SKU: 12829759198

Kanto SE2 Elevated Desktop Speaker Stands for Small Speakers (Pair)

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Description

Kanto SE2 Elevated Desktop Speaker Stands for Small Speakers (Pair)Kanto SE2 Elevated Desktop Speaker Stands for Small Speakers at Vinyl Sound Toronto Canada The SE2 is a pair of elevated desktop speaker stands from Kanto (Vancouver, Canada), available at Vinyl Sound in Toronto, Canada. Designed as the dedicated desktop stand for the Kanto YU2 compact powered bookshelf speaker, the SE2 raises small desktop speakers 3. 8 inches above the desk surface and angles them upward at a fixed 6 degree tilt, directing the

Kanto SE2 Elevated Desktop Speaker Stands for Small Speakers at Vinyl Sound Toronto Canada

The SE2 is a pair of elevated desktop speaker stands from Kanto (Vancouver, Canada), available at Vinyl Sound in Toronto, Canada. Designed as the dedicated desktop stand for the Kanto YU2 compact powered bookshelf speaker, the SE2 raises small desktop speakers 3.8 inches above the desk surface and angles them upward at a fixed 6-degree tilt, directing the tweeter more accurately toward seated ear level and reducing early reflections from the desk surface that introduce coloration and muddiness into the sound. Each stand supports up to 7.1 lb / 3.2 kg and is built from solid steel with a thin silicone padding layer on both the top speaker surface and the bottom of the stand for resonance reduction, speaker grip, and desk protection. The cantilevered platform design frees usable desk space beneath each speaker, and the 3.1 x 4.7-inch speaker surface accommodates any compact speaker cabinet fitting within those dimensions.

Elevated Placement, Fixed Tilt, and Reflection Reduction

The SE2 resolves the two most common acoustic compromises that arise when small bookshelf speakers sit flat on a desk surface. The first is tweeter misalignment: a compact speaker resting directly on the desk directs high-frequency energy below the seated listener's ear level, reducing treble clarity and stereo imaging sharpness at the listening position. The 3.8-inch elevation and 6-degree upward tilt of the SE2 redirect the tweeter's primary dispersion axis upward toward the listener's ears, recovering the high-frequency detail and image focus that flat desk placement obscures. The second issue is desk reflection: energy radiating from the underside of the cabinet strikes the desk surface and reflects toward the listener with a short time delay relative to the direct sound, creating comb filtering that softens transients and adds tonal coloration to the output. By elevating the cabinet and tilting it away from the desk, the SE2 reduces the energy directed at the desk surface and improves the proportion of direct sound reaching the listener.

Silicone Padding and Steel Construction

The SE2 is constructed from solid steel with a painted finish, providing the mass and structural rigidity needed to decouple a small speaker cabinet from the desk surface beneath it and suppress sympathetic resonance during playback. A 0.06-inch silicone pad on the speaker surface grips the base of the cabinet and acts as a compliant decoupling layer between the speaker and the steel stand, while a silicone pad on the bottom of the stand protects the desk surface from scratching and prevents the stand from shifting during playback. The silicone on both contact surfaces works together to interrupt the vibration transfer path between the speaker, the stand, and the desk, keeping resonance low and the desktop audio output cleaner and more accurate than flat desk placement allows.

Key Features

  • 3.8-Inch Elevation with 6-Degree Upward Tilt: Raises the speaker above the desk surface and angles the tweeter toward seated ear level, improving high-frequency accuracy and reducing early desk reflections that cause comb filtering and tonal coloration.
  • Silicone Padding on Top and Bottom: A 0.06-inch silicone layer on the speaker surface grips the cabinet base and reduces resonance transmission, while the bottom silicone pad protects desk surfaces from scratching and prevents stand movement during playback.
  • Solid Steel Construction: Full steel build with a painted finish provides the structural mass and rigidity needed to suppress sympathetic resonance and maintain a stable speaker platform on the desk surface.
  • 7.1 lb / 3.2 kg Load Capacity Per Stand: Rated for compact desktop speakers including the Kanto YU2, covering small powered bookshelf and satellite speaker models whose base fits the 3.1 x 4.7-inch speaker surface.
  • Cantilevered Platform Design: The elevated, angled platform frees desk space beneath and around the speaker cabinet, reclaiming usable desk area without compromising speaker placement or acoustic performance.
  • Compact Stand Footprint: The overall stand dimensions of 5.6 x 4.5 inches keep the desk footprint minimal, preserving working space on the desk surface while providing a stable elevated platform for the speaker.
  • Purpose-Matched for Kanto YU2: Dimensioned and load-rated specifically around the Kanto YU2 speaker footprint, ensuring a precise physical and acoustic fit for owners of that model.

Technical Specifications

Elevation Height 3.8 in / 9.7 cm
Upward Tilt Angle 6 degrees
Load Capacity (per stand) 7.1 lb / 3.2 kg
Primary Compatibility Kanto YU2
Construction Material Steel with painted finish
Color Black
Silicone Pad Thickness 0.06 in / 1.52 mm (top and bottom)
Speaker Surface Dimensions 4.7 x 3.1 in / 11.9 x 7.9 cm
Overall Dimensions (W x D x H) 5.6 x 4.5 x 3.8 in / 14.2 x 11.5 x 9.7 cm
Weight (per stand) 2.2 lb / 1 kg
Package Weight 2.84 lb
Box Dimensions 6.5 x 4.9 x 4.6 in
Environmental Resistance Indoor use only

Frequently Asked Questions

What are the Kanto SE2 desktop speaker stands?

The Kanto SE2 are a pair of elevated desktop speaker stands built from solid steel, raising compact speakers 3.8 inches above the desk surface at a fixed 6-degree upward tilt, with silicone padding on both the speaker surface and the stand base for resonance reduction and desk protection. Made by Kanto, a Canadian audio accessories brand based in Vancouver, the SE2 is the dedicated desktop stand for the Kanto YU2 powered bookshelf speaker, supporting speakers up to 7.1 lb / 3.2 kg with a base footprint fitting within the 3.1 x 4.7-inch speaker surface.

What is the difference between the Kanto SE2, SE4, and SE6 desktop stands?

The Kanto SE2, SE4, and SE6 are the three models in the SE elevated desktop stand series, each purpose-matched to a different Kanto speaker size class. The SE2 is designed for the compact Kanto YU2 with a 3.1 x 4.7-inch speaker surface, 3.8-inch elevation, and 7.1 lb load capacity per stand. The SE4 steps up to the Kanto YU and YU4 with a larger 6.3 x 3.9-inch speaker surface, 5.6-inch elevation, and 9 lb capacity. The SE6 supports the larger Kanto YU6 and TUK with a 7.4 x 5.3-inch speaker surface, 6.9-inch elevation, and 22 lb capacity. All three share the same 6-degree upward tilt, solid steel construction, silicone padding, and cantilevered platform design.

How does the Kanto SE2 compare to the Kanto SP9 for Kanto YU2 owners?

The Kanto SE2 and SP9 are both compatible with the Kanto YU2, but approach desktop placement with different priorities. The SP9 provides 30 degrees of horizontal top plate rotation, a taller 8.27-inch elevation, and a hollow cable management column, making it the stronger choice when toe-in adjustability and cable concealment are the main requirements. The SE2 uses a fixed 6-degree upward tilt and a compact cantilevered platform that takes up minimal desk space, making it the better fit for users who want a low-profile, space-saving stand with a simpler, cleaner aesthetic. For desk setups where horizontal speaker rotation is not needed and desk space is at a premium, the SE2 is the more practical choice.

What does the 6-degree upward tilt on the Kanto SE2 do for sound quality?

The 6-degree upward tilt on the SE2 angles the compact speaker so that the tweeter's primary dispersion axis is directed upward toward the seated listener's ears rather than straight ahead below ear level. When a small bookshelf speaker such as the Kanto YU2 sits flat on a desk, the tweeter typically fires at or below chin level for a seated user, reducing high-frequency presence and stereo imaging precision at the listening position. The fixed 6-degree tilt corrects this alignment automatically and without any manual adjustment, delivering improved treble clarity and a more focused stereo image for near-field desktop listening.

Can the Kanto SE2 be used with speakers other than the Kanto YU2?

Yes, the Kanto SE2 is compatible with any compact desktop or satellite speaker whose base footprint fits within the 3.1 x 4.7-inch speaker surface and whose weight does not exceed 7.1 lb / 3.2 kg per stand. Compact powered speakers from brands including Audioengine, Edifier, and other manufacturers of small desktop bookshelf models that fall within these dimensions are generally compatible. Verifying the speaker base footprint against the SE2 speaker surface dimensions before purchasing is recommended to ensure a proper fit.

Does the silicone padding on the Kanto SE2 protect the desk surface?

Yes, the silicone pad on the bottom of the SE2 protects desk surfaces from contact marks and scratches during normal use and when repositioning the stands. The silicone material is non-marking on wood, laminate, glass, and other common desk surface finishes, and provides sufficient grip to prevent the lightweight stand from shifting during playback. The silicone layer on the speaker surface similarly protects the base of compact speaker cabinets from contact wear at the stand interface, keeping both the stand and the speaker finish in good condition over long-term daily use.

Where can I buy the Kanto SE2 desktop speaker stands in Toronto or Canada?

The Kanto SE2 elevated desktop speaker stands are available at Vinyl Sound in Toronto, Canada. Vinyl Sound is an authorized Kanto dealer serving customers throughout the Greater Toronto Area and shipping across Canada. Purchasing from an authorized Canadian dealer ensures full manufacturer warranty coverage and access to knowledgeable local support for Kanto speaker and stand pairing advice.

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SKU: 12829759198

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Zachary Bednar
Carnegie, US
★★★★★ 5
The Perpetual Joke
One of the best films I have ever seen is The Killing. It can boast a great many things. It can proudly say that it is the best heist film ever made and that it is the creme dela creme of film noir. Out of all the films in my top ten favorites, The Killing is easily the most watchable and purely entertaining. It doesn't try to be much more than a crime picture. A crime picture written by the legendary Jim Thompson of course. Thompson is one of the best American crime writers, well ever. And his work in The Killing is simply exemplary and total-classic Thompson. The film can also boast having a brilliant cast. Sterling Hayden, Elisha Cook Jr., and Marie Windsor soar, it can boast having possibly the strongest ensemble in all of the crime genre. It can boast having a pitch perfect tone and a distinctly unique and absorbing atmosphere. It can brag about the extraordinary tracking shots throughout or the lighting that startles and dazzles and vibes, melts. It can brag about being fun and devious and sly. It can brag about being unpredictable and clever. Smart. It can brag about being one the greatest films ever made. It's honestly that perfect. And did I mention that some guy named Stanley Kubrick directed the thing? The Killing is a film about a group of men who plan to knock off a racetrack, those who seek to thwart them, and how it all plays out. The characters are unforgettable. The Killing has in it's repertoire more than just a few of my favorite noir characters. What makes the players so special is that all of them are so sympathetic. Really. My heart goes out to each and every one of them, understanding and empathy seldom hits this hard within the parameters of the heist and noir genre. But here, the damn thing works every time. I've seen the film several times and I still physically act as if every time is my first. I cover my hands over my mouth in astonishment, I bite my nails in anticipation, I drum on my knees with rhythmic excitement, I laugh out loud, and I cheer relentlessly for everyone involved. I imagine myself as a member of the outfit. I have so much fun with this twisted picture that it's ridiculous. Okay. Lucien Ballard. Dick Tower. Earl Snyder. The men who walk the walk. One of the most dazzling things about The Killing is it's technical brilliance. The thing looks absolutely gorgeous and twisted and just right. Smokey and sexy and rough. There are shots in this film that your eyes can more than feast on, they can devour them. There are sequences of sight and sound and light that will make you fall in love with noir all over again. If that's not enough, Jim Thompson's dialogue will make your head spin it's so good. You'll find yourself quoting it to yourself without warrant or cause. The beats and the meter and time and scale of Thompson's writing will send you for a ride. Great dialogue and a truly complex and understated plot, the inner workings of which are not only of the heart-pounding variety but the very fabric that it is woven into is absolutely compelling. There is a subtext here as well. I don't think Kubrick ever really made a film just for the sake of doing so, he always had something deeper to communicate on top of it. The Killing communicates within the subtext the idea of the perpetual joke. Borderline Absurdism. Characters die literally howling about not being able to understand their own private punchline. Robberies take place by men in the guise of clowns. Think Hayden Sterling as Pagliacci The Clown. The Killing feels like a crime film written by Jim Thompson, directed by Stanley Kubrick, and dreamt up by Albert Camus. The idea that everything is absurd, that life is a frenzied haywire with a morbid sense of humor. I think Sterling's Johnny finally understood the great joke of life at the end of it all. And its pointless brand of mischief. It is fascinating seeing the great Stanley Kubrick, before he really was the GREAT Stanley Kubrick, working within the framework of the crime genre. Kubrick excels here, even if he was limited by boundaries of style and time. He is a filmmaker that mastered every genre he dabbled in. He is not only one of the greatest directors that ever lived but he is my personal favorite one. His films have a crazy power, an uncanny transcendental quality to them. The Killing possesses every bit as much magic that his post 2001 films do. The Killing has a little bit more than that as well. It has an incredible watchability factor. I could watch The Killing once a week for the rest of my life and still not get tired of it. I think I'll do just that. Why not? You only live once, right?
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Reviewed in the United States on July 17, 2014
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Terry Seale
Battle Creek, US
★★★★★ 5
Worth viewing and studying.
First major Kubrick feature film noir. Nothing about Sterling Hayden's Communism here. Cool caper with a classic cast. The flick provides an impactful reminder to never skimp on low quality luggage, to use a double lock, and to take time whenever possible to bundle your cash with rubber bands. "While playing chess in Washington Square, Kubrick met producer James B. Harris, who considered Kubrick to be "the most intelligent, most creative person I have ever come in contact with", and the two formed the Harris-Kubrick Pictures Corporation in 1955.[52] Harris purchased the rights to Lionel White's novel Clean Break for $10,000,[g] and upon Kubrick's suggestion, they hired film noir novelist Jim Thompson to write the script for the film—which later became The Killing (1956)—about a meticulously planned racetrack robbery gone wrong. The film starred Sterling Hayden, with whom Kubrick had been impressed in The Asphalt Jungle (1950).[54] Kubrick and Harris moved to Los Angeles from New York and signed with the Jaffe Agency to shoot the picture, which became Kubrick's first full-length feature film shot with a professional cast and crew. The Union in Hollywood stated that Kubrick would not be permitted to be both the director and the cinematographer of the movie, so veteran cinematographer Lucien Ballard was hired for the shooting. Kubrick agreed to waive his fee for the production, which was shot in just 24 days on a budget of $330,000.[55] He clashed with Ballard during the shooting, and on one occasion Kubrick threatened to fire Ballard following a camera dispute, despite being only 27 years old at the time and 20 years Ballard's junior.[54] Hayden recalled that Kubrick was "cold and detached. Very mechanical, always confident. I've worked with few directors who are that good".[56] The Killing failed to secure a proper release across the United States; the film made little money, and was promoted only at the last minute, as a second feature to the Western movie Bandido! (1956). Several contemporary critics lauded the film, however, with a reviewer for TIME comparing its camerawork to that of Orson Welles.[57] Today, critics generally consider The Killing to be among the best films of Kubrick's early career; its nonlinear narrative and clinical execution also had a major influence on later directors of crime films, including Quentin Tarantino. Dore Schary of Metro-Goldwyn-Mayer was highly impressed as well, and offered Kubrick and Harris $75,000 to write, direct, and produce a film, which ultimately became Paths of Glory (1957)." [Wikipedia]
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Reviewed in the United States on February 21, 2016
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Smrz
West Palm Beach, US
★★★★★ 5
Quintessential 50's Kubrick Noir!
Criterion continues to keep them coming. The Killing(1956), Stanley Kubrick's great noir adds to the recent influx of Criterion's recent titles in 2011, which closely follows Kiss Me Deadly(1955). What a feast for Noir addicts! Now we have another pristine upgrade of a print which greatly improves past releases in both quality as well as great special features. This time we get two jam filled discs of a very important Noir. This two-dvd special edition includes a bounty of goodies for lovers of Noir. There is a new digital restoration, which is excellent, as well as a new interview with producer James B Harris. Interviews with lead actor Sterling Haden, who is excellent in his role as the small-time criminal who plans a dangerous race-track heist with help from a corrupt cop, and an interview with author Robert Polito about writer Jim Thompson. That is just on the first disc, Disc two includes a richly restored high-def digital transfer of Kubrick's 1955 feature Killer's Kiss, new video appreciation of Killer's Kiss by film critic Geoffrey O'Brien, and a new trailer. Of course, you also get a 20 page booklet featuring an essay by film historian Haden Guest and an interview with actress Marie Windsor, which is a reprint but still quite good. Now on to the feature. The Killing was Kubrick's 3rd feature, and to most film historians, the one that put him on the map, although some people would favor Paths Of Glory which was released in the next year 1957 as his breakthrough as a major director. I beg to differ. The Killing is told in a non-linear style which many movie goers have difficulty following, even now in the 21st Century. But to lovers of Noir, by 1956 they had become quite used to it and had no problem with it. In fact, many noir lovers enjoyed putting the pieces together which to them, only added to the experience. The film displays what has become a very familiar Kubrick theme. That is the breakdown, malfunction or fallibility of man and his plans. Just as in Kubrick's subsequent films such as Dr. Strangelove and further on to 2001:A Space Odyssey which became major mainstream successes. His manipulation of time in bits and pieces differs most strikingly from 40's Noir, such as The Killers and Out Of The Past. As players inthis game are established, the film leaps backwards until all of the parts fit together like the pieces of a jigsaw puzzle. The well planned heist falls apart just like the suitcase full of money falls off a cart and scatters the bills in the wind. Just as they say, "The Best Laid Plans". In addition to Hayden, the other members of the heist, especially Vince Edwards, Elisha Cook Jr, and especially Timothy Carey, are all excellent. Most definitely, pay the extra money and get this edition. SMRZ!!!
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Reviewed in the United States on September 15, 2011
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Krisha
Lake Worth, US
★★★★★ 4
Worth Watching Crime Drama
I almost stopped watching this film early on because I found the behavior of the cashier's wife so annoying and insufferable. I stuck with it though. It is almost as if it is a crime re-enactment show because of the voiceover narration. In one of the close to final scenes, I thought "This is Kubrick, alright." It is interesting that I watched a film yesterday, "Dead End" in which some of the characters believe that the only life worth living is one with material wealth as do some of the characters in this film. How sad. Maybe that belief is what kills what has real worth. Maybe it is that belief that leads one to a dead end.
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Reviewed in the United States on October 6, 2025
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Rob
Cuba, US
★★★★★ 5
Excellent.
kubrick's first i think. an excellent b/w noir crime film. very influential. sets the standard. must see.
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Reviewed in the United States on June 5, 2026

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