Thiel PowerPoint 1.2 Dimensions

The $1,300 Thiel Power Point sur-
round speaker is the single most
extraordinary—the best—home-the-
ater product I have encountered. It is,
for lack of a more moderate term,
awesome. But I didn’t always think so.
Over two years ago, my friend Dick
Diamond, then owner of Audio Design in
Salt Lake City, showed me a mock-up of
the Power Point that Jim Thiel had sent
out in search of feedback. My feedback?
“Has Jim lost his mind?” It was, um,
unusual looking (see the picture) and con-
trary to conventional wisdom, it was a
point-source design, not a dipolar design
in accordance with THX’s specification
for home-theater surround speakers. What
on earth was Thiel thinking?
The problem with visionaries is that
they see what the rest of us cannot see
until much later. Jim Thiel is a visionary.
I next saw, and first heard, the Power
Point at the 2000 Consumer Electronics
Show. It was a part of the most extraordi-
nary sound I heard at the show (see CES
Report, www.theperfectvision.com). What
I couldn’t tell was how much credit the
Power Point deserved in that system. I
know the answer now.
It’s a Bird, It’s a Plane…
To understand why the Power Point is so
exceptional, start by looking up. What do
you see? The ceiling. There are always
exceptions, but the ceiling is the
most universal surface in home
theaters—it is the common
denominator. As are the floor
and walls.
Audiophiles, however, have
long known that speakers
sound much better away from
the room’s boundaries. Most
home-theater owners don’t cot-
ton to the idea of speakers tak-
ing up precious floor space;
they want those speakers hid-
den in the wall. Therein lies the
relevant conundrum: How do
you extract high performance
from a set of speakers incon-
spicuously located at the
room’s boundaries?
Enter the Thiel Power Point.
This is not an in-wall design
(Thiel does offer the $1,000
Power Plane in-wall design). It is an on-
wall design of unusual configuration. It is
this configuration that enables the speak-
er’s exceptional performance. Indeed, it is
so unusual that Thiel is seeking a utility
patent on the design.
Let’s start with the punch line. The
Thiel Power Point provides nearly unbe-
lievable performance because of its
remarkable time and phase coherence
combined with the clever way it finesses
the problems of room reflections and
room coverage. First stop: the Thiel-
designed (and manufactured) coaxial-con-
figured woofer/tweeter drivers in the
Power Point. The high-output one-inch
aluminum-dome tweeter, originally devel-
oped for Thiel’s flagship $13,500 CS7.2
loudspeaker, sits in the center of a shallow
aluminum 6.5-inch woofer designed espe-
cially for the Power Point. The benefit of
the configuration is that the arrival time of
the sounds from the tweeter and woofer
are identical regardless of where the Power
Point is located. The shallow flare of the
woofer minimizes early reflections of the
tweeter’s output that would smear the
sound. Phase coherence is preserved by
AUDIO REVIEW ❘ Tom Miiller
Thiel Audio Power Point
The Perfect Home-Theater Speaker?
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How To Evaluate Speakers—Before You Buy
John Wayne: The Duke on DVD
THE MAGAZINE OF HIGH PERFORMANCE HOME THEATER
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www.theperfectvision.com
November/De ember 2000
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Issue 33
November/December 2000
Reprinted from
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using a first-order crossover (a gentle slope
of 6 dB per octave) so that when the
sounds of the tweeter and woofer arrive at
the listener’s ears, their phase will be close-
ly matched. The net result: more coherent
presentation of the sounds reproduced by
the Power Point.
The cabinet that houses the Thiel driv-
ers is the most noticeable feature of the
Power Point. There are no parallel sur-
faces in the molded plastic cabinet, thus
reducing smearing from internal reso-
nances. The drivers are mounted on a sur-
face that sits at a 45-degree angle relative
to the surface on which the speaker is
mounted. There are three significant ben-
efits that arise from this. First, since the
speaker’s sound is radiated at a 45-degree
angle from the surface on which the
Power Point is mounted, it provides excel-
lent coverage of a wider seating area. If
mounted on the ceiling, a set of Power
Points can provide optimum sound for a
larger number of listening locations.
Indeed, from a ceiling perch, the Power
Point is oblivious to furniture and other
sound-blocking obstructions. For a sur-
round speaker, this is a powerful advan-
tage. Second, when a driver is mounted
parallel to a boundary surface, wall reflec-
tions will cause a dip in frequency
response at about 350 Hz and a bump at
roughly 800 Hz. With its 45-degree
mounting, the Power Point’s woofer is
closer to the wall than one-half the wave-
length of the frequencies produced by the
woofer, virtually eliminating the frequen-
cy aberrations. Smoother frequency
response results in less colored sound and,
concomitantly, makes the Power Point
less noticeable as a sound source. Finally,
the angled mounting of the drivers
reduces the strength of the first reflections
that could smear the direct sound.
A speaker as small as the Power Point
(19 inches long with a maximum height
of 5 9/16 inches) is naturally going to
have limited bass extension, in this case a
lower limit of 75 Hz. Thus, a subwoofer
is mandatory (Thiel introduced its first
subwoofer at the 2000 CEDIA Expo
trade show). One question is whether the
Power Point will be similarly limited in
dynamic response. At only 10 pounds,
the Power Point can be mounted on any
drywall surface without alarming
Chicken Little. The 89 dB sensitivity and
nominal 4-ohm impedance (3-ohm mini-
mum) make it an easy load for amplifiers
from monaural brutes to power-supply
challenged AV receivers.
A New Standard
Although the ceiling is the optimum loca-
tion for a set of Power Points, I couldn’t
mount the review samples up there. Seems
that just as I’ve finally gotten this home
theater finished, it’s time to pull up the
stakes and head back East. It’s time for
another year of temporary housing while
we build a new home theater (house) in
Mary-land. With our house headed for the
market, I couldn’t drill even more holes in
the walls. So, the next best surface avail-
able was the floor.
After moving obstructing furniture out
of the way, I wired up four Power Points for
surround purposes—two at the 90-degree
locations and the rear pair at approximate-
ly 150 degrees. Without any speaker break-
in (they need at least 50 hours to become
full bodied in tone), I resumed a movie I
had paused the night before—Star Trek II:
The Wrath of Khan. In Chapter 9, Kirk,
McCoy, and Savik search a deserted space
station. As they move through the passages,
we can hear the subtle mechanical sounds
that help define the space. Instantaneously,
I was struck by the credibility of the envi-
ronment. I was within that station and it
surrounded me completely. But what was
most remarkable was the naturalness of
that environment; there was no sense what-
soever that I was listening to an artificially
generated soundfield. For the first time
since I entered the world of home theater, I
could not hear the machine in the ghost.
Turning my head from side to side, crank-
ing my neck all the way around, made no
difference. Not only could I not locate the
Power Points as the source of the sounds, I
could not hear fields of sound around the
speakers. It was, as is often reported but
rarely accurate, a continuous field of sound
that extended to all points. The coverage
was so uniform that it mattered not where
I sat. Only when I approached a single
Power Point and leaned directly over it
could I tell that it was producing sound.
The Power Points’ vanishing act relates
directly to another distinctive performance
characteristic, their stunning subtlety. On
program material that boasts refined
acoustic envelopment such as James Taylor,
Live at the Beacon Theatre, the only way
you will ever notice the surround field gen-
erated by the Power Points is by turning it
off. But where the ambience is more pro-
nounced, such as within the stone halls of
Elizabeth or the large arena in the
Eurythmics’ Peacetour DVD, the envelop-
ing sound changes character; it grows in
volume and duration. With the Power
Points, much more than any other speaker
I have heard, I more distinctly heard the dif-
ferences between the surround information
from DVD to DVD. Or even within one
DVD, such as when I compared the two-
channel track (using the Lexicon MC-1’s
Logic 7 surround matrix) of James Taylor
to the 5.1 track. The ambient characteris-
tics of these two approaches are remark-
ably different, with the 5.1 track being
more explicit in the decay of vocals in the
surround channels.
But what of imaging in the surround
field? You might expect speakers sitting on
the floor to produce discrete images that
adhere closely to the floor. It was a consid-
erable surprise then to discover that not
only did the Power Points cast images
throughout the surround field, they were
capable of recreating more discrete height
information than even the Magnepan
QR1.6s. For example, in the opening scene
of A Bug’s Life, a chirping bird flies down
the left side of the surround field. The
Power Points created such a credible image
of this bird that I could track its sonic flight
down the side of my room with precision
until it vanished into the left rear of the
room. Did I mention that this image was,
throughout its flight, only a foot below my
8’9” ceiling? That, my friends, is what low
distortion, phase- and time-coherent point-
source speakers will buy you in the sur-
round world.
As impressive as the Bug’s Life trick
was, the Power Points had more pleasures in
store for me. Sitting between the rear Power
Points (at the back of the room), I encoun-
tered a most unusual surround field. I was
sitting at the back of a field that was layered
three-dimensionally in front of me. During
the forest rain scenes in What Dreams May
Come, it actually sounded as if I were in a
redwood forest with the rain falling in the
trees around me. That is, the sound of the
raindrops appear from an infinite number
AUDIO REVIEW
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of points floating throughout the room, just
as rain would sound falling in the trees.
The Thiels also reproduced the beat of
dragon wings and Draco’s voice in Chapter
12 of Dragonheart better than I have ever
heard them. My only quibble is that the tim-
bre of Draco’s voice lightened slightly as it
passed from the front channel Magnepan
R/3.6 speakers to the Power Points. But the
image height, focus, and continuity of
movement were impeccable. Indeed, the
Power Points pulled off another stunt I did-
n’t think possible—they produced a solid
image directly behind me (the 180-degree
location). They repeated this trick in
Chapter 4 of The Haunting when the maid
closes the door to Eleanor’s room (this was
without the EX track engaged). Keep in
mind that the rear speakers were approxi-
mately 17 feet apart.
When put to the dynamic test, the
Power Points also shone. The Omaha
Beach scene in Saving Private Ryan was
reproduced with full dynamic impact,
although the Power Points were so precise
that the marvelous machinations of sound
designer Gary Rydstrom were for the first
time exposed as such. The collage of gun-
fire and explosions sounded more deliber-
ate than chaotic.
Moving Forward
Naturally, I couldn’t resist assigning to the
Power Points main-speaker duties (left
and right, in this case, since I had only
four on hand). Again, the imaging was a
delight, floating comfortably above the
floor at a lifelike height. So much for the
notion that small speakers create small
soundstages. More impressively, the
dynamic attack of the Power Points was
sharp and impressive. The crack of drum-
sticks on the snare drum in Steely Dan’s
Two Against Nature was reproduced with
lifelike authority. I did, however, notice
that the Power Points were slightly for-
ward in the treble, though not objection-
ably so. I find it intriguing that this sonic
characteristic was not noticeable when
the Power Points were used as surround
speakers. Nevertheless, I wouldn’t hesi-
tate to use seven Power Points, mounted
on the ceiling, for a state-of-the-art home
theater (and I intend to include wiring in
my new home theater for just this pur-
pose). The Power Points had no problem
with the acoustic volume of my 8,000
cubic foot space, and I suspect that their
diminutive size will make them a natural
for smaller venues.
In all my years of reviewing, I have
never encountered a product that so com-
pletely met a need as the Power Points
meet the needs of high-performance
home theater. In this case, Thiel’s solution
to the aesthetic demands of home theater
has yielded a breakthrough in sonic per-
formance. The Power Points are not flaw-
less, but they are so far ahead of their
competition that they might as well be.
Years from now we will look back and
mark the arrival of the Thiel Power Point
as the herald of a new age in high-per-
formance home theater. And I wouldn’t
be surprised if I were still using the Power
Points at that time.
AUDIO REVIEW
THIEL AUDIO
1026 Nandino Boulevard,
Lexington, Kentucky 40511
Phone: [phone]; fax: [phone]
www.thielaudio.com
Source: Manufacturer loan
Price: $1,300 each
MANUFACTURER INFORMATION
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