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Loudspeakers from German manufacturer Canton have impressed <I>Stereophile</I>'s review team over the past few years with their combination of careful, solid engineering and excellent sound. CES saw the launch of Canton's revised Reference line. The Reference 3.2 ($15,000/pair), seen here cradled by chief engineer Frank G&#246;bl, features a new tweeter with a ceramic/aluminum /ceramic sandwich dome replacing the earlier version's aluminum/manganese-alloy diaphragm, which pushes up the primary dome breakup mode from around 21kHz to 30kHz. The tweeter dome is recessed within a short waveguide to optimize dispersion in its bottom octaves, and is damped by a small circular plate suspended in front of the center of the dome. The lower frequency drive-units, too, have been extensively revised, while the multilayer enclosure, with its gently curved side panels is acoustically inert, at least as far as the accelerometer measurements Frank showed me were concerned. I was sufficiently impressed to request a pair of Reference 3.2s for review.

<I>Relatively</I> affordable at $30,000/pair, that is, given the cost-no-object construction featured by TAD's new CR-1 "Compact Reference Monitor," seen here with its designer Andrew Jones and compared with the company's original floorstanding and superb-sounding Reference One from 2006. (Across the corridor from TAD, Ray Kimber was using four Reference Ones to demo his new IsoMike recordings in surround.)

I walked into Audience's room expecting to see the usal assortment of cables, power conditioners, and high-quality parts, but I was confronted with an entire Audience system, from a heavily modded Denon CD player to preamplifier, power amplifiers to loudspeakers!

The speakers from Colorado-based Avalon Acoustics have either featured conventional, rectangular boxes (in the less-expensive NP series, like the Evolution 2.0 I <A HREF="http://www.stereophile.com/floorloudspeakers/708ava/">reviewed last July</A>) or the unique, multifaceted enclosures that I first saw in 1990's <A HREF="http://www.stereophile.com/floorloudspeakers/703/">Eclipse</A&gt;, which are used in the cost-no-object designs like the <A HREF="http://www.stereophile.com/floorloudspeakers/1008ava/">Indra</A&gt;.

Taking pride of place in distributor Sumiko's suite on the Venetian's 35th floor were the new Vienna Acoustics Kiss loudspeaker ($15,000/pair). Part of the company's Klimt series, the Kiss is ostensibly a stand-mounted design, but the side-pillared, faintly convex stand is part of the design concept. One drive-unit&#151;the flat, radially ribbed unit first seen in the Vienna Musik, covers the entire range of the human voice, 120Hz&#150;2.6kHz, and is married to a tweeter in its center and a port-loaded woofer. The latter features the ribbed, transparent polymer cone material used in Vienna's line, but has a multiple-radius cone profile to maximize stiffness and minimize mass.

"It's like the Pearl but in a more easily digestible form," explained Jeff Joseph, as he demmed the Long Island's company's new Pulsar speaker for me. The stand-mounted speaker keeps as much as possible of the cost-no-object Pearl's qualities, but uses a new magnesium-cone woofer from SEAS with the same throw as the Pearl's 7" unit.

While bunches 'o companies were hopping on the USB DAC bandwagon, Weiss quietly goes their own way, focusing on getting the audio out of your computer via FireWire. The company also sells professional audio equipment.