Hi Dave,

In room, 13KHz is largely irrelevant to us, as most over 35 won't hear it easily and the room furnishings will absorb it to a large degree..
Perhaps, but I can clearly hear the effect and I'm 43!

I do have exceptionally good hearing though for my age, as has been tested in my medical reports.

I'm not poo stirring, but I'd ask marco if the CD player "fails" in the same way as the OC9 does in his system.
I know you're not "poo stirring", so relax. The OC-9 didn't 'fail' in my system - I could just clearly hear the treble peak and its associated high frequency emphasis (the same as HFW did) with the music I was listening to at the time. Its existence is beyond question, IMO, and I'm clearly not the only one who can hear it.

As for my CD player, no, it sounds absolutely sublime, and I listen to music for hours each day with no fatigue factor whatsoever.

What you should also know is that I listened to the OC-9 when I had my Spendor SP100s, not the Tannoys, and they weren't in any way toppy sounding (as indeed neither are the Lockwoods), and the OC-9's treble peak was clearly evident then.

I think both Hamish and you just enjoy the effect of the OC-9's added 'sparkle', and have systems to suit it. There's nothing wrong with that

If that's the case and without having heard it (apart from a second hand comment on the Lockwood's balance at the recent show), I'd say that the Tannoy tweeter needs turning down a notch. I'm keeping an open mind (honest), but just gently trying to put a different and respectful viewpoint over.
Lol! I'm afraid, Dave, none of that is relevant. If you're referring to Jerry's remark from Scalford Hall, then I believe it was nothing to do with my Tannoys sounding bright, or over-emphasised in the treble in any way, but rather a particular characteristic of the midrange which Jerry identified and didn't like, solely with classical music, although I'm unaware of it myself.

Also, remember that my Monitor Golds have been hard-wired in the 'flat' position, and the tone controls disposed of, so there's nothing to 'turn down'.......

When you eventually hear them for yourself, you'll realise that they're simply extremely revealing and as tonally neutral as is possible, therefore anything which deviates from that state of neutrality (recordings or the sonic signature of equipment) is shown up in all its glory, which is precisely what true monitors are designed to do.

The one over-riding memory I have of the 103 isn't the bass or mid, but the slightly "rounded out" treble.
Then you haven't heard one partnered and set-up optimally. The 103 isn't "rounded out"; it simply doesn't have as extended a high frequency response as most modern MC's, some of which go up to 55 kHz and above, in my view often at the expense of what happens further down the frequency range in the 'meat and bones' of the music, in an area where most of us can hear and appreciate what's going on.

Oh to have some more disposable income to test my lop-sided theory. I think I'd rather have an A23 with the AT first...
Nothing wrong with that - it would probably work very well! However, my advice would be not to make that decision until you hear what the 103SA/A23 combo sounds like first, which is something you'll be treated to when you visit chez-moi

Marco.