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Canton introduces the Reference 9 GS Edition compact two-way speaker, debuting at the Norddeutsche HiFi-Tage, integrating Reference-Alpha technologies into a space-friendly format.
High-frequency performance is enhanced with a 25 mm DLC tweeter crossing at 2.9 kHz, using diamond-like coating and a new waveguide-style acoustic lens.
Signal refinement includes upgraded Mundorf MKP capacitors in the crossover, aiming for improved resolution, coherence, and tonal precision over the standard Reference 9.
Canton’s GS treatment reads less like a feature checklist and more like a targeted response to long‑standing forum critiques of compact references: dispersion control, crossover cleanliness, and terminal integrity. The revised high‑frequency section is not just about a stiffer dome material, but about how the tweeter is acoustically loaded. By reshaping the radiation pattern with an integrated lens, Canton appears to be chasing a smoother off‑axis decay rather than headline sparkle, a move that typically pays dividends in real rooms where early reflections dominate perceived timbre. This aligns with the brand’s broader Reference‑Alpha philosophy, where spatial consistency is treated as part of tonal accuracy, not an afterthought.
More interesting is the crossover revision. Swapping to premium film capacitors is often dismissed as audiophile garnish, yet in a compact two‑way working close to its mechanical limits, dielectric behavior and ESR can influence microdynamics and phase stability around the handover region. Compared to the standard Reference 9, the GS Edition seems positioned to trade a touch of forgiving warmth for sharper transient delineation and cleaner harmonic separation—an evolution that some listeners welcome, while others may find more revealing of upstream electronics. The decision to retain a simplified single‑wiring path suggests Canton prioritized signal purity over configurability, a stance that contrasts with competitors who still lean on bi‑wiring as a perceived value add.
From a system‑integration standpoint, the rear‑panel treble adjustment hints at Canton’s awareness that such resolution can be a double‑edged sword. Rather than locking the voicing, the GS Edition allows fine trimming to accommodate reflective spaces or more forward‑sounding amplifiers, a pragmatic nod to how these speakers will actually be used. In that sense, the Reference 9 GS Edition feels less like a limited cosmetic run and more like a concentrated refinement—one that pushes a familiar platform toward a more studio‑leaning, precision‑first character without abandoning domestic versatility.
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