question whether DWP will be able to cope with RTI.'
In March, ACCA and other professional and business groups secured a deferral RTI implementation for businesses with 50 or fewer employees until 6 October 2013, but ACCA warns that the problem of 'on or before' filing will not vanish and will remain even after 6 October.
- ends -
For more information, please contact:
Steve Rudaini, ACCA Newsroom
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+44 (0) 780 113 3985
Helen Thompson, ACCA Newsroom
+44 (0)20 7059 5759
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- We support our 154,000 members and 432,000 students in 170 countries, helping them to develop successful careers in accounting and business, with the skills required by employers. We work through a network of over 80 offices and centres and more than 8,400 Approved Employers worldwide, who provide high standards of employee learning and development. Through our public interest remit, we promote appropriate regulation of accounting and conduct relevant research to ensure accountancy continues to grow in reputation and influence.
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Anybody else watching?
Anybody else watching?
To think that fun is simple fun, while earnest things are earnest, proves all too plain that neither one thou truthfully discernest.
Since it seems no-one else was , here are a few of last night's auditions:
Janet Devlin from Norn Iron
Frankie Cocozza Avoid if you don't want to see male bum
Kitty Brucknell This year's Katie Waissel minus the likability.
Goldie Cheung
To think that fun is simple fun, while earnest things are earnest, proves all too plain that neither one thou truthfully discernest.
I'm determined not to get drawn in this year... but saw the Tyrone girl's audition on youtube - wasn't that impressed.
Too early to make any judgements on performance or how they'll do but
Frankie what a big head He reminded me of a young David Essex
Girls love him already
Kitty I disliked immediately .Great voice but there was something about her .She seemed over confident .Telling people they could sell her autograph on Ebay
Little Janet what a sweetie Reminded me a little of Diana Vickers but better.
Even though I think Gary Barlow is totally I think he is completely as a judge. It doesn't help that he speaks slowly and sounds like a simpleton. Also he's apparently a really nice guy in real life, so trying to play at being Simon Cowell really doesn't suit him.
Kelly Rowland was a surprise - she seemed brilliant as a judge.
Tulisa seems nice enough, but i had to laugh at a scene from a "coming soon" where she appears to criticise someone's singing ability and they reply with something like "that's rich coming from you" as I'm inclined to agree
I have to say that overall I really liked the show, the audition stages are the most boring episodes to me, but they seem to have dedicated the larger part of the show to the good people, especially the ones that are mentalists that seem like the will be utter crap and then have a passable voice (I'm think the mental blonde girl whose eyes are scarily close together) rather than the car crash awful ones which just annoy me.
I may get sucked into this series yet.
Last edited by antmanb; 08-22-2011 at 05:00 PM.
I'm going to enjoy watching Janet grow in confidence.
They are right...she doesn't know how good she is, or can be.
She will, though, by the end of the process.
It was a pleasure to hear her.
Diana Vickers I found Diana to be a bit annoying but i really liked Janet's audition.
No X Factor for me this year
Kelly Rowland is the best judge evah!
I just wish they got rid of Louis.
And if there was still anybody who didn't realise that Gary Barlow is an ass, there's your confirmation.
All the contestants on the first show (other than the amazing Goldie Cheung ) were so annoying.
Frankie and Kitty seemed like total assholes and Janet's heavy breathing, that she wasn't controlling whatsoever, made it impossible to focus on her singing. Yes, she has potential but needs loads and loads of work. She should come back next year.
I've watched a bit just to see how Kelly Rowland is doing as a judge and I think she's great so far. She should replace Jennifer Lopez or Randy Jackson or both on American Idol.
Catching up catching uuuuuuup!
Oh damn, too bad I can only watch a few editions. Kelly R. is fab Gary B. speaks my mind They have replaced everyone but Louis? Louis of all people? No clue who Tulisa is
Four weeks into the show and I finally managed to catch some of the action.
I'm surprised at how quickly I got used to the new judges. Kelly is a natural and she's completely taken over the panel. I'm also rather amused by the constant smirk on Barlow's face.
Here are some of the high (and low) lights of this week's show.
Samantha Brooks: http://http://www.youtube.com/watch?v=ECJegEdcja0
Kendro: http://www.youtube.com/watch?v=4NMCOuuqGB0
Lascel Wood: http://www.youtube.com/watch?v=hntQthPMOdA
Twisted: http://www.youtube.com/watch?v=nhDJ2Q4r4vs
Kelly c r a c k s me up! Fabulous!
Rumours of Cheryl coming back to the judging panel (possibly in Tulisa's place) emerged a couple of days ago:


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Registered: March 2013
Posts: 14
Tokina 11-16mm f/2.8 AT-X 116 PRO DX SD review by hdhani
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UWA with constant f2.8, build like a tank, image quality is surprisingly good, 77 mm filter thread
Only for APS-C, one touch focus clutch mechanism
this is an UWA built exclusively for APS-C camera body. Mount with FF body and heavy vignetting will occur.
Tokina is wll-known for build quality which felt like a tank.
It's the only UWA lens for APS-C with constant f2.8, which makes it a great low-light lens.
One thing of note is that UWA is a specialized lens because it creates distorted perspectives on objects, hence it is a great lens for landscape and architectural photography.
Sharpness is surprisingly great for a large aperture UWA.
In conclusion, if you need large aperture UWA for APS-C body, this lens is for you
Registered: August 2012
Posts: 8
Tokina 11-16mm f/2.8 AT-X 116 PRO DX SD review by makcv113
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Fast aperture, fast focusing, tough build
very short zoom range, flare
I bought this lens because I wanted an UWA. I've had and owned a few UWA and have reviewed them on this website. But I never owned a fast UWA like this at f2.8, and I gotta say that it does make a difference.
What I don't like about this lens is the short zoom range. I preferred the Sigma 10-20mm and Tokina 12-24mm because at their long end it's close to the full frame equivalent of 35mm which I used often.
This lens is sharp when used at f8. I use f11 for landscapes.
Highly recommended for low light/video shooting like how I did with this music video I shot:
Other lenses used for this video was a Canon 50mm 1.8 and 18-135mm 3.5-5.6. You can tell which shots were with the Tokina. Because of the 2.8 aperture, I was able to record more light thus the clip being brighter and was able to use the clips from the lens for the official mv.
Visit my FB page to get updates on new videos and specific gear used so you know how it was shot
Here are some photos taken with the Canon 40D:
Registered: August 2008
Posts: 4
Tokina 11-16mm f/2.8 AT-X 116 PRO DX SD review by shrikrishna
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Colors, contrast, A+ build
Compared this lens with 14-24 Nikon, my copy is on-par with 14-24 minus AFS on a d300. For full frame, no-questions, 14-24 is the champion.
DX users will get a great benefit from this lens (FX : 16mm) as this is lighter, fairly fast in focusing (mine has no motor), fantastic color rendition and super build quality.
I like it, used it for many interior design shoots!. Fantastic lens from Tokina.
Registered: April 2011
Posts: 10
Tokina 11-16mm f/2.8 AT-X 116 PRO DX SD review by asulea
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Build quality, f/2.8, image quality, very sharp
Excellent lens.
Registered: November 2009
Posts: 20
Tokina 11-16mm f/2.8 AT-X 116 PRO DX SD review by lightknight
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Wide, big aperture, solid and well built - pro standard
some CA, small zoom range, flare
It is hard to believe that this lens sells for the same price as a F4.5 10-20mm sigma here in New Zealand because in my mind its a no-contest. Sure it doesnt have the same factor 2 zoom range but who cares when its so sharp and fast?
Down to specifics the IQ in the centre is very high at any setting. image corners are soft at F2.8 better at F4 and sharp sharp sharp beyond that. IQ generally seems better at 11 mm but there isnt much in it between that an 16mm. A bonus for me is that it works from 16-14mm on my D700 FX with some very slight corner shading at 14mm. No the corners are not sharp on an FX but its certainly handy to be able to use it in the right circumstances.
Build quality is simply outstanding for the money. The zoom is well weighted and the focus ring feels slightly damped - its just right. No, its not quite at the standard of the 14-24 Nikkor but then it is only 40% of the price.
The level of integration with the D7000 and d700 is great....for example use trhe push/pull manual focus ring and it disengages menu functions as it should.
You might read here that it focuses slow. What? No way - its fast and just why do you need it to focus from 1m - infinity in 1/20 second instead of 1/10? Autofus is also reasonably quiet - but face it guys - who needs it when everything between 1m and infinity is in focus at 11 mm and F8....But if video is your thing then my advice is get and external mike.
Yes the Samyang 14mm is possibly sharper (definitely on a FF) but then it is a prime and putting filters on is a no-no, and the Tokina goes to 11mm on a DX. You pay your money and take the choice.
Conclusion? If you are interested in great IQ and a well-built piece of kit at an almost consumer price this is the ONLY option. But beware of flare!
Registered: December 2010
Posts: 1
Tokina 11-16mm f/2.8 AT-X 116 PRO DX SD review by mongoose31
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Build quality, color, sharpness
I have had this lens for about one year and have used it on my 7D. It is a very good lens with good sharpness, color performance and fairly quick focusing. However, as I continue to migrate to full frame (I have a 5D also) I plan on selling it.
I recently bought the Rokinon 14mm for Canon (same as Samyang 14mm). Wow, I have tested it against this Tokina at f stops 4, 5.6 and 8. I can tell you that at each stop the Rokinon was significantly sharper. As you stop down the difference is less but even at f/8 the Rokinon wins. I am not troubled by the lack of autofocus on the Rokinon as most of the time it is at infinity or the hyperfocal distance. I paid half of what I bought the Tokina for and now that money will go towards my next purchase (Canon 70-200mm f/4 IS). This is my first ever post so please excuse my simplicity. Forget the Tokina unless autofocus is absolutely critical for you or the 2.8 aperture. Thank you.
Registered: September 2009
Posts: 6
Tokina 11-16mm f/2.8 AT-X 116 PRO DX SD review by dadgummit
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F2.8 aperture, build quality
Soft at F2.8, Slooooooooooow AF
I purchased this UWA on the word of several glowing reviews. I just do not see it!!
I purchased one copy that front focused close up and back focused far away pretty bad. I live 10 minutes from Tokina's American HQ so I drove it in. They re-chipped it and got it back to me 2 days later. It was ok but really soft until about f4. From f5.6 to about f8 it had absolutely fantastic sharpness BUT the reason I paid for this expensive lens with the tiny zoom range was for f2.8 so the lens went back to Tokina again. I brought my 50D body to show the differences which were very apparent even on the 3" screen of the camera.
Tokina just replaced the lens with another copyand it was a little better yet but still VERY soft at f2.8. I finally sold it thinking why pay the steep premium for a lens that is not usable until f4 so I purchased the Sigma 10-20mm F4-5.6 which is now my favorite lens I own. It is sharp at f4 just like the tokina but it has FAST auto focus and a bigger range. To make it better it is about $250 cheaper.
Now I do know that Tokina lenses are compatable with my camera body (just read my glowing review of the 10-17mm fisheye) but this one could not get it right and I was not willing to waste my time with a 4th copy of the same.
Registered: March 2010
Posts: 2
Tokina 11-16mm f/2.8 AT-X 116 PRO DX SD review by abanerjee
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wide, f2.8, study construction, sharp like a knife, color rendition
limited zoom range
You can get the Tokina if you're in the USA for $600 at Adorama.com, cheapest place I found it. I bought it from a local store, with tax, at $635.
I was between the Tokina and the Sigma 10-20mm f/4-5.6 and the price difference of ~$120 really does make you think. But it is worth it.
For me, the immediate advantage of being able to stop down does help tremendously. The Sigma is great for landscapes, but the Tokina's ability to go down to f2.8 makes it a much more flexible lens and is very helpful indoors.
I also find that the color rendition and contrast created by the Tokina to be superior.
Registered: November 2009
Posts: 5
Tokina 11-16mm f/2.8 AT-X 116 PRO DX SD review by radityopradipto
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Excellent BQ, Absolutely Sharp, Absolutely a must-have for this price
CA, easily suffer flare
This is the best ultra wide I've tried so far
For the Performance/Price, I'll give the rating 9.5/10
The build quality is superior to any ultra wide for APS-C sensor and the image quality is fantastic
A MUST HAVE for any Landscape shooter
see the result of this lens on
Registered: September 2009
Posts: 5
Tokina 11-16mm f/2.8 AT-X 116 PRO DX SD review by wingdo
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Wonderful low light interior wide angle
Soft at wide open especially at 11-14
I guess I got a good one first time out. If you shoot indoors and need a true wide angle for your DX, this is the lens to get. 1 stop faster than the Nikon and I like the color rendition better than the Sigma 10-20 which I used to have.
A specialty lens, but it has Tokina's consistent Pro solid build and takes fantastic pictures.
Registered: September 2009
Posts: 6
Tokina 11-16mm f/2.8 AT-X 116 PRO DX SD review by PuxaVida
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Fast, great BQ, good IQ
CA, soft edges at wide open
It's a fast lens with impressive IQ (both in center and edges). On a D90 especially at f/5.6 and even at f/8 I get great results. MF/AF clutch is very useful. BQ is very good. Some may say that AF is slower/noisier than nikons but you don't shoot a running cheetah with a wide angle lens and I think noise level is quite acceptable.
Zoom range is between 11-16 unlike Sigma's or Nikon's in this category but I personally never complained about that.
I gave 8 for IQ because this lens has high lateral CA levels and a bit soft in the edges at wide open.
Registered: June 2009
Posts: 16
Tokina 11-16mm f/2.8 AT-X 116 PRO DX SD review by RadiantLite
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built quality, image quality, big aperture
color fringing
Tokina 11-16mm is the best super-wide angle lens up to date. The build quality of the lens is very good. The image quality is excellent in any aperture and focal length. Auto focus is fast and quiet.
Unlike Canon EF-S which have a smaller aperture of f3.5-4.5, and also is not compatible with full frame body, Tokina 11-16mm have a constant aperture of f/2.8 and compatible with full frame body up to 15mm which is great. It is also slightly cheaper.
The constant aperture of f/2.8 made this lens great for low light and also good enough to create shallow depth of field.
The limitation of this lens will be the zoom length. 11-16mm definitely shorter than Canon EF-S 10-22mm, Sigma 10-20mm, Nikon 12-24mm, and ultra wide lens from Tamron. (Tokina is available for Nikon cameras as well).
There is also no manual focus override, you need to push-pull the focus bar to change focusing mode.
Overall this lens is great in super wide angle category. If you are in love with the ultra-wide coverage for landscape, architecture (outdoor and indoor), and some of photojournalistic work (close crowd shots), then this lens is a must have.
Please check
for sample photos, video and more reviews
Registered: April 2009
Posts: 1
Tokina 11-16mm f/2.8 AT-X 116 PRO DX SD review by valas
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I got a lemon. Fortunately I could return.
Terrible CA at any aperture, three branches outside my house would just be purple blobs.
Moderately soft until stopped down to f/5.6.
Back focus where 3ft becomes 7ft.
Never buy this lens on eBay. Make sure you can return it if your copy is a lemon.
Registered: March 2009
Posts: 6
Tokina 11-16mm f/2.8 AT-X 116 PRO DX SD review by goldenpiggy
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Third time's the charm. Now it's truly spectacular.
It took 3 tries to get a good copy.
Sun was out in force this morning so I took outdoor shots with the second copy of this lens (first one was very soft across all aperture and FL -- I exchanged it). It quickly became apparent that some of the glass was not ground properly on this one. In some parts of the image, the CA exhibited was truly atrocious (it was cyan color), far worse anything I've ever seen. CA was far beyond anything the D300 could correct. I don't even know if you can call it CA -- the lens behaved like a prism, splitting out cyan color. For $700, I said no way and took the lens back to the store.
They gave me hell, saying there was nothing wrong with the lens. This time I brought my D300 and showed them picture after picture with CA visible on the tiny 3" LCD and fuzzy shots galore. They finally caved in and let me exchange for one last time, making a note so there'd be no more exchanges.
This time I tested the lens right in front of the sales people. Difference was truly night and day. This third copy was spectacularly sharp even wide open. I saw no CA that I can detect zooming in (the D300 does a great job getting rid of CA if shooting in JPEG). I finally got a good copy that substantiates the good reviews all over the net.
It's unfortunate that 2 out of 3 lens were unacceptable. I've never had any experience like this. I've never had to exchange any of my Nikon lens, which includes 18-135, two 18-200VR, 80-200 f/2.8D, 300mm f/4, and the 35mm f/1.8G DX. They just worked right straight out of their boxes.
It would be unfair to rate the Tokina 11-16 poorly based on what were definitely two defective lens. I am extremely happy with the third one. It is supremely sharp even wide open. At at f/4 - f/8, the Tokina obliterated my (very sharp copies) 18-200VR. I would dare to say the 3rd Tokina is encroaching on sharpness territory of my 35mm f/1.8G DX, which is truly amazing.
Thus, I am re-rating this lens' image quality to 10.
Hopefully it was just my bad luck to get a couple from a bad batch. Nobody should have to go through 3 to find one good one on a $600+ lens. Sure hope Tokina gets their act together soon. I can't stress enough that if you're in the market for this particular lens, make sure you buy it from a place that will let you exchange. There's definitely QC issues going on here.
Good luck to you and hope you find a sharp copy the first time around. Make sure you test the hell out of it.
After reading all the reviews I could find on the net, I decided to take a plunge. This lens is not cheap in Japan, where everything is overpriced. But it is readily available here, and the store allows exchange if I wasn't happy.
Thank goodness for that exchange policy. The first copy was soft even in the center at all focal lengths and aperture. CA was good though, and corners wasn't far worse than center.
I did my usual sharpness test by shooting a product packaging that was printed using an offset press via process color (halftoning). I picked a product packaging that has small black text on a light background. In process color, black text is usually printed in only black ink, so it is sharp and high contrast. The light background has halftoning.
I get the lens as close to the packaging as possible, turn off auto ISO, use a tripod and remote release, and shoot at all apertures at 11mm and 16mm.
On truly sharp lens, the black text is tack sharp, very high contrast, and is truly black. I can see the halftone patterns of the background right down to the well defined shape of the halftone cells (usuall hexagonal or octogonal).
Sad to say, my 18-200 VR at 18mm wide open was significantly sharper than the Tokina. I was astounded. I own two 18-200 VR's (don't ask), and am lucky to have very sharp copies. I repeated my test a couple of times, and every time the Tokina would turn out low contrast, soft images. Only when I did auto focus adjustment on the D300 to +15 did it get significantly better. Now mind you, the lens was less than a foot away from the test target. Stopping down to f/4 helped, but not by much.
I also noticed a speck and a very fine scratch on the lens front. That was enough to make me go exchange the lens. I could have exchanged it for the newer version of the Tokina 12-24 f/4, but decided to get a different copy of the 11-16.
The 2nd 11-16 was significantly sharper, by a wide margin. Actually I only need to stop down to f/3.5 to get very good sharpness. But this second lens has much worse CA than the first. Even the built-in correction on D300 couldn't get rid of it all. Also, the 2nd copy was softer than the first in he corners (much sharper in the center).
Needless to say, I'm a little disappointed with the IQ of the 11-16. Build quality is top notch, but contrast, sharpness, and CA are all below my expectation. I guess I was expecting this thing to blow away the 18-200 in terms of sharpness, which it didn't. There's just too much variance in these lenses. Maybe they're just cranking them out now and QC is a little lax.
Well I'm not going to push my luck and exchange it again. I decided to keep the lens since the CA can be corrected. I don't want to spend so much on the Nikon 12-24, and I'm gun shy about Sigma and Tamron. But I second-guess myself whether I should have gotten the newest version of the Tokina 12-24 instead.
I've owned only one Tokina before this (28-70 f/2.6-2.8). That one had backfocusing issue -- I never could get it to be tack sharp. I also owned a Sigma and Tamron, and the build quality on them were pretty shoddy.
All my other lenses are Nikon. I hate to say it, but variation from lens to lens is much better controlled in Nikon lenses.
What should you take away from all this? Buy from a place that you can return or exchange if the lens does not meet your expectation. I could have saved money buying from the States and shipping over to Japan, but the savings could vanish quickly if I had to mail the lens back a couple of times.
Registered: March 2009
Posts: 4
Tokina 11-16mm f/2.8 AT-X 116 PRO DX SD review by roaniecowpony
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excellent color and contrast
backfocused about 3 ft on a 7ft subject
3/10/09, I bought this last Friday and tested it over the weekend all at f2.8. Nikonians.org has a couple threads on this lens. I found it backfocused about 3ft behind a subject at 7ft. The images were pretty soft. Since I was testing on a D300 Nikon, I immediately went to the AF correction page of my camera menu and tried the extreme offsets for AF. The -20 setting showed a good improvement. Further testing showed that -15 was the correct offset for the AF on this lens. I did some comparisons of my pics to Ken Rockwell's examples and they are very similar after the D300's AF offset settings. However, I wanted a lens that I could use on my D50 (no AF correction feature) as well. I went back to the store and tried their other example...same issue. I called THK and they said bring it in. I took it to them yesterday 3/9/09. In a couple weeks I should have it back. My intent is to get rid of my Tamron 11-18mm if the Tokina performs well. The color and contrast is hands down much better on the Tokina than the Tamron, no question. Even though I could get good performance after my AF corrections, this lens and the other in the store, would produce unsharp pics if not for my D300's AF correction capability. Therefore, I would not recommend it to anyone without that camera feature until THK Tokina gets their production corrected.
Registered: January 2009
Posts: 2
Tokina 11-16mm f/2.8 AT-X 116 PRO DX SD review by clc
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fast, sharp, bang for bucks
limited zoom range, CA, APS-C only
I was long on market for wide, fast and reliable lens. After browsing through tons of reviews and tests online, I choose this lens over Canon 10-22 and Sigma 10-20. Tokina fit to my requirements for aperture, build quality and price. As there was hard to get one in our country for physical test I ordered it online - so it was shooting in the dark, but actually this is the best wide zoom lens I ever have owned so far and it was single penny worth. I had used it on Canon 450D body in different hard conditions (+40/-30) and it never failed. Comparing to Canon 10-22 it is faster, sharper and has better build quality. Canon better handles CA and has wider zoom range. But I will stay with Tokina...
Registered: January 2009
Posts: 5
Tokina 11-16mm f/2.8 AT-X 116 PRO DX SD review by Renato
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The BEST Lens I have ever used
none, I wish I had this lens sooner
You could definitely spend a lot more money on similar lenses from Nikon or Canon, but you would not gain anything at all as far as image quality, sharpness, boke` and even build quality. I do not believe there is, at the moment, a better or smarter lens. and do not forget it's a constant 2.8 and has 9 blades diaphragm... for photojournalists this is a must BUY IT!!!
Registered: October 2008
Posts: 1
Tokina 11-16mm f/2.8 AT-X 116 PRO DX SD review by Maxmad
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Sharpness, contrast, build quality, fast aperture
chromatic aberration
I'm currently shooting with a Canon EOS 40d with the following lenses:
Tokina 11-16mm f/2.8 AT-X 116 PRO DX
Canon EF-S 17-55/2.8 IS USM
Canon EF 70-200/4 L IS USM
I have owned and used, but later sold, also the following lenses with the EOS 40d:
Canon EF 50/1.4 USM
Canon EF 17-40/4 L USM
Sigma 30/1.4 HSM
I needed a true wide-angle alternative to my APS-C sensor camera and I was contemplating whether to buy the Canon EF-S 10-22/3.5-4.5 USM, the Sigma 10-20 4-5.6 HSM or the
Tokina 11-16mm f/2.8 AT-X 116 PRO DX. After reading a bunch of reviews, pixel-peeping hundreds of images at 100% magnification and finally handling the lenses in a camera store I finally decide to go with the Tokina option. The deciding factor was the vastly superior build quality, the fast aperture and the very nice smooth handling of moth zoom, focus and AF/MF switch. Even though it had been highly rated in various revviews I was prepared to see compromises in the sharpness/vignetting and distortion at the wider end and at maximum aperture. Well, to my surprise the lens has proven itself to perform absolutely briliantly, even wide open at 11 mm! Stopped down to f 8 it is tack sharp even in the extreme corners. Sharpness and contrast are at least as good as my other current Canon's, the 17-55/2.8 and the 70-200/4L, which BTW are VERY sharp indeed.
The only weakness of the lens is chromatic aberrations, especially at the wider settings and at max aperture. However, since both RAW converters I employ, Canon's DPP and Adobe's Camera raw, have excellent correction for CA it's not a problem when shooting RAW, which is what I do 100% of the time.
It would of course have been nice with an ultrasonic motor drive, but on such a wide-angled lens the throw of the focusing mechanism is so short, end the micromotor in the Tokina is actually reasonably quiet anyway, so it's really a minor issue.
Warmly recommended!
Registered: December 2006
Posts: 9
Tokina 11-16mm f/2.8 AT-X 116 PRO DX SD review by spuelijah
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fast focus, sharp, relatively low distortion for an ultra-wide, 2.8, inexpensive
moderate CA, limited zoom range
This lens is fast to focus and inexpensive for a 2.8. It does suffer a bit with CA, but its better than its predecessor the Tokina 12-24mm. Distortion is nothing out of the ordinary for an ultra wide lens and is a lot better controlled compared to the Sigma 10-20mm. Zoom range is limited, but I find that to be its only major weakness.
Registered: February 2008
Posts: 8
Tokina 11-16mm f/2.8 AT-X 116 PRO DX SD review by Gandalf
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Sharp from f. 2,8.
see the review
Have shot with this lens 2 days now.
My findings:
Sharp allready from f. 2.8.
Sharper than Nikon 12-24 (from f.4 and down in the area 12-16), but Nikon 12-24 is more versatile - goes to 24mm and here - at 24 mm - the Nikon 12-24 shines.
As sharp in the center as the new Nikon 14-24 allready from f. 2.8, but not in the corners - the Nikon14-24 is a clear winner here.
Flare/ghosting: Worse than Nikon 12-24, but better than Nikon 14-24.
About the same, maybe less CA, than Nikon 12-24.
Today I suddenly could not get AF, whatever - turning of and on, but then took the lens off and mounted it again, and then the AF was OK again.
I have experienced that with one or two Nikon lenses, too, when the lenses was new, and I hope it is the same:
Some tiny metal in the new lens has to worn off.
After some days: Never seen the AF-issue again for the time being.
The buttom line: I am very happy with this lens.
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|Arlette M. Kompelien, 74
|Written by TRF Times
Thief River Falls - Arlette M. Kompelien, 74, died on Monday, May 14, 2012, at Valley Baptist Medical Center in Harlingen, Texas, with her loving husband, Everett, at her side.
Funeral services were held Monday, May 21 at the Evangelical Free Church in Thief River Falls, with Pastor Bruce Fisher, Pastor Mel Sich, and Rev. Kevin Kompelien officiating. Casket bearers included Todd Christensen, Trevor Christensen, Trent Christensen, Brent Kompelien, Bradley Kompelien, Gregory Kompelien, Scott Kompelien, Emily Kompelien, Melissa Kompelien and Ruth Zylka. Interment was held at Greenwood Cemetery in Thief River Falls.
Arlette M. Moe was born Sept. 9, 1937, in Thief River Falls, the daughter of Arthur and Helena (Johnson) Moe. She grew up and attended Lincoln High School in Thief River Falls, graduating in 1955 and then began working for F.W. Woolworth.
On Aug. 25, 1956, Arlette was united in marriage to Everett Kompelien. She worked part-time at Ace Hardware, Mostue's Floral, and Larson's Style Center. She owned and managed The Klothes Kloset fashion and bridal shop from 1975-1985. In 1992, she began spending winters in Harlingen, Texas, following her husband's retirement.
Arlette was an active member of the Evangelical Free Church of Thief River Falls. She taught VBS and Sunday School for many years and served in various Women's Ministries on both local and regional levels. She was also a long time member of the Northwest Medical Center Auxiliary.
The joys of her life were her children and grandchildren. She loved having them visit their lake home at Island Lake and very much enjoyed attending her grandchildren's sporting events. Arlette loved to read. She enjoyed singing in church choirs and trios, as well as duets with her husband. She also enjoyed being a tutor at Wilson School in Harlingen and was in the HOSTS program while in Texas.
She began involvement in Christian Women's Club when it started in Thief River Falls in 1975. She served as an Area Representative beginning in 1987 and also served as a speaker and FBC guide.
She is survived by her husband, Everett, of Thief River Falls; three children, Kevin (Becky) of San Jose, Calif., Konnie (Kent) Christensen of Thief River Falls and Ken (Jan) of Wahpeton, N.D.; 10 grandchildren, Todd (Cortney) Christensen, Trent Christensen, Trevor Christensen, Ruth (Kyle) Zylka, Bradley (Paige) Kompelien, Brent (Sarah) Kompelien, Gregory (fiancée Alyssa) Kompelien, Emily Kompelien, Scott Kompelien, and Melissa Kompelien; seven great-grandchildren; one sister, Karen Dalager, Grand Forks, N.D.; and one brother, Randy (Karen) Moe, Plymouth.
She was preceded in death by her parents and grandparents.
Family condolences may be sent by visiting www.johnsonfuneralservice.com. A00003B2012MY23


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A preliminary report was posted here.
After years of being on my very long audio "to do" list, I decided it was time to give my SDA SRS 1.2TL's a proper crossover modification with an appropriately sized printed circuit board (PCB). This was first suggested to me a few years ago by forum member Madmax. In 2008, I discussed with Ken Swauger, Polk's customer service manager at that time, my interest in having a custom crossover board fabricated. However, Ken could not locate any information on the stock board's specifications or vendor, and I let the idea slip back into obscurity. More recently, forum members Gimpod and Janne discussed their good results with custom crossover circuit boards and improved custom SDA inductors.
The stock capacitors and resistors of my 1.2TL's were replaced immediately after purchase in December of 2001 with AudioCap polypropylene film capacitors and Mills MRA-12 resistors. The AudioCap capacitors were replaced with Sonicap polypropylene film capacitors in June of 2008.
This modification replaced the stock printed circuit boards and 16 mH SDA inductors.
Figure 1. My big Sonicaps now have room to stretch out and breathe.
Physical Arrangement
The new PCB (printed circuit board) measures 12" long by 4.2" wide (50.4 sq. in.) with the standard thickness of 0.062". The new board is over twice the area of the original board, which measures 5-3/4" long by 4-5/16" wide (24.8 sq. in.). The populated new board main board weighs 1.8 pounds. For additional support against flexing and vibration, the main board is attached to a second board with eleven nylon standoffs. The support board rests on small sheets of Dynamat Xtreme vibration damping material. The boards were manufactured by ExpressPCB (www.expresspcb.com) using their express 4-day service. The boards were ordered on a Monday and were received the following Friday. I did the board design using Express PCB's ExpressSCH and ExpressPCB free schematic and board layout software.
The new boards are fabricated from FR-4 fiberglass epoxy with 1-1/4 ounce copper plated traces, plated through holes, silk screened top sides and solder masked under sides.
Figure 2. The original board (left) was already a very crowded configuration. Replacing the stock capacitors and resistors with larger
upgrade parts was a topological challenge. The diameter of the new custom 16 mH SDA North Creek inductor was too large (5") to fit
inside the cabinet opening (4-3/4" high) and could not be mounted flat on the crossover cover plate like the stock inductor. I asked North
Creek if they could wind the inductors to be taller with a maximum diameter of 4.5". They said their winding machines could only wind to
a maximum height of 2".
Figure 3. Stock SDA SRS 1.2TL crossover (photo by forum member Vmaxer). I was surprised to find this tiny little board inside my
1.2TL's, since the original SRS uses a large board similar in size to the new custom boards.
Figure 4. Modified 1.2TL crossover with piled-on Sonicap capacitors. The Mills resistors had to be mounted on the underside of the board.
Figure 5. The original crossover had the large 16 mH SDA attached to the crossover cover plate, then the board attached to the inductor
spool with four nylon standoffs. The new inductor is mounted on a cabinet brace. The silver foil is Dynamat Xtreme vibration damping
Figure 6. The wires for the new SDA inductor were first soldered to the board, just like the wires on the stock PCB. For greater removal
and installation convenience, a 2-pin header and wiring harness were installed for the inductor.
I did not think of adding a pin header for the SDA inductor until after both boards had been populated. Coincidentally, the copper traces for the SDA inductor were conveniently located so that all I needed to do to accommodate the pin header was to enlarge one of the existing holes and drill another hole 0.25" away in an adjacent trace.
Figure 7. Silk screening on top side. This picture was taken prior to the SDA inductor wiring header being added at location L3 near the
lower right.
Figure 8. Solder masked copper traces on board rear.
Figure 9. The red jumper is an 18 gauge solid copper wire that replaces the polyswitch.
I provided a space on the new board to replace the polyswitch with a resistor if I chose to do so. The RXE135 polyswitch has an untripped nominal DCR range of 0.12 to 0.19 ohm and a tripped DCR of 0.3 ohm. I measured the DCR's of four new RXE135 ployswitches (link). Two measured 0.16 ohm and two measured 0.17 ohm. Mills makes MRA-12 resistors in 0.1, 0.15 and 0.18 ohm. However, since removing the Polyswitches is a Polk recommended modification and since the RXE135 polyswitches have a next-to-nothing DC resistance of under 0.2 ohms, I am not in a big hurry to experiment in this area.
Mounting The SDA Inductor
The stock 16 mH SDA inductors are comprised of 18 gauge wire and have a DC resistance of 2.8 ohms. They were replaced with custom 16 mH inductors from North Creek Music Systems (14 gauge wire and 1.3 ohms DCR). Replacing the SDA inductors lowered the overall DCR of the loudspeakers from 3.8 and 3.9 ohms respectively to 3.4 ohms. My amplifiers did not seem to mind the slightly lower DCR and did not run any hotter than usual.
I experimented with three different locations for the SDA inductor: 1. A 2" wide cabinet brace running from front to back located just inside the cabinet's crossover opening. 2. The rear cabinet wall just behind, and near the top of, the passive radiator. 3. The rear cabinet wall to the side of the binding post plate.
I was surprised to find that this inductor was so sensitive to placement. Mounting the inductor behind the passive radiator (figure 12) resulted in muddy bass and diminished midrange detail. Mounting the inductor next to the binding post plate (figure 13) did not sound terrible like passive radiator location, but there was a significant loss of bass detail, articulation, and speed and some loss of midrange detail. Mounting the inductor on the narrow brace resulted in sound that was outstanding.
I sent these results to North Creek and this was the response I received:
"RE the 16mH coil, chances are it interacted with the bolt. Anything metallic anywhere near by will change its sound. It is not vibration dependent but we generally recommend mounting it to the bottom back corner so it can have adhesive on the bottom and two sides."
I used the same non-magnetic aluminum bolt, washers and nuts in each location. Perhaps the steel basket of the passive radiator had some effect. I don't know why the location near the binding post plate sounded bad. The vertical orientation might have also contributed to the sonic deterioration.
Figure 10. Toroidal inductors do not appreciate having magnetic metals inserted in their cores as this causes a rise in the amount of
inductance. The SDA inductors were attached to the cabinet brace with aluminum threaded studs, washers and hex nuts. Nylon nuts
and bolts were also tried, but were rejected in favor of sturdier metal parts.
Two inch wide aluminum fender washers for the tops of the inductors were not available locally. Steel washers were used as they only caused a little over a tenth of a mH increase in inductance, which was well within the 10% design tolerance. In contrast, a steel bolt through the center of the inductors caused a 2.5 mH increase. The 1/4" 1-1/2" steel bolt though the stock SDA inductor raised the inductance from 16.25 mH to 17 mH.
Figure 11. The inductor's mounting spool is a 3/4" plastic coupler. I found it in the plumbing department at Home Depot. It was exactly the
right length and diameter (1-9/16" long and 1-5/16" in diameter) to fit inside the inductor cores. The outside surface of the couplers had to
be ground flat in eight places to correspond to the inductor's eight binding straps.
Figure 12. SDA inductor installed.
Figure 13. Nice location. Horrible sound.
Figure 14. Nicer location, nicer sound, but nowhere near as good as the sound from the brace location.


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Both. What he said was situational. Before a gymnast would start, he would say general things, but mostly score-based: he might compare the base (on paper, at that point) to gymnasts that had gone before. He might say that a gymnast was likely to go into first, but there were others coming with higher content coming up. He might say that a gymnast generally had higher bases going in, but generally didn't get the quality scores or vice versa. He might mention to expect a creative routine, or, historically, how that gymnast used to do certain skills, but now doesn't, or how a gymnast has added skills. As the competition went on, he'd also discuss how the gymnast did in other phases, for example, in the Team Competition, he left out X, but expect him to do X or to add Y in it's place, or that the gymnast was having a tough competition so far. I had context for what was about to happen in termsn of the sport, not the gymnast's favorite hobbies, or that she had a twin in synchronized swimming.
During the routine, he'd point to specific skills, why they were of good quality -- the rings didn't shake, she held the position steadily -- or not so good quality -- the judges will deduct .1 for this form break, .3 for that error -- and he was particularly vigilant about explaining when he thought a gymnast might score lower because s/he wouldn't get connectivity points, which would hurt the score, and when the skater would get credit for the connections, and how many. He would explain why a skill was harder, in terms of risk, strength, flexibility, and what made the combination of skills harder. He would explain the impact to the score when something might look nice, but didn't meet a requirement, or when a requirement was missing, or when a skill had been downgraded. He might mention a gymnasts strength and weaknesses, and when his or her size might impact her ability to do specific things.
He would say when he was surprised by a score, but he was pretty accurate. I don't know many details about gymnastics any more, and of course, this doesn't prove he didn't leave out critical things along the way, because he's so familiar with how things are scored, but that would be for a knowledgeable gymnastics person to determine. What I know is that I, an occasional gymnastics viewer, was engaged, did not feel condescended to, felt I had a lot of good information and context, and, in this case, actually looked forward to the commentary, and not just to snark at it or use it for a drinking game.
He was also the rare commentator who did not show bias for or against specific athletes, and, considering it was for a Canadian TV station, nationalistic bias, although he was clearly happy for the Canadian athletes when they did well. He seemed genuinely thrilled for the athletes, and there was none of the "back in my day, this/that was so much better" attitude. He sounded like he truly respected what they did, and he had a lot of empathy for them. (It might help that he's not that much older than the men competing.) While he had stylistic preferences, I didn't get the impression that he was slagging athletes who didn't have his preferred qualities or harping on specific things as if they had more weight in the overall system than they did. For example, you wouldn't have concluded that gymnastics equivalent of a layback spin was the be all and end all of gymnastics excellence.


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Performance that's completely out of the box
The KEF Q Series floorstanders have a sound so big, so clear, and so outstanding, you won't believe it's resonating from a single point in the room. Configured with the newest generation of the Uni-Q array, the Q Series floorstander comes complete with the mid/high Uni-Q array plus a long-throw bass driver and two matching auxiliary bass radiators (ABRs) for one seriously intense soundstage. Add this bad boy to your current KEF setup or make it your maiden KEF voyage. It doesn't matter, once you get hooked on KEF, you'll be one spoiled little audiophile.
Uni-Q: every seat in the room is the sweet spot
KEF's latest version of the Uni-Q array uses state-of-the-art technology (and makes it affordable). The vented tweeter design makes clarity a priority and insures a smooth transition to midrange frequencies thanks to KEF's Stiffened Dome technology. Adding the new Tangerine Waveguide to the tweeter protects the dome and improves the efficiency and sound dispersion at the highest frequencies. Matched directivity (mounting the tweeter in the center of the bass driver) improves the uniformity of the tonal balance across the listening area — improving off-axis stereo imaging. For lows and mids, the new aluminum driver cones and large aluminum voice coils deliver fast, clean response at high power levels. The Z-flex surround gets rid of the conventional half-roll and adds one that allows simple deformations at low frequencies, but resists complex deformations in the midrange. The result is clear, unsmeared sound. But, beyond all this techno-speak, the Uni-Q array does one thing and does it well — disperse sound evenly throughout the room. It's like playing duck-duck-goose where everybody's a winner.
Crossover — simply good acoustic performance
If you've ever peeked inside a speaker cabinet, you may be tempted to decry the simplicity of the design. Interestingly enough, the simpler the crossover design, the better the acoustic performance. And we're saying simple, not cheap. The whole point of a crossover network is to filter the input signal to the separate bass, midrange, and treble drivers and to provide overall equalization and good tonal accuracy. For the Q Series, KEF put together lower, second order (i.e. a construction that uses the least amount of components) crossovers with simple electrical filter topologies for free-flowing, unconstrained, and dynamic swings and a big, open stereo image with believable overall geometry. How do they get away with using lower order crossovers? They know that carefully designed drive units and enclosures ensure only minimal filtering is necessary: genuinely good high-performance drivers = the realization of the full potential of low order acoustic crossovers. More simply put, KEF is all quality, and you don't have to be an engineer to hear the difference (thankfully).
Sound engineering — inside and out
What may seem a Herculean task to the non-engineer was undoubtedly down-right fun for the developers at KEF. Beyond the high-performance components, KEF has taken care of every single detail, right down to the top-side adjustable floorstander spikes. The cabinets are ultra rigid with 30% more internal volume for the best bass and midrange response. The gold-plated bi-wire terminals provide the clearest signal transmission possible. And the sexy, exotic, and very guilt-free wood veneers that consist of recycled wood fiber instead of unsavorily harvested hardwoods. (Hey, just because KEF provides luxurious sound doesn't mean they have to take more than their share.) KEF knows it's in the details. It's not just an experience. It's a KEF experience. Kind of gives you that warm fuzzy feeling, doesn't it?
KEF Q900 (October 06, 2012)
|Ease of Use
|Overall Rating
Reviewed By: Abd Razak@Jennie Dudziak - Coralville, IA
The Q900 are a great speaker. They have incredible attention to detail and no matter what volume I play them at, they perform with exceptional quality. If you want blow the roof off ........ bring in a sub woofer. I'm big fan of the KEF systems although maybe.
Greatly surpassed my expectations (February 07, 2012)
|Ease of Use
|Overall Rating
Reviewed By: Benjamin M. - Alamogordo, NM
As a long time KEF product owner, I am well versed in their various product lines. I was hesitant to purchase the Q900s because I already owned a pair of the IQ 90s and was very pleased with them. Looking at the specifications though, the Q900 offers three 8 woofers and a 1.5 tweeter while the IQ90 has two 6.5 woofers and a .75 tweeter. Boy, what a difference! I am amazed every time I turn on some music or pop in a Blu Ray. If you are in the market for some new floorstanding speakers and these are in your price range, I HIGHLY recommend these speakers!
Q-uite A Speaker!! (January 29, 2012)
|Ease of Use
|Overall Rating
Reviewed By: Allan M. - Brooklyn, NY
I had Q80s 25 years ago. Im now never gonna leave them. Whether for music or movies, this is one fine speaker. Nice and warm. Not harsh at all. Mids and highs are wonderful. It places you in the studio or at the concert.. A lot of depth is present as well as a nice soundstage. You will not be dissappointed. It needs power though. My Denon AVR 1911 is managing to hold up but I will eventually change it out. Meanwhile, I am having a ball listening to things all over again & hearing new things present too....Enjoy...Randy was a great help too
Loud and Proud? (November 18, 2011)
|Ease of Use
|Overall Rating
Reviewed By: Jeremy T. - Auckland, Auckland
I auditioned these today with high hopes. On the positive side they are fairly smooth, have a big soundstage, strong bass and go loud. Unfortunately they sound rather mechanical, lack subtlety and get rather harsh at moderate volume levels. Also I dont think the bass goes very low. They would sound better with a big soft sounding amp, but they generally lack the rifinement I would expect from KEF loudspeakers. Hmmm
Small speaker Big sound (February 23, 2011)
|Ease of Use
|Overall Rating
Reviewed By: Gerald C. - Ardmore, OK.
I was skeptical at first about these speakers. I wanted the 900s but my wallet said get the 500s.
These will be used for music more than anything else and I was concerned about their size. Sometimes I like to crank it up! I didnt think these where big enough to get the kind of sound Im looking for.
These little guys arrived in a box big enough to contain a refrigerator I thought. Vanns went the extra mile to make sure they arrived unharmed.
My first thought after unpacking them was These are going back, they are just too small. Very nice looking though. I hooked them up, went through the calibration routine and cranked em up.
I must admit, I was shocked at the big sound coming out of these little guys. I am impressed with these KEF speakers and cant wait to get my hands on the 900s. But Im more than happy with these.
My receiver is a Sony STR DN1000,
Polk CSiA6 Center ch.
Sony 12 sub
Amazing speakers! Great Value! (February 04, 2011)
|Ease of Use
|Overall Rating
Reviewed By: Scott - Olympia, WA
There have been so many crappy expensive mass produced speakers out these days that it is refreshing to see KEF stepping back up to the plate, by completely rethinking what went wrong the latest iQ series sound quality, and fix it. Sure the iQs were pretty, but at a cost of sound quality. The rounded cabs limited freq response and bass output. KEF knew this but thought buyers would buy it because it was cool looking. Theyve now gone back to basic boxes and really spent the R&D on the drivers and esp the new Uni-Q tweeter. Putting money back where it should be sound quality. This also brings it back to the rich signature sound that made KEF great. Kudos KEF. personally love the sound, deep rich midrange, good treble that is never shrill nor bright, tightly controlled, though not too deep, bass. Soundstage is impressive. Very impressive. Very easy on placement. Against a wall or toed-in. Thank god they got rid of the reflex ports. I hate those chuffing noises they make. Also, this makes them so much easier for placement. 8 Ohms nominal sensitivity at 87 db. Very easy to power and sounds very good with my Tripath 5watt, Meridian 65watt and Mark Levinson ML-9 200watt. Ive finally found a replacement for my 20 year old KEF Q-80s, finally. Thank you KEF getting back to your roots at an affordable price.
Comparison Specifications
- Power Handling: 15 - 200 Watts
- Nominal Impedance: 8 Ohms
- KEF UNI-Q driver: One 8.0" aluminum Uni-Q / one 1.5" vented aluminum dome HF
- Woofers: One 8.0" aluminum LF / two 8.0" aluminum ABR
- Sensitivity: 91dB
- Max. output: 114dB
- Crossover Frequency: 1.8kHz
- Frequency Response: 32Hz - 40kHz
- Design: Two and a half-way bass reflex
Dimensional Specifications
- 41.7" H x 9.6" W x 12.7" D
- 48.7 lbs.
KEF Q900 Warranty Details
5-year limited manufacturer's parts and labor warranty


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Relaxation & Meditation Vol. 1: Soothe
Many of our most popular relaxation & stress reduction music tracks on
a CD. 8 tracks, 70 mins non-stop playing time.
Your choice: Download the whole CD right now, and/or
have a real Audio-CD sent to you. Read more about this on our Ready-made
collections page.
Relaxation & Meditation Vol. 2
Drift off to distant places and times with this collection of relaxing,
soothing, dreamy compositions. Music to make your everyday stress melt
away on beautiful sonic shores. 60 minutes of full length tracks, plus
40 music loops included.
Relaxation & Meditation Vol. 3
A beautiful and spiritual collection of hand picked relaxation tracks,
chosen for their soothing, relaxing ambiances and long, uninterrupted
playing times.
Nature Sound Series
We now have a whole new page dedicated to our exceptional quality Nature
Sound CDs, all of which can be downloaded instantly or sent to you on
a CD. For information about our Nature Sound Series,
click here.