My first reaction upon hearing the CS3.6es was an enthusiastic "Yeah!" I began enjoying music immensely from the first moment with the CS3.6es—always a good sign. They had a fundamental musical rightness that was immediately apparent. The CS3.6es' overall tonal balance, dynamics, and soundstaging were all first-rate. Moreover, there…
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My main point for comparison for the CS3.6 is the Hales System Two Signature, with which I have become intimately familiar. It was apparent on first listening that the two loudspeakers shared some very special traits, but also some significant differences.
Previous Thiel models have, in my opinion, been overly bright, aggressive, and analytical, particularly in the treble. When mated with most solid-state electronics, this resulted in a less than musical presentation. This trait, however, has been greatly ameliorated in the CS3.6. Although the CS3.6 couldn't be described as sweet, laid-back, or soft, its treble presentation was vastly superior to that of previous Thiel models, particularly the CS3.5. A manufacturer visiting my listening room—and who has never liked Thiels, for the reasons cited—was surprised by the CS3.6's degree of…
Sidebar 1: Specifications
Thiel CS3.6: Three-way, passive radiator-loaded (reflex), floorstanding loudspeaker. Driver complement: 10" woofer, 10" passive radiator, 4.5" cone midrange, 1" metal-dome tweeter. Crossover frequencies: 500Hz, 3kHz. Crossover slopes: first-order (6dB/octave). Time response: 150µs, -20dB. Amplitude response: 27Hz-22kHz ±3dB, 29Hz-20kHz ±1.5dB. Phase response: minimum ±10 degrees. Sensitivity: 86dB/W/m (2.8V). Nominal impedance: 4 ohms (2.5 ohms minimum). Recommended amplifier power: 100-500W.
Dimensions: 12.5" W by 48.5" H by 17" D. Weight: 107 lbs each.
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Sidebar 2: Measurements
The following measurements were performed by JA. I saw the results and discussed them with him only after I'd finished writing my listening impressions.
The CS3.6's impedance magnitude and phase plot (fig.1) reveals a very low impedance value. The loudspeaker is under 3 ohms through most of the range, dropping to a minimum of 2.3 ohms at 3.6kHz (the cursor position). The low impedance value explains the CS3.6's need for the iron-fisted Mark Levinson No.23.5 to provide control in the bass; the CS3.6 would appear to be current-hungry. There is, however, a…
The cumulative spectral-decay, or "waterfall," plot reveals how a loudspeaker behaves over time after being excited by an impulse. The MLSSA system takes FFTs at discrete slices of time as the impulse decays. Each horizontal line is a separate FFT. When viewed in three dimensions (amplitude, frequency, and time), the waterfall plot shows resonances as vertical ridges. The CS3.6's waterfall plot (fig.5) was excellent, with a sudden decay (the white space between the top few traces and nearly all the subsequent traces) and few strong resonant modes. There is, however, a bit of treble hash,…
Looking at how the CS3.6's response changes to the side of the central axis (fig.8), we can see excellent dispersion. In fact, the 15 degrees off-axis response (the second curve down, representing the difference between the on- and off-axis responses) is virtually identical to the on-axis response. The CS3.6 maintains a flat balance even at 30 degrees.
Fig.8 Thiel CS3.6, horizontal response family at 45", normalized to response on tweeter axis, from back to front: differences in response 90 degrees-15 degrees off-axis; reference response; differences in response 15 degrees-90…
It's been 10 years since Balanced Audio Technology (BAT) introduced their first products: the VK-5 line-stage preamplifier and the VK-60 power amplifier. (I reviewed both in the December 1995 Stereophile, Vol.18 No.12.) The success of these and other BAT products has allowed designer Victor Khomenko (the "VK" of the model designations) and partner Steve Bednarski to quit their day jobs at Hewlett-Packard; they were joined by Geoff Poor as a partner to handle the sales end of the enterprise. BAT's current lineup includes several preamps, phono stages, a CD player, and tube as well as solid-…
Over the years, listening to audio systems and trying to come up with descriptions of the sounds and the contributions of various components, it has become increasingly clear to me that this critical enterprise is quite different from, and is in some ways antithetical to, listening to music for pleasure. In "critical" listening we're always trying to analyze the sound, paying attention to details, picking apart different aspects of the sound-reproduction process. Listening for pleasure is much more holistic, more dependent on the overall effect. In this type of listening, details of musical…
Sidebar 1: Specifications
VK-3iX: Tube preamplifier. Tube complement: 2 6H30s, 2 6V6s, SE version; 4 6922s, 2 6V6s, standard version. Frequency response: 2Hz–300kHz, –3dB, at unity gain. Maximum gain: 20dB. Maximum output: 40V RMS. Distortion at 2V output: 0.01%. Noise: –100dB unweighted. Volume control resolution: 99 steps, 0.5–1dB each. Output impedance: 1k ohm. Minimum power-amplifier input impedance: 10k ohms.
Dimensions: 19" (485mm) W by 5.75" (145mm) H by 15.5" (400mm) D. Weight: 30 lbs (13.6kg).
Serial number of unit reviewed: 030600696.
Price: $2495; phono card, add $…
Sidebar 2: Associated Equipment
Analog Source: Fully updated Linn LP12 turntable, Ittok tonearm, AudioQuest AQ-7000nsx cartridge.
Digital Source: PS Audio Lambda II CD transport, Perpetual Technologies P-1A & ModWright P-3A digital processors.
Preamplifier: Convergent Audio Technology SL-1 Ultimate.
Power Amplifier: Audiopax Model Eighty-Eight SE.
Loudspeakers: Avantgarde Acoustic Uno 3.0, Paradigm Reference Studio/100 v.3.
Cables: Digital: Mystic Reference I2S, Illuminati Orchid AES/EBU. Interconnect: Nordost Quattro Fils S-L. Speaker: Nordost Valhalla. AC: PS Audio…