Both Gaia and Kronos are actually more system than speaker. The control unit features amplification and DSP for various functions including room measurement and correction via Australian company DEQX. How did that partnership start and what does DEQX offer that other DSP does not?
LS: Both models were always going to be multi-amplified systems. This is not the most common arrangement in the world of hifi, but the benefits of multi-amping are tremendous provided it is done correctly. The processing provided by DEQX takes the unfair advantages of active speakers and multiplies them again. From a purely technical standpoint, the DEQX processing is a truly remarkable engineering achievement. From an audiophile's perspective, after it has been set up, it just gets out of the way leaving a clear, accurate and musical representation of the recording. Kim Ryrie and Alan Langford at DEQX have been great in helping us with the implantation of their products and are a great Australian Audio success story.

EK: In light of the system's potential operational complexity, what measures have you taken to make it as 'plug and play' as possible and what form of support does Kyron Audio offer?
LS: Kronos has been designed to be very plug and play. After the system has been set up in the room, you only need to adjust volume. The DEQX processor has room correction which once set up, doesn't need to be touched unless you move rooms. As for support, if you own a Kyron Audio Gaia or Kronos, you have our direct contacts for any help you may need.
Lee Gray: In a world where separate components have been king, it often seems crazy that we would offer a complete system at this price point. Part of the appeal of the audiophile hobby is to mix and match equipment to discover your particular version of audio nirvana. We are looking to the future and believe that the market is now ready for a system in which the designer has painstakingly selected extremely accurate components from input to output, then seamlessly integrated them into a complete audio reproduction product. The current generation of music listeners has grown up without separate amplifiers, preamps, DACs and speakers. They are accustomed to a single source with a docking station and it is this emerging demographic who demand a simple solution of the finest quality. There are also a growing number of converts from older generations who are tired of the game and simply want the best musical experience money can buy. Whether you love vinyl, CD, downloads or other source material, we believe you will be hard pressed to find a series of components that will give you the experience like that of the Gaia system, straight out of the box.

EK: What were some of the technical and mechanical challenges that faced such an ambitious design as the Gaia?
LG: The mechanical difficulties are out there for the entire world to see. The design brief was to produce a platform of maximum rigidity that was acoustically inert, had sonic transparency, a modern aesthetic and no enclosure. Convincing local industry during the prototype stage that we weren't building a spaceship was also problematic. The driving force was to try and produce a speaker system without compromise. It was this mantra that kept us true throughout the design process. Amplification and driver technology of this power, quality and size was also not available until the last few years. We are fortunate that technology caught up with our vision and enabled us to see our dream come to fruition. We take great pride in the fit and finish of our products. Clientele in this market demand and deserve the very best and we go to great lengths to ensure that everything is perfect. Most of the metalwork and finishing is done in Australia. The design and assembly is all done in-house here in Australia too.

EK: Lee and Leon, what are your professional backgrounds and how have you found them to complement the design of the Gaia?
LS: I am a classical clarinet player by trade. I think the intimate knowledge of the sound of acoustic instruments has been invaluable when evaluating the performance of loudspeakers. My loudspeaker journey started while studying music and advanced mathematics at university back in 1993 when I managed to blow up my father's loudspeakers during a party. From there I kept tinkering with them, trying to improve their sound and performance. It wasn't long before I was building my first loudspeaker from scratch. My passion for audio has seen me study sound at UNSW and spend over ten years as the head audio engineer at the Air Force Band, where I was fortunate to first meet Lee.
LG: I have always been mechanically minded. I even have a photo of me with a power drill aged two and a half to prove it. I have an absolute passion for industrial design and a desire to create. I am also a classical percussionist by trade and I think the two complement each other well in my pursuit of loudspeaker design. As a performer I am constantly surrounded by real instruments in real performance venues, which I believe gives me the ultimate reference point when voicing our speakers.