It's been three years since the February 1997 issue, when I last talked with Klaus Heymann, founder and chairman of HHN, the parent company of the Naxos and Marco Polo labels. When I heard that he'd be in New York for a visit, I jumped at the chance for another interview.

It's been three years since the February 1997 issue, when I last talked with Klaus Heymann, founder and chairman of HHN, the parent company of the Naxos and Marco Polo labels. When I heard that he'd be in New York for a visit, I jumped at the chance for another interview.

It's been three years since the February 1997 issue, when I last talked with Klaus Heymann, founder and chairman of HHN, the parent company of the Naxos and Marco Polo labels. When I heard that he'd be in New York for a visit, I jumped at the chance for another interview.

It's been three years since the February 1997 issue, when I last talked with Klaus Heymann, founder and chairman of HHN, the parent company of the Naxos and Marco Polo labels. When I heard that he'd be in New York for a visit, I jumped at the chance for another interview.

It's been three years since the February 1997 issue, when I last talked with Klaus Heymann, founder and chairman of HHN, the parent company of the Naxos and Marco Polo labels. When I heard that he'd be in New York for a visit, I jumped at the chance for another interview.

One of the challenges I faced in optimizing the performance of the <A HREF="http://www.stereophile.com//loudspeakerreviews/216/">Thiel CS7.2</A> loudspeakers that I reviewed in February 2000 was controlling and tuning their interaction with my listening room. Intuition, experience, trial and error&mdash;all came into play, as did several of the procedures and calculations covered by Jonathan Scull in his "Fine Tunes" column.

One of the challenges I faced in optimizing the performance of the <A HREF="http://www.stereophile.com//loudspeakerreviews/216/">Thiel CS7.2</A> loudspeakers that I reviewed in February 2000 was controlling and tuning their interaction with my listening room. Intuition, experience, trial and error&mdash;all came into play, as did several of the procedures and calculations covered by Jonathan Scull in his "Fine Tunes" column.

One of the challenges I faced in optimizing the performance of the <A HREF="http://www.stereophile.com//loudspeakerreviews/216/">Thiel CS7.2</A> loudspeakers that I reviewed in February 2000 was controlling and tuning their interaction with my listening room. Intuition, experience, trial and error&mdash;all came into play, as did several of the procedures and calculations covered by Jonathan Scull in his "Fine Tunes" column.

When I describe the Thiel CS7.2 to friends, the word that gets the biggest reaction is "simple." Veteran audiophiles protest, noting the big Thiel's multiple drivers, complex cabinet, and elaborate, zillion-element crossover. Nonaudiophiles just glance at the 5'-tall speaker, smile sympathetically at Bonnie, and roll their eyes.

When I describe the Thiel CS7.2 to friends, the word that gets the biggest reaction is "simple." Veteran audiophiles protest, noting the big Thiel's multiple drivers, complex cabinet, and elaborate, zillion-element crossover. Nonaudiophiles just glance at the 5'-tall speaker, smile sympathetically at Bonnie, and roll their eyes.