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speakers to the sub, "Growing Up" or "The Barry Williams Show" will reveal that sub’s relative position. The SS2 and PX05 did a fantastic job of convincing me that the deep bass was anchored to each speaker.
The PowerPoint surrounds sounded bigger and the CS2.4s delivered more authoritative bass when the SS2 was added. The massive drum strokes on Kodo’s "Daraijin," from Mondo Head [SACD, Red Ink/Sony 56111], appeared from behind me with surprising weight and slam. Experiencing the Thiels’ impressive integration was exhilarating with film soundtracks and music alike. I had never heard a speaker system that disappeared quite as the Thiels did, or a subwoofer that performed as transparently as did the SS2.
I was never left wanting for the bracing dynamics of Copland’s Appalachian Spring Suite, from Eiji Oue and the Minnesota Orchestra’s Showcase [CD, Reference RR- 907CC], or Leonard Bernstein’s adoring interpretation of Mahler’s Symphony 3 [CD, Deutsche Grammophon 427
The Thiels’ utter lack of coloration and outstanding
Coherent competition?
I have been very happy with my Canton Ergo
The Thiels sounded considerably more refined and coherent than the Canton Ergos. Although transparent, the Cantons can get a bit edgy in the upper midrange, a little lightweight in the upper bass. They also sound a bit unfocused in the low mids and upper bass. The Thiels, however, always sounded smooth and natural across their response curve. In terms of imaging, the difference between the two systems is the difference between the accomplished and the merely competent. The Cantons produce a wide but relatively
shallow soundstage; the Thiels countered with unbelievably composed and uniformly dense images that extended both in front and to the rear of the speakers’ baffles — no matter how far apart they were placed or how loudly they were played.
Bass was where the two systems almost met. Alone, the CS2.4s produced pure, effortless bass that reached deeper than I would have expected from speakers of their size. With the SS2 sub, that bass had more harmonic weight and was perfectly controlled and extended. The
The MCS1 and PowerPoint simply outclassed Canton’s Ergo CM 500 DC
The Cantons did exhibit a little more
While the Ergo
Coherence concluded
I spoke to Jim Thiel several times while researching this system, and there was no denying the passion with which he approaches his work. He explained with boundless enthusiasm his unique design philosophy and methodology, describing in great detail every nuance, every nut and bolt. Each question I asked was answered with an overabundance of description. His grasp of science was as obvious as his love of music.
The Thiel speakers reviewed here made beautiful music. Their sound wasn’t sweet or warm or exciting; rather, it expressed whatever sweetness, warmth, or excitement was contained in the recording. Thiel’s Coherent Source technology has forever changed my perception of what a great loudspeaker system should accomplish, especially in terms of subwoofer integration and the stability of both
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