Thiel ss2 Brochura
P r o d u c t R e v i e w
4
www.soundstage.com
Low Frequency Extension determines how extended the bass
response will ultimately be. The lower the better, right?
Theoretically, yes. However, at some point, you may tax the
SmartSub beyond its capabilities, especially with material that
has a great deal of low-frequency energy. The idea, therefore,
is to find the point at which the SmartSub can keep up with
the signal fed to it and deliver bass that's as low and powerf u l
as possible. I settled around 32Hz in my large room. For long-
term use, I would be a candidate for either a larger SmartSub
or another SS2.
response will ultimately be. The lower the better, right?
Theoretically, yes. However, at some point, you may tax the
SmartSub beyond its capabilities, especially with material that
has a great deal of low-frequency energy. The idea, therefore,
is to find the point at which the SmartSub can keep up with
the signal fed to it and deliver bass that's as low and powerf u l
as possible. I settled around 32Hz in my large room. For long-
term use, I would be a candidate for either a larger SmartSub
or another SS2.
Low Frequency Level controls how much bass boost or cut (up
to 6dB) will be produced by the main speakers and/or Smart S u b .
I tried this setting at every level, and in every instance preferred
0 — no boost or cut. In most instances, this is where you
should keep this setting, but it can be used to add or subtract
bass as your main speakers and room may require. Err on the
side of being conservative, although experimentation with the
remote control is easy.
to 6dB) will be produced by the main speakers and/or Smart S u b .
I tried this setting at every level, and in every instance preferred
0 — no boost or cut. In most instances, this is where you
should keep this setting, but it can be used to add or subtract
bass as your main speakers and room may require. Err on the
side of being conservative, although experimentation with the
remote control is easy.
F i n a l l y, Crossover Fr e q u e n c y, which is available only when you
use the SmartSub and Integrator in crossover mode, is perhaps
the most critical of the three. I asked Jim Thiel about it, and
his suggestion was a setting 10Hz higher than the -3dB point
of the main speakers (another value you have to enter into
the Integrator). Instead of going into the theory behind this
parameter, of which there is a great deal, I will just say that
Jim Thiel's recommendation will likely work very well, but you
can also tune this by ear with the remote.
use the SmartSub and Integrator in crossover mode, is perhaps
the most critical of the three. I asked Jim Thiel about it, and
his suggestion was a setting 10Hz higher than the -3dB point
of the main speakers (another value you have to enter into
the Integrator). Instead of going into the theory behind this
parameter, of which there is a great deal, I will just say that
Jim Thiel's recommendation will likely work very well, but you
can also tune this by ear with the remote.
As I mentioned, I used the SmartSub and Integrator with very
different speakers, testing the system in both crossover and
augment modes. With the Thiel CS2.4s, Paradigm S8s and
Merlin TSM-Ms, the blend with the subwoofer was perfect.
H o w e v e r, with the Wilson Audio MAXX 2s, the SS2 just couldn't
provide enough bass below the big MAXX 2s in augment
mode, and didn't provide the same low-frequency detail and
bloom of the MAXX 2's woofers in crossover mode. This didn't
surprise me. The only reason anyone would add a subwoofer to
the MAXX 2s, which have 10" and 13" woofers and a quoted
-3dB point of 21Hz, is to re-create the very lowest organ notes
at realistic levels, in which case more than one SmartSub is
required. The MAXX 2s have wonderful bass, and trying to
blend them with just about any subwoofer, even one as
advanced as the SS2, is mostly an academic exercise. Thus, the
listening comments that follow are based on the use of the SS2
and Integrator or passive crossover with the other speakers
I've mentioned.
different speakers, testing the system in both crossover and
augment modes. With the Thiel CS2.4s, Paradigm S8s and
Merlin TSM-Ms, the blend with the subwoofer was perfect.
H o w e v e r, with the Wilson Audio MAXX 2s, the SS2 just couldn't
provide enough bass below the big MAXX 2s in augment
mode, and didn't provide the same low-frequency detail and
bloom of the MAXX 2's woofers in crossover mode. This didn't
surprise me. The only reason anyone would add a subwoofer to
the MAXX 2s, which have 10" and 13" woofers and a quoted
-3dB point of 21Hz, is to re-create the very lowest organ notes
at realistic levels, in which case more than one SmartSub is
required. The MAXX 2s have wonderful bass, and trying to
blend them with just about any subwoofer, even one as
advanced as the SS2, is mostly an academic exercise. Thus, the
listening comments that follow are based on the use of the SS2
and Integrator or passive crossover with the other speakers
I've mentioned.
SmartSubwoofing
Once the SmartSub system is sited, set up, adjusted and integr a t e d ,
what most defines its performance is the inability to discern
the subwoofer's position— localization effects are nonexistent.
Many (most) subwoofers can augment bass to a noticeable
degree, but few can do so while achieving sonic invisibility. So
what most defines its performance is the inability to discern
the subwoofer's position— localization effects are nonexistent.
Many (most) subwoofers can augment bass to a noticeable
degree, but few can do so while achieving sonic invisibility. So
often reviewers will ask the rhetorical question "Where is the
subwoofer?" when they encounter speakers with very good
bass performance. With the SmartSub system, that question
becomes, "Where are the large floorstanding speakers?," so
thoroughly does the SmartSub blend and disappear.
subwoofer?" when they encounter speakers with very good
bass performance. With the SmartSub system, that question
becomes, "Where are the large floorstanding speakers?," so
thoroughly does the SmartSub blend and disappear.
Naturally, I pulled out some favorite recordings that have
noteworthy bass: Harry Connick's She [Columbia CK 64376],
Walter Becker's 11 Tracks of Whack [Giant 24579-2], Suzanne
Vega's Nine Objects of Desire [A&M Records 31454] and Holly
Cole's Temptation [Metro Blue 7243 8 31653 2 2]. All were
rendered with tremendous low-frequency power and extension,
but also with exacting finesse and bloom. There was more bass
a n d
noteworthy bass: Harry Connick's She [Columbia CK 64376],
Walter Becker's 11 Tracks of Whack [Giant 24579-2], Suzanne
Vega's Nine Objects of Desire [A&M Records 31454] and Holly
Cole's Temptation [Metro Blue 7243 8 31653 2 2]. All were
rendered with tremendous low-frequency power and extension,
but also with exacting finesse and bloom. There was more bass
a n d
better bass— exactly what we want from a subwoofer. The
opening of "Joe Slam and the Spaceship" from S h e gi v e s
woofers and subwoofers seizures, but the SmartSub didn't rattle
or bottom out. My listening room is rather lossy and on a
concrete slab, but the SmartSub still caused the doors and
windows to chatter.
woofers and subwoofers seizures, but the SmartSub didn't rattle
or bottom out. My listening room is rather lossy and on a
concrete slab, but the SmartSub still caused the doors and
windows to chatter.
But what I kept coming back to was the way the SmartSub
disappeared. Even when a track's bass energy was squarely in
one channel, as with the bass guitar on "Virtue" from Ani
DiFranco's Up Up Up Up Up Up [Righteous Babe RBR013-D],
the SmartSub never shifted or otherwise changed the image,
except to extend the low frequencies of the bass guitar. When
the SS2 was set up in the far left corner, the bass guitar in the
right speaker did not drift. This suggested to me that Thiel is
onto something significant with its work on room boundaries
in the setup and configuration of the SmartSub.
disappeared. Even when a track's bass energy was squarely in
one channel, as with the bass guitar on "Virtue" from Ani
DiFranco's Up Up Up Up Up Up [Righteous Babe RBR013-D],
the SmartSub never shifted or otherwise changed the image,
except to extend the low frequencies of the bass guitar. When
the SS2 was set up in the far left corner, the bass guitar in the
right speaker did not drift. This suggested to me that Thiel is
onto something significant with its work on room boundaries
in the setup and configuration of the SmartSub.
One thing the SmartSub did that other very good subwoofers
also accomplish is spreading the soundstage laterally and
imbuing it with a more physical presence. The soundstage
sounded bigger and more three-dimensional due to this
"ambient bass." Cowboy Junkies' Whites Off Earth Now [RCA
2380-2-R] is a live recording made with a single microphone,
and with the SmartSub system in use, the performers sounded
bigger and more sculpted, the entire presentation seemingly
swelling in all directions. This is one of the uncelebrated benefits
of a very good subwoofer, and one of its defining characteristics
as well. Subwoofers aren't just about bass; they can enhance
the presentation in other ways, which is what the SmartSub
system did.
also accomplish is spreading the soundstage laterally and
imbuing it with a more physical presence. The soundstage
sounded bigger and more three-dimensional due to this
"ambient bass." Cowboy Junkies' Whites Off Earth Now [RCA
2380-2-R] is a live recording made with a single microphone,
and with the SmartSub system in use, the performers sounded
bigger and more sculpted, the entire presentation seemingly
swelling in all directions. This is one of the uncelebrated benefits
of a very good subwoofer, and one of its defining characteristics
as well. Subwoofers aren't just about bass; they can enhance
the presentation in other ways, which is what the SmartSub
system did.
And so it went with recording after recording. As the Smart S u b
was called on to increase the weight and reach of the low
frequencies, it did so. Yes, I could muck up the sound by
changing the values entered into the Integrator, increasing
the Low Frequency Level especially, but when used properly,
the SmartSub system did exactly what it was engineered
to do. The SmartSub SS2 and SI 1 Integrator are expensive,
$9300 together, but if you have Thiel speakers, you can save
a chunk of money by going with one of the passive crossovers,
and for strict LFE use you don't even need this. On grounds of
was called on to increase the weight and reach of the low
frequencies, it did so. Yes, I could muck up the sound by
changing the values entered into the Integrator, increasing
the Low Frequency Level especially, but when used properly,
the SmartSub system did exactly what it was engineered
to do. The SmartSub SS2 and SI 1 Integrator are expensive,
$9300 together, but if you have Thiel speakers, you can save
a chunk of money by going with one of the passive crossovers,
and for strict LFE use you don't even need this. On grounds of