I know I will take some flak for this first choice, but it is an audiophile standard that shows off much of what the Kayas do so well. Jennifer Warnes' "Bird on a Wire" from her album Famous Blue Raincoat (CD, Private Music) features instruments and vocals with layers of detail and great imaging when played back on a good system. The Kaya 90s reproduced every detail I have ever heard on this track, and I have heard it plenty of times. While there was loads of detail, there was no harshness and the details were reproduced with a sense of ease. Each instrument and vocal had its own distinct position on the soundstage, which started just behind the plane of the speakers. The voices and strings sounded natural, bass notes were solid and detailed, the triangle sparkled, and so forth.
What impressed me the most was what I did not hear: the speakers themselves. Yes, I heard the sound from the speakers, but the speakers completely disappeared from the soundstage and each note appeared to emanate from the space of its respective source within. The voices and strings were rendered as accurately as I have ever heard. The bass notes sounded solid, deep, and well defined right out of the gate.
Bringing my listening of female vocals into modern times, I also cued up "Soothing" by Laura Marling from her album Semper Femina (More Alarming Records, Tidal). This is a well-recorded track featuring drums, guitar, bass, drums, and female vocals. The drums were clear, solid, and well positioned. The guitar and bass notes were weighty and full without any loss of detail. The decay of the strummed notes was smooth. Marling's voice was solidly positioned but ethereal in nature. This reminded me a bit of Astrud Gilberto's voice on Stan Getz & João Gilberto's "The Girl from Ipanema" (Verve Records, 24-bit/96kHz), which I immediately played next. You have to love how easy Roon makes it to access your music or stream selections from Tidal. Listening to these female vocals through the Kaya 90s, they both sounded ethereal, delicate, and detailed, while lacking nothing in terms of forcefulness or dynamics.
Submotion Orchestra's "Variations" from the Kites album (SMO Recordings, Tidal) adds deep, synthesized bass to the solid female vocal imaging I had come to expect from the Vivids by now. The depth of the bass notes makes the published frequency range of 36 Hz to 25 kHz seem perhaps a bit conservative to the naked ear.
Now that we have gone through the Kaya 90s' ability to delicately reproduce nuanced details, you may be wondering how these speakers do with other, more mainstream types of music. Dire Straits' "Money for Nothing" (Warner Brothers, DSD64) came up on my Roon playlist and I cranked the volume, as this track demands that you do.
The famous opening riff was alive with quick, dynamic notes. The electric guitar stood out, with fast leading edges to the notes giving them the appropriate amount of bite and realism. I am also happy to say that the Kaya 90s did as good of a job on male vocals as female and made for one hell of a demo in my listening room.
Lastly, Tchaikovsky's "1812 Overture" performed by the Cincinnati Symphony Orchestra led by Erich Kunzel (Telarc, CD) provides a good workout for any speaker system. This orchestral piece is gigantic in scale, with many layers and, of course, the infamous canons, which can test a system's dynamic capabilities. The Kaya 90s revealed many layers of detail; the various string and wind instruments were rendered with clarity and distinctly placed on the soundstage. I noted that the soundstage still started just behind the plane of the speakers, and while it extended further back than most of the other tracks I had been listening to, it did not extend as deep as you might hear with something like MartinLogan ESL13A or Revel's 228Be. I played this piece back a few times at differing volume levels, though, and noted that the Kaya 90's ability to resolve details is similar to electrostatics regardless of volume. They were able to resolve very delicate details at lower volumes yet remained consistent in character throughout the volume range, and did not choke or compress at loud volume.
There is a lot to like about the Kaya 90s. They get out of the way of the music and are easy on the ears through lengthy listening sessions. They do have a slightly "polite" sonic character, though, which is worth noting. The higher frequencies never lost detail or sounded thin, but some may prefer more energy in this region. The soundstage was extremely good in most regards; however, I could not achieve the same image depth I have been able to obtain with some other speakers.
One other thing that may be worth considering for readers who employ their stereo systems as the foundation pf a multi-channel system: While the Kaya brochure lists center channel and surround models, they are not yet in production. I suspect the smaller, stand-mount models from Vivid may be a viable option, but it would be nice to have the full Kaya line available for those who want to build a multi-channel system.
Lastly, the aesthetics of the Vivid Audio Kaya line are appealing to my eye, but perhaps not for everyone, especially someone with more traditional design tastes. The Kaya line is understated for Vivid Audio, but these speakers are hardly ordinary looking, with their somewhat unusual, organic shapes.
Competition and Comparison
There is a large selection of floorstanding speakers in the $30,000 range. There are a few that come to mind as being particularly relevant. The first should come as no surprise, the Bowers & Wilkins 800 D3 ($30,000). The B&W's unique diamond tweeter is in a tapered tube enclosure that is a descendant of the Nautilus designed by Laurence Dickie. The well-engineered enclosure has rounded baffles like the Kaya but uses extensive reinforcement and mass to reduce vibrations.
The Magico S3 Mk II ($28,000) features a diamond-coated beryllium tweeter and an extruded aluminum enclosure with special damping and vibration control materials. There's also the Raidho X3 ($30,000), a floorstanding speaker that features a planar magnetic panel and weighs in at 88 pounds, very close to the Kaya. My brief listening session with the Raidho's left me with the impression of speed and detail.
I spent a lot of time thinking about how to describe the Kaya 90. In my discussions with other reviewers, I compared their speed and detail to the MartinLogan ESL13A I recently reviewed, but with the impact and dynamics of Revels F228Be, all wrapped up in a package that has a hint of "British polite" high-end flavor.
Kudos to Mr. Dickie, as his latest line of speakers is an unqualified success. I found the cabinets to have surprisingly little vibration even at high listening levels, and the internal loading characteristics let the Kayas play with very little distortion or shift in character regardless of volume level. I know of dealers who have replaced Wilson Audio with Vivid Audio and that is no small compliment. I've been doing high-end audio reviews for the last 20 years, and the Vivid Audio Kaya 90 is one of the most impressive products I have had the pleasure of reviewing. I will be very sad to see this pair go.
• Visit the Vivid Audio website for more information.
• Check out the Floorstanding Speaker Reviews category page to read similar reviews.
• Bowers & Wilkins Introduces Flagship 800 D3 Diamond Speaker at HomeTheaterReview.com.