Music Hall was showing a new USB DAC wit a tube output stage. The Music Hall dac25.5 ($600) uses an Electro-Harmonix 6922 tube, a Texas Instruments PCM1796 24-bi/192kHz DAC chip, a TI SRC4192 Asynchronous sample-rate converter (with a high-precision active crystal oscillator master clock), and four digital inputs (S/PDIF, TOSLINK, XLR, and USB). It sports re-clocking and user-adjustable upsampling (96kHz or 192kHz). It outputs analog via XLR or RCA.

Thiel's PR wonk Micah Sheveloff grabbed me as I walked past the room in the Sands Convention Center Thiel was sharing with Bryston to meet with Frank G&#246;bl of Canton. "You've got to hear the new CS2.4 Special Edition." As Wes Phillips had been mightily impressed by the original CS2.4 ($4900/pair) when he <A HREF="http://www.stereophile.com/floorloudspeakers/1105thiel/">reviewed it</A> in November 2005, I looked at my watch. Enough time. I went into the dem room.

I can't believe that it's been 21 years since Thiel founders Jim Thiel and Kathy Gornik and I emptied the first of many bottles of fine wine talking about music and loudspeakers. But here they are, snapped outside the dem room they were sharing with Bryston and Wireworld, as passionate about audio, music, and the high-end audio industry as ever. And in the case of Kathy, looking even better than ever!

While I was cruising NAD's booth, I noticed the M2 Direct Digital amplifier&#151;obviously part of NAD's Masters Series. I asked one Nad rep to tell me about it. "Oh, we didn't bring it&#151;it's not going to be released until spring."

I went into the Blue Light Audio room at T.H.E. Show to hear the new Dartzeel amplifiers (Wes Phillips will be blogging on these presently) and to chat with designer Herv&#233; D&#233;l&#233;traz. But my attention was caught by Evolution Audio's beautifully finished MM<I>Mini</I> Two speakers ($40,000/pair). Ostensibly a two-way design combining a 5" aluminum ribbon with a 7" ceramic-cone woofer, the stand also contains an 8"<I>x</I>12" subwoofer.

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 Wavemaster monoblock power amplifiers ($9000&#150;$10,000/pair) can put out 200W into 4 ohms. They employ an Audience discrete-component front end, switching power supply, and come with an Audience Power Chord. They accommodate single-ended and balanced inputs.