Again, thank you all for your responses.
I have no intention of starting a flame war or anything of that ilk.
Regarding the talons I own, and many of the other brands mentioned above, I have not heard any speaker at multiples of their price (+/- $3,500 when I bought them new) that I liked better. Whether or not they or any other speaker is overpriced, is another discussion. There have been other speakers (the Talon Chorus is one) that did better on certain music primarily because of the bass. The reproduction was more "complete" is my way of expressing, interpreting, what I heard and what I wanted.
Regarding "flavor of the month" items, I too have falen victim to hype and "hot-buzz." I have a number of interconnects, speaker cords, power cords, etc, that I dare anyone to identify in a blindfolded test. I don't mean just say that one is grainey, that one is relaxed, etc, but actually be able to say (correctly) Analysis Plus or Zu. They do all indeed sound a bit different, but not a difference that justify's a jump from $300 to $3,000. Incremental changes with huge price increases for *&%#*&* wire. The manufacturers and seven layers of middle men should be ashamed of themselves.
Regarding cheating physics, I look at the DSP as being analagous to the Apollo space craft. We would not have gotten to the moon by jumping harder. We "cheated" physics (Newtonian in that case) by adding boost to our ability to jump. We actually used physics to get where we wanted to go. If the "traditional" design of speakers is lacking the ability to completely reproduce the music we wish to hear, and only has the ability to color what it can reproduce, so that it appeals to one segment or another of the listening public, then maybe we should go back to Phil Spector's "wall of sound" designed for crap car speakers circa 1968. That stuff rocked in the VW, but is unlistenable over even a mid-fi set-up. Similarily, horns, folded horns, ribbons, electrostats, enclosure designs, material used for the box, dampening, room treatments, and so on, are all "cheating physics" in that they are attempts at reproducing music "completely" using speakers that are obviously (my opinion, go ahead and hate me) not up to the task.
My concern with the CS-2's is that I will be again trading one color for another, when what I want is "complete" reproduction. A piano forte should sound exactly like a piano forte, nothing more or less. And yes I know, the room the piano forte is in will affect it's sound but there is only so much I can wrap my brain around at one time so I am looking for speakers not universal perfect pitch.
While I've got this stream of conciousness thing going, how about the Beatles Abbey Road album? The music, lyrics, etc are excellent, brilliant (pick the superlative of your choice), but the recording just sucks! Someone at the mixing, had just discovered stereo and it was his first chance to play with more than one track. Thankfully, they got it better than just "right" on the White Album.
So, back to the CS-2's, I agree that there is no new ground being broken here. My question is, does the combining of known technology (speaker design) with recently available technology (the DSP) allow for the "complete" reproduction of music, and do these guys do it?
To get to that answer I first asked if those that have been listening to them for a few months, have any regrets in the purchase. I was hoping to hear of regrets which would indicate "flavor of the month" and/or different strokes for different folks (tubes vs SS, digital vs analog, etc.).
Since Kehut appears to be the only one that has extensive experience, and apparently no regrets, and all of my other reading of reviews and opinions (here, Audio Circle, on-line mags, etc) are universally exuberant, I'm stuck with buying the damn things.
I'm starting to understand the downside of searching for the Grail.
