Floor Loudspeaker Reviews

The driver array of the Canton Reference 5 places the two twin woofers at the bottom, the tweeter in the middle, and the midrange driver on top. This arrangement is less common than tweeter on top. I asked the Canton Design Team about this choice: "The midrange driver is primarily responsible for spatial focus and soundstage representation. For this reason, we aim to design it as broadband as practically feasible and position it as optimally as possible for such localization-critical tasks."

In his measurements, John Atkinson often notes the degree to which the tweeters are above, below, or in his normal listening position. The tweeter on the Reference 5 measures a low 30" from the floor. The center of the midrange driver is 35" high. My typical ear height when I'm seated in the armchair I have recently been using as a listening seat is a high 42". Thus, I am listening from about 12" above the tweeter axis and 5" above the midrange axis.

I wanted to hear how changing my listening position would alter my perception of the tonal balance of the speakers, so I swapped in a shorter, smaller armchair I have used in the past, which places my ears at about 38"—quite close to the axis of the midrange. Listening height really did make a difference. At the lower height, the sonic picture clicked into better focus, and the presentation became livelier and more energetic. I discussed this topic with John Atkinson, and he stated that "This depends on the crossover. The optimal axis could be tilted up." I am curious of course to see the measurements. With these speakers, I suggest experimenting with your listening height. You can also use the adjustable feet to aim the speakers higher or lower (footnote 2).

On stage
The first recording I made notes on was a winner. An excellent LP reissue from Analogue Productions, part of their Living Stereo series: Festival with Reiner and the Chicago Symphony (Sony LSC 2423. 1960/2015). This showoff recording cries out for full-range speakers. This festival is all about the Bear, including the Russian National anthem that blares away in Tchaikovsky's Marche Slave. The concert bass drum gets a workout throughout this album. Heard from the Reference 5s, these room-filling low-end whacks left nothing to be desired. The Ref 5's published low-end range is 21Hz, though no plus-minus limits are specified.

I immediately noticed that the soundstage illusion extended beyond the speakers left and right, and above as well. Da!

Intentionally grinding musical gears, I spun a recent LP reissue of Lou Donaldson's Midnight Creeper (Blue Note BST 84280. 1968). I look forward to the latest Tone Poet–series remasterings, always beautifully executed by Kevin Gray and Joe Harley. Creeper grooves like all get-out, with young George Benson (who Donaldson brought into the Blue Note stable) and Lonnie Smith at the B-3. Rudy Van Gelder didn't record Hammond B-3s that often, but on this date, that sound was smokin', as was the fine sound of Donaldson's alto sax. The reproduction of saxes is another acid-test for hi-fi, similar in some ways to the reproduction of vocals: You want an appropriate amount of breathy texture, without harshness, particularly for an alto. The Canton Reference 5s did not disappoint.

Speaking of vocals, I've been on an Ann Hampton Callaway kick lately. What a voice! Callaway can do it all: musical theater, jazz, straight-ahead pop—plus, she has significant cred as a songwriter. Her outstanding album Easy Living, covering well-known tunes from the American Songbook, dates from 1999 and employs a mix of fine New York Jazz Cats—pianist Bill Charlap, saxophonist/arranger Andy Farber, even Wynton Marsalis on a few tracks (16/44.1k, Sin-Drome Records SD 8934. 1999). Callaway's ability to dip way down low is rare, perhaps unique. There is no strain or shakiness when she enters the contralto range—as low as the female voice goes. Ann doesn't shy away from belting out the high notes, either. With this kind of vocal pyrotechnics, the wide frequency coverage of the Reference 5's midrange driver is just the ticket. Sexy as hell—I loved the way Callaway sounded with these loudspeakers.

I learn a lot reading the writings of other Stereophile writers. Robert Baird reminded me about the band Lone Justice; my good friend Marvin Etzioni was a member of that group. Sometimes you feel like music with some grit and dirt, in your face and in your ears. In 1983, Lone Justice recorded an album's worth of material in two days. Most of those tracks were only released in 2014, as This Is Lone Justice: The Vaught Tapes, 1983 (Omnivore Recordings OVLP-77). This guitar quartet has roots in the punk-rockabilly revival of the late '70s but moved beyond it to a deeper, more creative take on classic country & western songs, propelled by Maria McKee's needle-pegging vocal power and Etzioni and McKee's songwriting skills.

Listening to this Bernie Grundman–mastered LP, via the Reference 5s, I could feel the raw roots power this band must have projected live. Recorded direct to two-track tape, these cuts are mainly mono mixes—which doesn't surprise me, as my friend Marvin is a mono freak. Opening with the George Jones/Roger Miller tune "Nothing Can Stop My Loving You," the band moves on to mostly original material. Etzioni's "Grapes of Wrath" gets right down to an early Americana rockin' tempo that doesn't let up. Snare drums slappin', guitars twangin', and Maria steppin' up to the plate and driving it over the wall—the Ref 5s brought the bacon without politeness or hi-fi niceties. These speakers can rock.

Tweaking
Having gotten a good feel for the "default" Canton Reference 5, it was time to check out what the tone taps would bring to the mix. Canton describes this as their "Room Compensation" (RC) technology: two sets of bridges that boost or lower the outputs of the tweeter and the midrange driver by ±1.5dB by adding or subtracting resistance to the crossover. All analog of course. The midrange driver's output can be altered over the 100Hz–400Hz range. The output level of the tweeter can be adjusted over almost the whole treble range, between 3kHz and 20kHz.

First alteration I tried was to dip the level of the midrange by 1.5dB and revisit that Reiner Festival recording. This wasn't a good move. I felt a loss of the solidity that a fine midrange provides. The singing quality of the strings decreased.

Then I pulled up a recording of conductor Mariss Jansons doing the Mahler Symphony No.9 with the Symphonieorchester Des Bayerischen (24/48k, BR Klassik 900719. 2022)—part of a complete cycle in great sound—and boosted the tweeter level. At first, I was excited by what I was hearing, especially with brass transients and percussion and string attacks. But as I continued to listen, those transients started to feel strident. What at first had seemed like extra detail began to sound busy and disagreeable. These "Room Compensation" adjustments are, of course, highly room-dependent. If you have a bright space with lots of hard, reflective surfaces, taming the treble a bit will probably yield a more pleasing sound. Conversely, if your listening room is heavily damped with rugs, furniture, curtains, and so forth, you may find a 1.5dB treble boost is just right. And boosting both the tweeters and the mids and raising the volume just a little can help tame booming bass. Canton summarizes: "Addressing and compensating for these influences is the purpose of the Room Compensation function in the Reference speakers." But my room didn't need compensation.

I ended by putting the tone taps back to neutral and treating myself to some Miles Davis, specifically the incredible new release from Analogue Productions, Birth of the Blue (LP, Columbia/Analogue Productions APJ172, 2024). I first heard this album played on yuuuuuge Wilson Chronosonic XVX loudspeakers at Innovative Audio, just south of Central Park in New York City. Hearing it in my own room via the Canton Reference 5s, I did not feel shortchanged. Miles's great sextet, which recorded this music a year before making Kind of Blue, was right there, and 'Trane's tenor and Cannonball's alto spoke the truths that Miles was in search of. Outstanding reproduction of outstanding music.

My conclusions
The Canton Reference 5 loudspeakers are beautiful, physically and sonically. The creative design of the drivers, coupled with serious cabinetry and European craftsmanship, results in a product that excels in a crowded category. The Reference 5's "Bass Guides" contribute to flexibility in room placement. The ability to adjust outputs in the highs and mids adds another level of flexibility.

Many audiophiles dedicate the largest portion of their system budget to loudspeakers. That's a fine approach but, depending on your hi-fi–system budget, with the Canton Reference 5s, that may not be necessary. These high-value speakers acquit themselves with authority matched to components that cost much more. At a mere 80lb, they more than carry their weight.

We've been around the ring, and the finalists have been culled. Step forward—you will have to be the judge now and decide who gets the ribbon.

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Footnote 2: After this review was submitted, I asked Frank Göbl: What is the intended vertical listening axis for the Canton Reference 5? "Our optimizations are based on an ear height of 110cm at a listening distance of 3m," he answered. That's 43.3", which is quite high. However, the "vertical dispersion range" is a very wide 7°. At 3m (not quite 10'), that's ±14.5", so any listening position from (roughly) 30" above the floor to 57" above the floor should be fine.—Jim Austin