Thiel speakers, most of which are
either ported or passive-radiator
cabinet designs, have been notori-
ously demanding of amplifiers, with
powerful, tightly controlling units
being the order of the day as mates
for middling-efficiency drivers.
However, with its 90-dB SPL (1
watt, 1 meter) efficiency rating, the
CS 1.6 affords a substantial
increase over the 86 dB rat-
ing of its predecessor (which
utilized a passive radiator to
enhance bass performance),
thereby greatly increasing the
number of audiophiles and
systems for which Thiel
transducers are now viable
candidates. Note, however,
that with a recommended minimum
of an amp with at least 50 watts per
channel for its 4-ohm load, even the
new version may be a tad beyond
the reach of the SET set.
At the other extreme, the CS 1.6
is capable of handling 300 watts,
double the spec of the CS 1.5. With
its modest dimensions (35.5 inches
high by 9 inches wide by 11.5 inch-
es deep), the 38-pound newcomer
could find itself in systems being
fed, and perhaps dwarfed, by some
behemoth amplifier(s). My Classé
amp can deliver 500 watts into 4-
ohm loads, weighs almost as much
as the pair of speakers combined
and costs perhaps twice as much.
Nonetheless, the symbiosis with the
CS 1.6 was evident and the results
superb. On the other hand, while
our old 100-watt Quad 405-2 amp
also drove the Thiels with ease and
generated well-detailed and musical
performances, the CS 1.6 made
clear the superiority of the Classé in
transparency and soundstaging.
You’ll want to feed the 1.6 the finest
signals possible — either immedi-
ately or as part of your system
upgrade plans — because they’ll
surely let you know when their
upstream partners aren’t carrying
their weight.
I found the 1.6s relatively easy to
set up — assisted by guidance in
Thiel’s superb owner’s manual —
and was most pleased with the
speakers well away from the back
and side walls, aimed straight
ahead, and forming an 8.5-foot
equilateral triangle with the listen-
ing position. For readers who may
have reservations about a speaker
relatively modest in its dimensions,
price ($2390 in the supplied finish
or in a painted black finish at $1990
per pair), and low frequency perfor-
mance specifications (-3 dB at 48
Hz), I urge you to set aside your
biases, choose a few favorite
recordings, limber up your goose
bumps, and give this fine speaker a
listen.
For example, check out Some
Cats Know (Telarc CD-83391), on
which Jeanie Bryson admirably cap-
tures the essence of Peggy Lee’s
cool, bluesy, and sexy style. The
1.6s convey the delicate nuances in
Bryson’s voice while delivering Jim
Hughart’s powerful bass in fine
detail. I was similarly pleased with
the 1.6’s presentation throughout
Paul Simon’s Graceland CD
(Warner Bros. 9 25447-2). Electric
bass slam, ultra-sharp South
African-style electric guitar, detailed
vocal harmonies, thumping kick
drum, all of which were layered
clearly and deeply over a surprising-
ly large soundstage. And talk about
speed! Michael Hedges finger work
on “Rickover’s Dream” (Aerial
Boundaries, Windham Hill LP WH-
1032) is replicated with extraordi-
nary clarity and snap whether he’s
plucking the standard guitar or deep
bass strings of his harp guitar.
Moreover, with the CS 1.6s, all this
is achieved even at late night- or
apartment-listening levels. As for
upper midrange purity, all I can say
is “mission accomplished, Jim.
Bravo!”
Perhaps more importantly, I
found something new in Paul Bley’s
In the Evenings Out There (ECM
1488). Not more harmonic detail or
recording venue information as
audiophiles often experience when
upgrading their systems but, rather,
a greater sense of involve-
ment with the music and
musicians. The harmonic
textures of Bley’s piano, the
weight and impact of Gary
Peacock’s bass, and John
Surman’s luscious baritone
sax are as fine and pleasing
as through my Dunlavys
(which have five drivers per
side). But with the Thiel’s wired in,
this recording provided a richer,
more sensual and rewarding experi-
ence than I’d previously realized
possible. This, to me, is what being
an audiophile is all about.
I attribute this to the far more
vivid images produced by the 1.6s.
Instruments and musicians are set
forth with a density I’ve rarely expe-
rienced. The Timekeepers: Count
Basie Meets Oscar Peterson (JVC
XR-0206-2) is as natural and realis-
tic a piano recording as I’ve heard,
and through the Thiels it is wonder-
fully — indeed, almost startlingly —
lifelike. The same is true for Rickie
Lee Jones’ must-have CD, It’s Like
This (Artemis 751 057-2). Listen to
“Show Biz Kids.” If your woofer is a
whiner, the acoustic bass won’t pro-
vide an adequate foundation,
destroying the track’s emotional
impact, and if your tweeter is a
screecher, the percussive triangle
will send you cringing for the Skip
Track button. No fear with the 1.6s,
the audiophile voice
Thiel Audio CS 1.6 Loudspeakers, $2390 per pair in standard finishes
(walnut, oak, maple, natural cherry, and black ash), or $1990 per pair
painted black. Special finishes available at extra charge. Thiel Audio,
1026 Nandino Blvd., Lexington, KY 40511; phone 859/254-9427, fax
859/254-0075, e-mail [email protected], website www.thielau-
dio.com.
Associated Equipment
Immedia turntable and arm, Grado cartridge, Sony CD player, Classé
amplification, Dunlavy speakers, cables by Yamamura, Tara,
Audiotruth, and Meitner, A/C accessories by Marigo and Monster.
Quad amplification and custom-built 2-way stand mounted speakers
are used in the satellite-based video system.
N
N
O
O
T
T
E
E
S
S
If I had just one word to
describe the Thiel CS 1.6,
it would be “solid.”
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