TANNOY Prestige Gold Ref Kensington floorstand speaker 10"dual-con 93dB 29Hz-27K

NZ$ 29,995.00 pr (incl. GST)
Tannoy Speakers

Tannoy aims to lead the industry through concentrating on innovative, high performance products


OUTSTANDING - amongst the best
VERDICT - A fine loudspeaker, beautifully crafted. We loved them.

"The Kensington SE impressed from the get-go because it's a remarkably visceral and emotionally engaging performer. Old-school jazz, courtesy of Milt Jackson and Wes Montgomery's "Bags Meet Wes!" CD was startlingly realistic-sounding. Jackson's shimmering vibes were fully three-dimensional. The vibes burnished tone was all there, and each mallet strike against the aluminum bars produced a little metallic explosion, just like vibes sound in real life. The stereo soundstage was tremendous, stretching from wall-to-wall in the listening room.  
The recently remastered Rolling Stones CDs didn't sound much different from the old versions, but the Kensington SEs brought out the best in their music. If you're into rock, the Kensington SE's sock will blow you away; these speakers are nothing if not visceral. But is it accurate? Probably not; the Kensington SE might be too much of a good thing. It's more delicious-sounding than any box or panel speaker I've heard in ages"....... Steve Gurrenberg - CNET

KENSINGTON GR Tannoy’s timeless Kensington Gold Reference continues the marque’s heritage of blending timeonoured values with cutting edge performance. Its bold cabinet of finest mahogany plywood is extensively braced to house 

Tannoy’s flagship 250mm (10.00”) Gold Reference Dual Concentric™ driver. It’s high-efficiency compression driver with 50mm (2.00”) heat-treated dome, Alnico motor system and new, stiffer cone materials create outstanding dynamics, spacious sound staging and exceptional musical articulation.

The flagship 250 mm (10.00”) Dual with its Alnico magnets, identified by its PepperPot Waveguide, is fitted with the latest Tannoy GR cone material, comprising a bespoke paper pulp infused with fibres to increase its rigidity. Combined with the new 50mm (2.00”) aluminium-magnesium alloy cone, the Kensington GR Dual offers an expansive sound stage, extremely high power handling and class-leading musical communication. The Kensington GR is set to follow its predecessor models as being the bestselling Prestige loudspeaker for its outstanding performance, small footprint and elegant design.

To match the new Alnico GR Dual, the Kensington crossover has been extensively upgraded with custom-specification ICW ClarityCap™ MR capacitors, low loss laminated core inductors and thick-film resistors, before the entire unit is Deep Cryogenically Treated. This technology brings a wealth of benefits to the Kensington GR sound, including more spacious soundstage, crisper micro dynamic detailing and an exceptional natural HF response.

The Kensington GR is hand built in the time-honoured Tannoy fashion to ensure that attention to detail and unique styling go hand in hand in maintaining the exclusive appeal of this highly respected loudspeaker. It’s 18mm thick birch ply baffle and rear panel are extensively detailed with walnut inlays and machined metal trim. Easy room placement, adjustable HF power and luxury oiled veneer finish with machined metal trim ensure Kensington Gold Reference is as easy to live with as it is exhilarating to listen to. Gold Reference takes Tannoy’s Kensington to new levels of refinement in every respect.

Prestige GR - Gold Reference sereis - Over forty-five years on from the introduction of the world famous Monitor Gold Dual Concentric™ driver, Tannoy has launched a new benchmark loudspeaker range; the Prestige Gold Reference. This major upgrade to the entire Prestige SE series of loudspeakers marks another significant chapter in Tannoy’s illustrious history. Gold Reference (GR) further refines the Dual Concentric™ driver concept, brings cutting edge materials and engineering technologies to the Prestige range and leverages the sonic benefits of Deep Cryogenic Treatment. The result is a captivating and unique range of loudspeakers that further improves and refines the world-renowned acoustic excellence of Tannoy’s Prestige range.

Of course, the sumptuous traditional design and time-honoured method of construction of the famous Prestige cabinets remains unchanged. These bespoke pieces of fine acoustic furniture have been hand crafted from solid wood and hardwood ply laminates by Tannoy’s finest artisans for many decades.

Prestige Gold Reference continues to proudly boast the world’s finest traditional loudspeaker cabinets.

In addition to the luxury real-wood veneering with hand-rubbed oil finish, the new GR models benefit from revised intricate wood-working detail, new contrasting wood inlays and new metal trim pieces. The driver trim parts, HF adjustment panel and rear boiler-plate are machined from billet aluminium and hard anodised in a luxury gold finish.

Available in five models from the compact Tannoy Stirling Gold Reference up to the magnificent 530litre/138kg Westminster Royal Gold Reference, high power handling, high sensitivity and breath-taking clarity and musical communication are the common theme across the range. With point-source articulation, precision imaging, extended natural bass and incredible dynamics, Gold Reference marks another significant upgrade of the long-running Tannoy Prestige range.

To mark the Prestige GR milestone, and as a celebration of the company’s proud heritage, the famous original Tannoy ‘lighting strike’ logo has been incorporated into trims on all models throughout the Prestige GR series. The design element of the lightning strike logo lends itself to the timeless traditional styling of the Prestige GR models and reminds listeners of the proud heritage of Tannoy brand built over more than eight decades of audio innovation.

NEW UNIQUE “Dual Concentric” Drive Unit

The new Prestige Gold Reference series marks the most sweeping advancements in Dual Concentric™ technology for more than 40 years. Gold Reference revives the spirit of the ground-breaking Monitor Gold, but pushes performance even further than the previous SE designated models by leveraging the best of 21st century materials science and computer-aided design. With many Tannoy innovations and bespoke technologies trickled down from Tannoy’s flagship Kingdom Royal development project, the GR series drivers stand as Tannoy’s most advanced Duals to date.

At the top of Tannoy’s new Prestige GR range, both the Canterbury GR and Westminster Royal GR are fitted with a newly developed cone material. To increase rigidity across the larger surface area of these 15.00 inch Dual Concentric drivers, the fibrous mix within the cone material has been revised to realise further improvements in the cone’s mechanical characteristics. Modern imaging technology affords incredibly detailed analysis of cone mechanics under load and many versions of the cone pulp mix were evaluated prior to the final selection of this vital component. As with all revisions to Tannoy’s important Prestige series models, the final selection of material was the result of critical auditioning with a wide range of music. Canterbury GR and Westminster Royal GR models now offer an even more dynamic presentation than their predecessors, with reduced colouration and an incredibly natural mid band response.

A new HF compression driver is incorporated in all Prestige GR models featuring Tannoy’s Alnico powered motors and Pepperpot Waveguide. Fitted to the Kensington GR, Canterbury GR and Westminster Royal GR, the design is a direct result of research undertaken for the Kingdom Royal project. Many months of R&D were spent testing and auditioning numerous alloys and heat treatment configurations before final selection of a heat-tempered aluminium alloy. The domes are terminated with a vented Mylar surround, which affords better energy termination at the diaphragm boundary. The result is even greater transparency and linearity across the driver’s working spectrum, delivering an even more refined and natural sound than previous Prestige Duals.

To further enhance the driver’s mechanical integrity and integration with the cabinet, all GR Duals are built on a new cast aluminium chassis with multi-point fixings. Tannoy’s signature ‘Tulip’ and ‘Pepperpot’ HF Waveguides feature across the GR series, depending on model, further enhancing the point source symmetrical dispersion properties of the driver.


On the inside, Prestige crossovers have been improved across the range and fine-tuned to integrate with the new GR Duals. ICW ClarityCap MR capacitors are used in the Westminster Royal, Canterbury and Kensington GR models but, unique to Tannoy, the leadout wires are PTFE insulated 99.99% single strand silver, extruded to our specification. The result of ICW’s own ground breaking two-year research program, these devices offer excellent self-damping characteristics and class-leading performance. Revised low loss laminated core inductors and thick film resistors are used throughout the Prestige GR series crossovers, chosen for their ability to resolve micro dynamic detailing.

Each fully assembled Prestige GR crossover is Deep Cryogenically Treated (DCT) as a single unit to improve the audio characteristics through components, cabling and solder joints holistically. The process involves freezing the entire assembled crossover to -190degrees and thawing at a controlled rate to remove micro stresses in the crystal structure of all conductors in the crossover. The improvements in musical cohesion and smoothness made it an essential part of the Prestige GR upgrade.

Around the back of each Prestige GR loudspeaker, the GR series boasts Tannoy’s unique fifth speaker terminal. This can be used to electrically ground the driver chassis to the amplifier, dramatically reduce potential for radio frequency interference and further enhancing midrange clarity. Westminster Royal GR, Canterbury GR and Kensington GR use the very latest loudspeaker terminals from WBT, the NextGen™ WBT-0703. These high-end loudspeaker terminals ensure perfect signal transfer from the amplifier to the Prestige GR loudspeaker.

To celebrate Prestige Gold Reference and the latest evolution of the world famous Monitor Gold Dual Concentric driver, Prestige GR cabinets have been enhanced with a range of external styling updates to reflect the quality and craftsmanship within. Light reworking of the cabinet finish included milled and machined detailing in the timber, new veneer inlays within the front baffle of certain models and precision machined metalwork, hard-anodised with a gold finish. Each cabinet is lovingly crafted from solid timber hardwoods and ply laminates and finished in a combination of lacquer and oil depending on model. The finish can be maintained for decades using Tannoy’s Prestige wood wax-oil and a soft cloth. Matching grilles with complementary woven cloth material are included with each model. The return of Tannoy’s famous ‘lightning strike’ logo establishes the Prestige Gold Reference series as another landmark in Tannoy’s illustrious history.




Recommended amplifier power 20 - 250 Watts
Continuous power handling 125 Watts RMS
Peak power handling 500 watt
Sensitivity 93 dB (2.83 volt @ 1 m)
Nominal Impedance 8 ohm
Minimum Impedance 5 ohm
Frequency Response 29 Hz - 27 kHz (-6 dB)
Dispersion 90 degrees conical

Dual Concentric™ high frequency 52 mm (2.00") 52 mm (2”) aluminium/magnesium alloy dome with round voice coil
Dual Concentric™ low frequency 250 mm (10”) with paper pulp cone and twin roll impregnated fabric surround.52 mm (2”) round wire voice coil

Frequency 1.1kHz
Type Bi-wired, hard-wired passive, low loss. Time compensated.2nd order low pass. 2nd order high pass. Deep cryogenically treated
Adjustment /- 3 dB over 1 kHz to 27 kHz shelving, 2 dB to -6 dB per octave over 5 kHz to 27 kHz slope

Enclosure type Distributed port
Volume 105L (3.7 cu.ft)
Dimensions 1100 x 406 x 338mm
Finish Particle board with high density birch ply baffle and rear panel, 18 mm (0.71”) thickness. Internally cross braced and heavily damped.


The Kensington GRs are speakers to love..... there’s enough sonic quality to place them on the top rung of speakers at this price. They’re gentle giants, balancing finesse with force in a mighty appealing way. Consider us tempted.
It’s easy to dismiss these on the grounds of their retro appearance, but there’s real substance to the Kensington GR’s engineering and performance
Impressive combination of scale, dynamics and finesse
Good rhythmic capability
Impressively articulate and insightful
Sonic composure
Retro appearance
Fine build and finish

EXTENDED REVIEW: It’s easy to dismiss Tannoy’s Prestige series for being old fashioned. While the range’s traditional appearance may not suit the decor in many UK homes, it’s a firm favourite in the Far East where the fine craftsmanship, retro details and sonic talent have brought huge success.

We have one of the mid-sized models on test here, the Kensington GR, and even a quick listen proves there’s more at work here than just nostalgia.

Build and design
When we say mid-sized, it’s only in the context of the range. It’s still a huge cabinet that’s 105 litres in volume and 110 cm tall. Packaged, these speakers weigh in at a hefty 49kg each, so make sure you have a willing (and strong) friend to help unpack them.

Once you do that you’ll find that the Kensington GRs are beautifully made, wider than they are deep and covered with loads of retro design details. The cabinets are solid too, using a mixture of high-density birch ply for the front baffle and rear panel, combined with particle board and solid wood for other sections.

There are two standard finishes; the traditional-looking Walnut most Tannoy Prestige speakers come in, or the Black Oak of our review sample.

There are loads of neat cosmetic touches. We love the GR (Gold Reference) emblem on the front baffle and the engraved thick metal plate used for the treble adjustment section. The surprisingly heavy grille actually locks into place and there’s a chunky key that unlocks it for removal. Our inner nerd loves such things.

The speakers' accessories are housed in this beautifully made matching box

Items such as the beautifully finished wooden box that houses the biwire links, spikes and the nicely produced manual help promote pride of ownership. Details like this really boost the feel-good factor.

Despite all the fancy woodwork, the heart of these speakers is Tannoy’s trademark Dual Concentric drive unit. The one used in the Kensington GR builds on decades of development. It has a 25-cm paper pulp mid/bass cone with an impregnated twin roll fabric surround.

The tweeter – positioned in the heart of the mid/bass to help integration – is a 52mm aluminium/magnesium dome. It fires through a ‘pepper pot’ grating into a stainless steel horn – an arrangement said to help sensitivity and control directivity.

We don’t normally mention the magnet material used in a drive unit, but here we’ll make an exception. The Dual Concentric driver uses an Alnico magnet to provide the driving force for both the low- and high-frequency drivers.

Tannoy claims the use of Alnico (an iron/nickel alloy, with cobalt, aluminium and other rare metals) helps give the drive unit array a cleaner transient response and increased sensitivity.

The fifth terminal is for grounding – which can improve sound

The sheer size of the Kensingtons means you’ll need a big room – around 20 square metres as a minimum, we’d say. Make sure you can place these floorstanders at least a metre out into the room to make the most of their stereo imaging.

In our listening room, any closer to the rear or sidewalls resulted in an un-natural bloom at low frequencies. It isn’t particularly severe, but enough to adversely affect the overall performance.

Tannoy provides a good degree of flexibility in the treble. On the front baffle you’ll find adjustments for treble energy and roll-off. These are subtle enough to be useful, so it’s well worth experimenting to optimise performance.

The Kensington GRs can be biwired, and they benefit from that, sounding more precise and lucid when used this way. As with other Tannoys there’s an additional terminal next to the two pairs of signal inputs, the use of which (wired to the ground-pin on your amplifier) results in a cleaner, crisper presentation.

A solid, embossed key locks the weighty front grille in place

Effortless – is our first impression of the Kensington GR’s sound. They’ll deliver a piece of music like Hans Zimmer’s Where We’re Going (from the Interstellar OST) with breathtaking composure.

The large dynamic shifts of the track are rendered with impressive force and the scale of sound is just huge. Yet, there’s it’s all done with an astonishing sense of ease. At no point do these speakers sound strained or close to their limits, even at high volumes.

There’s none of the hardness of lesser speakers when pushed, nor the restrained dynamics that go with small drive units and compact cabinets.

Then, there’s the bass. While it comes as no surprise a speaker this size produces lots of it, we’re impressed by the Tannoy’s quality. They’re subtle, textured and articulate.

Rivals from the likes of B&W and Focal deliver more punch and grip, but sacrifice a little grace in the process. It’s a trade-off we’re happy to accept.

You can fine-tune the treble via the under-grille panel

We’re impressed with the Tannoy’s stereo imaging too. Positioned with care these speakers set up a wide and deep sound stage populated by securely focused instruments. The stability is impressive, with the precision unspoiled even when louder elements come into play.

With Nina Simone’s Feeling Good, the Kensingtons continue to shine. That Dual Concentric driver gives a seamless and direct delivery, rendering Simone’s vocals with real passion and drive. Along with the power, we’re reminded just how subtle and insightful these speakers are.

We give alt-J’s Hunger of the Pine a listen and are struck by the Tannoy’s rhythmic skill. The overall presentation is a little gentler than we’re used to, but there’s still enough energy to satisfy. The combination of fine timing, strong dynamics and clarity are more than enough to win us over.

The Kensington GRs are speakers to love. Their retro appearance may not be to all tastes but there’s enough sonic quality to place them on the top rung of speakers at this price.

They’re gentle giants, balancing finesse with force in a mighty appealing way. Consider us tempted.

In absolute terms though it sounded most concert-like and how we'd hear a bass guitar during a gig or a double bass in a small club.
Wojciech Pacula

REVIEW SUMMARY: the Tannoy revealed more context in a recording and also more individualities between various recordings. Its take in this regard was neither exaggerated nor hyper detailed to the point of becoming annoying. It was simply a presentation that contained more data built on precise attacks, accuracy, coherence and dynamics. And the speaker's tonality was very even. It is also was a far easier load than the Harbeth. 

EXTENDED REVIEW: It would be difficult indeed to in brief retell the full story of a company whose roots date back to 1926. The first important event in its history when it was called Tulsemere Manufacturing Company took place in 1929. Guy R. Fountain, founder and long-time head engineer, developed a new type of electrical rectifier for home use. Its design was based on two pieces of dissimilar metal immersed in an electrolyte. One metal plate was made of tantalum, the other of lead alloy. The combination of ‘tantalum’ and ‘alloy’ became Tannoy as registered March 10, 1932. A year later Tannoy presented their first speakers then microphones.

A crucial event was the 1947 development of a coaxial speaker system simulating a point source called dual concentric. Its inventor was chief engineer Ronnie H. Rackham. The first product with it was the two-way Monitor Black sporting a 15-inch mid/woofer. 1953 saw the most famous Tannoy speaker, the Autograph [above right]. Incidentally it was another Rackham design that would employ a newer version of the dual concentric called Monitor Silver. A special limited edition of this speaker launched in 2001. Guy R. Fountain retired in 1974 and passed away in 1977.

In 1982 Tannoy presented the Prestige line, the first ever intended specifically for the Japanese market. It included the Westminster, GFR Memory, Stirling and Edinburgh designs. In the 2006/7 season the Prestige series was upgraded to Special Edition or SE status. In 2013 Tannoy introduced a further refinement in the Golden Reference or GR series featuring design solutions pioneered in the flagship Kingdom Royal. It includes just three models: the Westminster Royal, Canterbury and Kensington GR reviewed today. Even this brief introduction shows that we deal with a legendary company. If we add that colloquial British English has the term ‘Tannoy’ synonymous with public address systems, everything is clear. 

The Kensington GR speaker is the smallest of this top lot. But that doesn't mean small per se. With a 10-inch dual concentric driver system housed in a trademark cabinet resembling pre WWII furniture, it is a thoroughly modern speaker which nonetheless looks both wonderfully anachronistic and surprisingly appropriate all at once. It was in fact one of the few speakers my wife would be happy to keep in our living room. Its front grill is locked with a key (!) and the cabinet is made of veneered Plywood. The speakers rest on solid spikes and the treble balance can be adjusted with two switches labeled ‘energy’ and ‘roll off’ on a large golden plate on the front. The energy control is a ±3dB shelving filter across a bandwidth of 1.1-27kHz, and the roll off provides adjustments over +2dB to -6dB per octave between 5kHz and 27kHz. 

Measuring 1100 x 406 x 338mm, the speakers are large and and heavy. You'll need another person to carry them. They have a higher 93dB sensitivity (2.83V/1m) and a friendly 8Ω nominal impedance not crossing 5Ω which should make for an easy load. Frequency response is specified at 29Hz-27kHz -6dB.

Albums auditioned during this review: Okihiko Sugano Record Collection, Victor Edition/Trio Edition, Audio Meister XRCG-30025-8, 4 x XRCD24 [2012]; Clan of Xymox, Clan of Xymox, 4AD CAD503CD, CD (1985); Daft Punk,Random Access Memories, Columbia Records/Sony Music Japan SICP-3817, CD (2013); Depeche Mode, Everything Counts and Live Tracks, Mute Records INT 826.831, maxi-SP CD (1993); J.S. Bach, Die Kunst Der Fuge, Marcin Masecki, Lado ABC C/13, CD (2012); Jack Johnson, Sleep Through The Static, Brushfire Records 756055, CD (2008)...

...Johann Sebastian Bach, St. John Passion, BWV 245, Kenneth Slowik, Smithsonian Chamber Players and Chorus, Smithsonian Collection of Recordings/ADDA ND 0381, 2 x CD (1989); Marc Copland & John Abercrombie, Speak To Me, Pirouet Records PIT3058, CD (2011); Miles Davis, Seven Steps To Heaven, Columbia/Sony Music/Analogue Productions CAPJ-8851, SACD/CD (1963/2010); Neu!, Neu! ‘75, Brain Records/P-Vine Records PCD-93529, CD (1975/2012); Nino Rota, La Strada Concerto Soirée, Josep Pons piano, Benedetto Lupo, Orquesta Ciudad Granada, Harmonia Mundi HMC 901864, CD (2005); Wolfgang Riechmann, Wunderbar, SKY Records/bureau b BB 027, CD (1978/2009).

With audio products long awaited and highly anticipated, the first impression—the first album or even track played—isvital. A poor selection can spoil the mood over a long time and in extreme cases even put off the audition altogether. It is not so much about the quality of the recording or at least so I believe. It is rather a matter of emotions. We have in our throats and across our chests a ready-made pedestal eager to receive this product but it is supposed to actually get there with emotions evoked by a well-known much liked song or album that connects us with our past. In my case that sequence of events is applicable each and every time.

The Tannoys arrived just whilst I was reading Jonathan Miller's Depeche Mode biography. I'd reached the period of time by which they’d released their third album Construction Time Again or more specifically the first single from it. Hence I really had no other choice but to listen to this very single. I chose its German CD version originally released as a 12-inch maxi-single which here features the 12-inch mix in addition to the basic 7-inch mix and live tracks. 

The band’s instrumentation had grown significantly over time and included first digital samplers. Martin Gore finally began to write songs that made the band into what we know today albeit with considerable help from new member Alan Wilder. The sound on the single and entire album was darker, denser and more selective but also sharper.

But let’s get back en pointe. The Tannoys pretty quickly showed their overall tonal balance and let in some light on their understanding of soundstaging. It must be clear that there's no such thing as a reference domestic soundstage. It all depends on a given recording and playback system. The British speakers under review are no exception but did some things more accurately or simply better than my personal Brit references, the Harbeth M40.1. Not everything was superior as there are things where the Harbeth can hardly be beat but elsewhere the Tannoys showed their mettle.

I did not have to listen to Depeche Mode for long before concluding that I preferred a slightly different tonal balance. At their default flat factory settings for treble level and roll off the Tannoy sounded too forward. Treble clarity was exceptional, better than my Harbeth and as good as the Amphion Krypton3 had been. The level of the treble and upper midrange however seemed too high. As I said the third DM album also is brighter and sharper which partly justifies what I did next. I lowered the treble level by 1.5dB and changed its roll-off to -2dB.

Now everything clicked into place. After a while of getting used to Tannoy's more selective if not more resolving read over the Harbeths, I was listening to Jazz when I tried energy at -3dB and roll-off at +2dB. The sound was now slightly different but still good. Important was that I could use the controls to compensate for the acoustic characteristics of my room and system to fit personal preferences. Whilst the changes may have seemed small—after all, what’s a two decibel change amongst friends—the sonic improvement was dramatic and moved from a rather hard to a precise yet deep sound.

On the one hand the Kensington GR was similar to the Harbeth, on the other completely different. I ran through many comparisons in my mind trying to assign each to a particular sonic class yet couldn't come up with a simple parallel. In the end I could really only say one thing with certainty which was incredibly insightful. They were different. To express that otherness but demonstrate that even so the Tannoy had more in common with the Harbeth than other speakers, I will say that if they were headphones, the Westminster GR would tonally be a HiFiMan HE-6 magnetostat, the Harbeths a Sennheiser HD800 yet on soundstaging they'd trade seats. Both are built on momentum, dynamics, intensity and soundstaging. 

The cover features an embossed ambigram which viewed from one direction reads "die Kunst" (Marcin Masecki) and from the other "der Fuge" (Bach). It's spot on about what this recording is all about. Masecki is well-known for being an anarchistic musician with his own controversial approach even about the recording process itself. In this case he simply put a voice recorder on the piano and recorded everything in one take. Especially to an audiophile it would seem sacrilege and predestined to sonic mediocrity. Yet it sounds amazing.

How did the Scottish speakers react? In their own way too. First they built a credible soundstage especially on scale and depth but also with air to prevent drawing a sterile dissected instrument with layered reverb which wouldn't be true. It was not a very dense presentation however as the Tannoys avoid such thickening tricks. Yet clarity, excellent dynamics and good resolution managed to convey the climate of this performance, its moment and the event. It is something beyond the usual hifi concepts. My attention was not drawn to individual sounds but rather to their sequence; not to details but to how they formed larger textures.

Yet one cannot claim that these boxes don't do detail. There is lots of detail, almost as much as with the Amphions. Their presence however stems mainly from clear non-blurred transients. Whenever something arises it does so immediately. The Harbeth by contrast tend to slightly round everything over and introduce a minimal but present delay. Hence their phenomenal ability to engage without ever getting irritating. The price to pay is this slight softness especially on the top and bottom ends which wasn't the case with the Tannoy.

What mattered here was a more direct presentation. Whilst paradoxical perhaps, this resulted in much larger emotional climate changes between tracks which also better tracked differences in recordings, whether the microphones had been positioned closer or farther away and such. I could easily ‘read’ albums like Bach’s St. John Passion performed by the Smithsonian Chamber Players and Chorus; or organ works performed by Amadeus Webersinke on the brilliant XRCD24 Cutting HR reissue. The latter has a higher tonal balance and a fairly large distance to the organ. The former sits tonally slightly lower and also closer. Nino Rota's songs were recorded in a fairly narrow perspective—too narrow in fact—and these differences were loud and clear and added a lot to each album's subjective reception. 

Modern productions such as Daft Punk and Jack Johnson sounded spectacular due to high dynamics and bass that was tight, deep and superbly differentiated to be most interesting. It was neither as focused as with the Amphion however nor as dense as with the Harbeth. In absolute terms though it sounded most concert-like and how we'd hear a bass guitar during a gig or a double bass in a small club. The Amphion and Harbeth attempted to compensate for lack of eye contact by emphasizing something each in their own way

With Jack Johnson I heard something which I had to verify immediately. It showed how nothing is free and there is always a quid pro quo. The Harbeth played it deeper and showcased a more saturated denser midrange. The Tannoy focused on precision and articulation over body. As such it is a top high-end effort which does what it does very well yet compared to other high-end designs shows a clear difference of approach. 


As you see, one must sacrifice something to get something else. I perceived the differences between these speakers as a function of the dedicated Harbeth midrange and larger woofer. Let’s face it, size matters. On the other hand the Tannoy revealed more context in a recording and also more individualities between various recordings. Its take in this regard was neither exaggerated nor hyper detailed to the point of becoming annoying. It was simply a presentation that contained more data built on precise attacks, accuracy, coherence and dynamics. And the speaker's tonality was very even. It is also was a far easier load than the Harbeth. 

...add this to their powerful low frequency output and the reason for the Tannoy sound becomes clear: from the Kensngtons you get scale, body, power and ease of delivery all in one. Result – happiness!
Noel Keywood

REVIEW SUMMARY: As Tannoy continue to refine their Prestige Series loudspeakers they get ever more impressive. The new Kensington Gold Reference is a carefully balanced design suitable for medium-to-large rooms, where it will impress by dint of sheer impact. This is a loudspeaker you feel – as well as see. It is fabulously well engineered all round, with its big Dual-Concentric drive unit and lovely traditional cabinet. I did at times have the Kensingtons pumping out massive volume from our 80 Watt Quad valve amplifiers and loved every minute of it. They play from soft to Rock-Concert loud without difficulty, always sounding lively and engaging. And our new offices haven't been demolished I'm happy to say! It's a pity the Kensingtons' price will exclude so many of us, because big loudspeakers like these are an experience worth having. I'll always love big Tannoys; they sit in a world of their own.

EXTENDED REVIEW: Not so long ago our office building was demolished, not by us playing too loud, but to make space for much needed new homes in Kilburn, north-west London. We had to find new offices and a key requirement and big issue was that they suit Tannoys. This isn’t favouritism: big Tannoys are physically challenging and if we could review them properly, we could review any loudspeaker properly. The new Kensington Gold References I’m reviewing here illustrate our dilemma.

Doorways and goods lift had to be big enough to accept Westminster Royal SEs, the biggest speakers Tannoy make and a size benchmark for us. And I knew from my time with Yorkminsters that we also needed a listening room that was big – and neighbour free.

Put together, these requirements were nearly impossible to meet, but in the end we found a building able to survive the onslaught and reasonably free of humans. Tannoy obligingly announced a new range of Prestige loudspeakers at around the same time, so a large lorry duly arrived and left in the street, sitting on a palette, two huge boxes, vinyl wrapped together. We had to get them in-doors quickly before Notting Hill decided the date of Christmas had been changed.

When we used Westminsters at a show demo in Manchester some years ago it took three men to move each one. The Yorkminsters needed two men and the Kensingtons need around one and half men. Each one weighs 37kgs and stands 1.1m tall. As most floorstanders are 1m tall and big ones 1.2m, the Kensingtons are not in truth so high, even by UK standards. But they are relatively wide (405mm) and quite deep too (350mm), meaning they loom large in a room. But there’s “nothing like a good big’un” when it comes to loudspeakers and these dimensions give a generous 105 litres (3.7cu ft) to load the 10in Dual-Concentric bass unit, for “real bass”.

What you get with the new Kensington Gold Reference is a large and very heavily crafted traditional looking loudspeaker in a big, but not impossibly large cabinet. The Yorkminster had a 12in Dual and the Westminster a 15in Dual, so they are larger speakers all round.

The Kensington tops the 10in Dual-Concentric equipped Prestige loudspeakers and will fit a typical UK lounge, even if it is more likely to be bought elsewhere, especially the Far East where they love traditional style and values – and Tannoys.

A its price tag it may seem high, but the new Kensington GR offers a lot for this and of course, with its olde-worlde styling and high quality of finish is almost alone in any case. And it’s a Tannoy, which truly does mean different and very, very good. I’ll always miss the Yorkminsters, no other loudspeaker ever moved a room like they did, but I needed a new home to suit them and couldn’t afford one big enough!

The Kensingtons have been carefully and subtly tailored to suit medium sized rooms, around 18ft-20ft long. They’d likely even work in my lounge at 16ft long (I didn’t try – it’s three floors up and I don't have a goods lift), which the Yorkies nearly demolished, but I’ll go into this in more detail later.

What you have in the Kensington GR is a Tannoy 10in Dual-Concentric drive unit, loaded by a front ported cabinet. The ports are slots concealed in each front, hardwood corner trim, at left and right and effectively facing forward.

The Dual-Concentric drive unit houses a large 2in (50mm) aluminium dome tweeter, loaded by a brass plated central horn with ‘pepperpot’ waveguide, that you can see in our pictures. Most tweeters are 1in diameter, so this one is twice as large. What that means in principle is that it goes lower than other tweeters – and this is good. When designing World Audio Design loudspeakers for Hi-Fi World it became obvious to me that a lower crossover frequency largely eliminated the phase error problems that conventional tweeters impose on loudspeakers (this is all due to distances and wavelengths). Tannoy’s large tweeter all but eliminates crossover phase error and you can hear this as a less phasey and indeterminate quality from the loudspeaker. It sounds solid and consistent, especially as you move your head or move around.

The 10in paper cone bass unit handles everything below 1.5kHz, quite a big task for a large paper cone but there are no hand-over issues between bass and midrange our measurements show. Tannoy have continued to develop their Dual-Concentric drive unit so it meets modern demands and expectations, and in the Kensington GR you get a technically refined performance, that is smooth in nature, carefully avoiding emphasis or aural artifice.

Those big cabinets are made from plywood, which is more durable than MDF. They are finished with an oiled Walnut veneer and protective Walnut hardwood corner trims; Tannoy recommend the cabinets are waxed and not stood in direct sunlight, to avoid fading. They sit on an integral plinth, with four feet; spikes are not available.

The front grill can be removed, unlocked with a key. Beneath, on the veneered front baffle, lies a heavy machined brass adjustment panel that employs thumbscrews to select treble level and roll off. As delivered these are set to Level and that’s what our measured frequency response shows. Treble can be lifted or lowered and the upper limit reduced if desired, by small amounts that effect subtle changes. Tannoy consistently voice their loudspeakers to be smooth and accurate and, if anything, a tad mild at high frequencies; they don’t come with obvious or fierce upper treble. There are treble lift positions to increase midrange output to give more thrust, if you wish.

Because the horn loaded tweeter is very well integrated with the bass/midrange unit, there is no crossover suckout to soften the sound, and the horn is forceful in any case so the Kensington doesn’t come sounding laid-back; quite the reverse it has a lot of midrange push and strong insight and detailing. 

The crossover is Cryogenically treated (deep frozen) and this does improve insight I feel, subjectively lowering the noise floor to reveal fine low level detail. It adds air and space into the sound.

Tannoy use sturdy, high quality WBT screw connectors with removable wire links for those that want to bi-wire. As always, there is an earth terminal so the metal frames and parts can be earthed, lessening their sensitivity to RF (Radio Frequencies).


Our measurements show the Kensington produces powerful deep bass, but not subsonics, so it will work in medium sized rooms and not over-drive them. Having said that, there is a peak at 55Hz, but you’d need a small room 10ft long to excite this; there’d hardly be space for the cat. It suggests length and width dimensions greater than 10ft – let’s say 12ft for safety – will work best, which is why I predict this speaker will suit medium sized rooms.

Our listening room (25ftx18ftx13ft) is large enough to accommodate and suit Yorkminsters or Westminsters, or any other minster or monster, but in this room the Kensingtons sounded just right: bass wasn’t heavy, so much as firm and in good balance. A room this size does not emphasise bass from any but the largest loudspeakers, because its main axial modes are so low (if you want to check your room, go to an on-line calculator such as http://amroc.andymel.eu). So for us the Kensington was not a bass heavy loudspeaker. In a smaller room, resonant axial modes will in most seating positions strengthen bass, making it more obvious, but not over powering I suspect.

We didn’t run-in our samples because they came run-in, because we prefer used speakers, not new ones. This way, anything that’s going to fly off has flown off, and any damage we can blame on previous users. We do use loudspeakers hard and the Kensingtons were wheeled out regularly for The Beatles in Mono box set listening sessions for all the many people interested in hearing these new LPs, which included Guy Hayden, Vice President of Apple Corps.

I tried many different power amps, including Quad QMP monoblocks, but in the end felt that Quad II-eighty valve monoblock power amplifiers worked best with them. Tannoy’s midrange horn suits valve amplifiers but makes transistor amps sound like – er, well – transistor amps. And of course, being Tannoys you need just a few Watts to go really loud; at 91dB from 1 Watt the Kensingtons are massively sensitive: 20 Watts will lift the roof.

With LP I used a Timestep Evo turntable (upgraded Technics SL-1210 MkII Direct Drive) fitted with SME 309 arm and Ortofon Cadenza Bronze moving coil cartridge, feeding an Icon Audio PS3 valve phono stage. For digital, I fed the Quad II-eightys from an Audiolab M-DAC, using an Astell&Kern AK120 portable to play (ripped) CD and high resolution audio.

To summarise so far then, the Kensington Gold Reference is tailored to sound balanced in medium sized rooms; it doesn’t have the massive bass of the 12in Dual-Concentric equipped Yorkminster but its 10in cone does reproduce bass cleanly and with ease. A large volume cabinet absorbs the back wave well, so there’s less box boom than usual, and a big cone produces low levels of bass distortion. You get strong yet well controlled bass with plenty of impact, a big confident sound.

So with Lady Gaga's Monster (CD) the deep synth lines that are meant to provide a seismic backdrop did so. When I moved 16ft back from the Kensingtons to the rear wall I was hit by massive bass pressure waves that had me gripping the settee. These speakers go low and deliver awesome acoustic power with supreme ease - they're typical big Tannoys!

Spinning Jackie Leven's Some Ancient Misty Morning (LP) had underpinning percussion sending out a thunderous message: there was an ease and a power to the drums and bass line that was big, bold and yet easy to enjoy. No small drivers struggling here: the 10in Duals just pumped it out with alacrity, defining bass notes with ease. These are physically big loudspeakers that sound big too - powerful yet relaxed, as if cruising along.

The central midrange/treble horn loaded tweeter endows the Kensington with strong midrange detail and insight, shining a bright light onto an aurally sensitive area, making the ‘speaker quite forceful in its presentation.  Cryogenic treatment does reveal low level filigree detail and also improves resolution of ambience, obvious when spinning The Beatles 'This Boy', from Mono Masters.  The Kensingtons let me hear the studio behind John Lennon's microphone, making for an atmospherically live presentation. It was obvious that John was singing intensely, right into the mic. and this track became something of a demonstrator with visitors eager to hear our new The Beatles in Mono box set. The Kensingtons gave the song a sense of scale and solidity, as well as dynamic excitement.    

Because the deep bass cone and horn at its centre project forward strongly, but less so to walls, floor and ceiling, the Kensingtons, like other Dual Concentric Tannoys, stayed both intense and well focussed as I moved backward from them, and at 16ft away there was noticeably less room muddle from reflections affecting the sound stage than I am used to from normal multi-driver loudspeakers. This contributes to their general sense of clarity and their insensitivity to room size.

Another interesting property of the phase-aligned Dual Concentric in the Kensington GR was that its sound balance did not change at all as I moved up or down in front of the cabinet, or even when I walked around the room. Conventional multi-driver loudspeakers, other than KEF Uni-Qs, change their sound, due to inter-driver phase cancellation, as you move around in front of them; in some cases this imposes quite a tightly defined and specific listening position, Yamaha's NS-F901 Soavo loudspeakers I reviewed in our September 2014 issue being a good example. The Kensington GRs are - almost uniquely - completely free of this problem. Their perfect phase matching helped give singers a sense of solidity and body.  Add this to their powerful low frequency output and the reason for the Tannoy sound becomes clear: from the Kensngtons you get scale, body, power and ease of delivery all in one. Result – happiness!


As Tannoy continue to refine their Prestige Series loudspeakers they get ever more impressive. The new Kensington Gold Reference is a carefully balanced design suitable for medium-to-large rooms, where it will impress by dint of sheer impact. This is a loudspeaker you feel – as well as see. It is fabulously well engineered all round, with its big Dual-Concentric drive unit and lovely traditional cabinet. I did at times have the Kensingtons pumping out massive volume from our 80 Watt Quad valve amplifiers and loved every minute of it. They play from soft to Rock-Concert loud without difficulty, always sounding lively and engaging. And our new offices haven't been demolished I'm happy to say! It's a pity the Kensingtons' price will exclude so many of us, because big loudspeakers like these are an experience worth having. I'll always love big Tannoys; they sit in a world of their own.

Gary Steel has a positive predisposition towards Tannoy loudspeakers that’s reconfirmed (and then some) by its retro-look Prestige Gold Reference series: 4.5/5 STARS.

REVIEW SUMMARY: I would implore anyone who likes the look of them, and likes what they read about them, to experience at least one of these Tannoy Prestige Gold Reference models for themselves. 

TERRY HUMPHRIES IS the kind of guy who believes in doing it properly. Why sell top gear unless you’ve got a beautiful room in which to display it? Why display it if you’re not going to play it? Accordingly, Terry has set up his ‘by-appointment-only’ show room, Audio Reference, down a side street in central Auckland in what is probably the perfect venue to act as a conduit between genuinely high end audio gear and anyone with the ears to appreciate it.

When I turned up, both Terry and Romesh Anandaraja from Tannoy importers Wildash Audio Systems were there to answer any questions, and make the change-over between three different models of the Tannoy Prestige Gold Reference range a smooth process, and they indulged me for hours while I methodically played my music selections.

So let’s backtrack a bit. We all know about Tannoy, the only speaker manufacturer whose products are so ubiquitous that they’re in the dictionary. Those of us with an interest in the broadcast of recorded or live sound know that one famous use of Tannoy speakers is as public address systems, and that if you’re lucky enough to live in a Muslim country, you’ll be woken at some ungodly hour by a public Tannoy making a ‘call for prayer’; more relevant perhaps, is the formidable reputation that Tannoy has as a studio monitor. And then there’s the ‘residential’ market, which we might call ‘domestic’, which goes from fairly lowly, home-theatre-oriented floorstanders right up to the flagship Kingdom Royal.

My personal experience with Tannoy goes back about 16 years, when I was running a shop called Beautiful Music. We served espresso, sold CDs and vinyl, and hosted music performances and DJ sessions in the evening, and I needed speakers to do the space (and the music) justice. A friend was working at a local hi-fi store at the time, and turned me on to his 15-inch dual concentric Tannoy studio monitors. My friend said they sounded better than anything stocked in the shop in which he worked, and when I heard them, I was blown away, and I had to have some for myself. They survived a hell of a beating, and I never got tired of hearing compliments on the great sound from a variety of musicians, producers and sound engineers. (I was juicing them with an old Perreaux amplifier). So that’s my Tannoy soft spot, right there.)

The Tannoy Prestige Gold Reference is something quite different to my rather ugly monitor boxes, but they’re instantly recognisable as Tannoy, nonetheless, because of the unique dual concentric speaker (a tweeter smack-bang in the middle of a large woofer) that’s been a feature of the brand since the 1940s. Yep, that’s right, the London-born, Scotland-based company has been around for something like eight decades, which means they in existence before the word “hi-fi” was even common parlance.

Now, a few paragraphs back I mentioned the Tannoy flagship Kingdom Royal. Well, in a tradition that has become common in modern technology, the Prestige GR Series has benefited from many of the innovations that make the Kingdom Royal so, uh… royal! It’s the flow-down principle. In addition to that, each specific model in the Prestige GR series has its own individual esoteric touches, meaning that it’s not simply a case of bigger is better.

Of the five models in the Prestige GR Series, we were able to audition the Stirling, Turnberry and Kensington, while we’ll have to leave the top-of-range Canterbury and Westminster for another day.

You’ll notice that each member of the Prestige GR Series is similarly styled. That is, they all look like someone has fallen in love with an Edwardian-era gramophone – you know, when audio players actually looked like something you’d decorate the parlour with – and fashioned a speaker out of it. Or two speakers actually, because they do play in stereo. It’s a specific look that will appeal to those with a particular aesthetic, or perhaps those with a beautiful old villa where these beauties would look right at home. And to be honest, there is something comfortably old-world about the Prestige GR series, and when you’re sitting in a room the look of the loudspeakers staring you in the face does impact on the way you hear the sound.

Of course, there’s nothing old-world about the technology built into these speakers, which includes something called Deep Cryogenic Treatment (DCT). Even after Googling it, I was baffled. Impressed, but baffled. Complicating matters is the fact that some of this new technology and quality enhancement is used on some models and not others, so I’m going to try not to tie myself up in knots, and deal with one speaker at a time.

The Stirling GR ($9995) is the low end of the Prestige range, but it still looks and sounds top notch. You might look at it and think: “But where are all the drivers? I can only see one!” and you’d be right. But the thing is, with only one beaut 10-inch driver and that lovely gold dual concentric tweeter at its core, you’ve got a distinctively Tannoy sound which gives alarming musical cohesion, and burns away all that crossover distortion.

Needless to say that, although the Stirling is devoid of some of the fancy new technology carried by the upper echelon of Prestige models, the basics are all there and they’re nothing to be sneezed at: Like the hand-built, pre-oiled cabinet in real walnut wood veneer, which is (according to the blurb) ‘complemented with solid walnut trim and edging, machined metal trim and adjustable high power switch.’

The Stirling was perfectly suited to that outstanding, classic Bill Evans jazz album,  Waltz For Debby, and brought out its incredibly resonant bass, natural dynamism and the well-rounded piano fingering in a way that the clarity of my Martin Logan electrostatic hybrids would sacrifice.

K&D Sessions by Kruder & Dorfmeister is a nicely engineered electronic downbeat collection, and while its ‘Speechless’ track by Count Basic really called for a subwoofer bass extension, the bass presence of the Stirling was quite phenomenal.

The haunting freak-folk sound of Lyttelton songbird Aldous Harding, on the other hand, fails to sound as “in my head” as it does at home, but then again, we’re listening in a very large room with very high ceiling, so perhaps the intimacy you’d get in an average size lounge will naturally be missing. Ditto Brendan Perry, whose Ark album sounds less 3D or stereophonically magical but certainly still impressive.

Emiliana Torrini’s ‘Birds’ is an interesting track, because it features up-close recording of voice and acoustic guitar, but also an intermittent groove and ambient guitar and piano sounds, and the more you listen, the more you hear. It strikes me that the Stirling bears the classic Tannoy sound: one that never tries to play magic tricks on you, but when something sonically amazing happens on a disc, it’s right there and present and waiting to floor you with its abilities. This happened on ‘Birds’ halfway through when the bass notes sounded. It wasn’t a ‘too much bass’ moment, just a moment when you’re floored by what you’re hearing, and I haven’t heard it before quite like that on another pair of speakers.

Next up was the Turnberry GR ($11,995), which looks near identical to the Stirling but is just that little bit bigger and better.

The blurb raves on about the new dual concentric driver, and why not? ‘The 10-inch Gold Reference Dual, unique to the Turnberry GR, uses a paper pulp cone material with twin roll fabric surround and 33mm aluminium-magnesium alloy dome tweeter with Tulip WaveGuide. The low frequency cone is fitted with a 52mm edge wound voice coil. This latest evolution of the 10-inch Dual brings an even more thrilling and dynamic performance than its well-regarded predecessor.’

The thing about Tannoy – and maybe it’s because of the company’s refinement of the studio monitor or just a characteristic of the dual concentric cone – is they don’t bullshit you. If you play a record that’s sonically compromised, then sonically compromised is what you get. So many speakers will modify a bad recording to make it sound okay. That doesn’t happen with Tannoy. It’s an aurally honest way of reproducing sound. When I played a track from a recent album by NZ jazz ensemble The Jac, I was taken aback by the intensity of the horn sound. Sure, ensemble horns blatting away can sound quite harsh. I wouldn’t describe the sound as harsh, exactly, but definitely edgy. And my guess is that the sound engineer didn’t quite have a handle on the horns. But anyway, the undertow, especially the bass and the drums, sounded spectacularly alive and present.

In fact, everything I played for a second time sounded more open, more detailed, and a little bit more dynamic than they did on the Stirling.

But the Kensington ($24,995), as you would expect for the price: now that was something else! If anything, it looks a little more svelte than its brothers, but there are many ways in which it justifies the price tag, not just that lovely reddish hue coming out of the dual concentric tweeter!

The driver itself is Tannoy’s Gold Reference 10-inch, and to quote the blurb again: ‘Its high-efficiency compression driver with 52mm heat-treated dome, Alnico motor system and high rigidity material creates outstanding dynamics, spacious sound staging and exceptional musical articulation.” None of which I would disagree with. But this is the bit I like: ‘To match the new 10-inch Dual, the Kensington crossover has been extensively upgraded with custom-specification ICW ClarityCap MR capacitors, low loss laminated core inductors and thick-film resistors, before the whole unit is Deep Cryogenically Treated. This technology brings a wealth of benefits to the Kensington GR sound, including more spacious soundstage, crisper micro dynamic detailing and an exceptional natural HF response.’

Another cool feature is that ‘the adjustable HF energy and treble roll off controls allow optimisation of the sound within your home environment.’

So, what does music sound like on it? Well, it’s still that identifiably Tannoy sonic signature, but the Kensington is effortlessly superior to its more humble siblings. I wish I had begun the day listening to it, because by now, I was feeling a little audition fatigued, but honestly, the Kensington is superb.

One of my favourite hi-fi test discs is Brian Eno’s Drawn From Life, an album he made with J. Peter Schwalm back in 2001, and which combines an incredibly spacious sonic palette with both electronic and orchestral elements. The album sounded so luxuriant on the Kensington’s that you could almost smell it. The bass was effortlessly deep while the orchestrations were so creamy you wanted to lap them up.

Frank Zappa’s ‘Watermelon In Easter Hay’ is one of the loveliest guitar pieces ever committed to vinyl, and the Kensington replicated the air sculptures of Zappa’s guitar perfectly.

From my favourite electronic dub (International Observer) to the jazz diva iterations of Holly Cole to Leonard Cohen’s old-man rumble of Old Ideas, the Kensington never stopped spilling out wads of superbly well defined, dynamic yet refined sound, and did it all effortlessly, while remaining totally in control.

Of course, this is called a FIRST LISTEN because that’s what it is. I haven’t spent weeks in my own environment getting to know these speakers. But I would implore anyone who likes the look of them, and likes what they read about them, to experience at least one of these Tannoy Prestige Gold Reference models for themselves.
.......... GARY STEEL

PS, Not to forget all the componentry that went together to help them perform at their best. All of that (thanks to Terry) is detailed below.

1) TANNOY Prestige GR STIRLING speakers @ RRP $9995/pr
OPPO JTLI  (hot rodded) CD / Multi format Player –  RRP $4250
Antipodes DS Music Server @ RRP 2995 with Aqua La Scala tube DAC @ RRP $8250
Ayon Scorpio KT88 Class-A 45w tube integrated amo pentode / 30 triode @ RRP 5995
TELLURIUM-Q Interconnect XLR Black Diamond reference @  $2795/pr
TELLURIUM-Q Speaker cable Ultra Black speaker cables @ $3750/ 3mtr pr

2) TANNOY Prestige GR Turnberry speakers @ RRP 11,995/pr
Ayon CDT – tube CD transport @ RRP $7995
Ayon Stealth tube DAC/Preamp @ RRP $10,995
Ayon Triton III KT150 class-A tube stereo power amp – 120w pentode / 70w triode @ RRP $15,995
Acoustic Zen Absolute Copper interconnects XLR-zero crystal ribbon copper interconnects @ 2750/pr
Tellurium-Q Speaker cable Black Diamond speaker cables @ $9375/ 3mtr pr

3) TANNOY Prestige GR KENSINGTON speakers @ RRP $24,995/pr
Accustic Arts TOP PLAYER-I Mk3 CD Player @ RRP $9995
Accustic Arts REFERENCE TUBE PRE-II Mk2 preamp @ 15,495
Accustic Arts REFERENCE MONO-II 300w Mono Blocks @ $25,995/pr
Acoustic Zen Absolute Silver interconnect cables @ $4750/pr
Tellurium-Q  Silver Diamond speaker cables @ $11,995/ 3mtr pr