Thiel Owners

The 3.7s for sure were not as bad a load as the 7.2s.  I owned 2.3s before the 7.2s and now have 3.7s.  I also have SCS2s (using them for side and rear surround but had them as mains in the bedroom system of my old house).  When my friend worked at a local hifi shop many moons ago, I helped deliver most of their modes from the late 1990s for about 6 years. I currently drive my 3.7s with Class D (Modwright KWA 150SE before that and Bryston 14BSST before that and a smaller Bryston SST before that).  The 7.2s were in a large 2 story room and would shut down on a regular basis from the load presented to the Bryston 14BSST (they made a 20 amp version but I didn't have a 20 amp circuit).

ronkent:  I have owned my 2.2's (#991+#992) from 1992 to the present, and I haven't been seriously looking to replace them. I have had an interest in the 2.4, 2.7, and especially the 3.7, but the investment needed to make the change hasn't made sense to me given how much I like my 2.2's. Also, the 2.2's are not so big that they dominate my living room, and the natural cherry of the speakers is a perfect match for the wall of built-in cherry cabinets in the room. 

My home theater in a different room includes five Powerpoint 1.2's and a SS1 sub in a 5.1 configuration, so I have a very positive appreciation for the excellence of Thiel's coaxial tweeter/mid designs. I can see how having a combined tweeter/mid in a floor-stander like the 3.7 would eliminate some of the issues that can arise in the 2.2 if the vertical listening position isn't just right. 

@tomthiel loved the story about Nelson Pass. I googled it and came up with this post from the master himself on another board. I’ll highlight a snippet from his post here: "It was the perfect high end audio product: Exotic, inefficient, expensive, unavailable, and toxic."

Here’s the full post from Nelson:

The "ion cloud loudspeaker" used photocopy
machine ionizing nichrome wire strung in a flat
array a bit like a window screen, but with more
space between the wires, and charged to a variable
DC potential of about 10 KV.

This screen developed a layer of ionized air, and was
enclosed between two stators, much like an electrostatic
speaker, except that instead of a charged plastic diaphragm,
you had a charged semi-flat layer of gas, and you could
push-pull it with high AC voltages on the stators.

It worked fairly well, and gave new meaning to the word
"transparency".

It also had several flaws, one of which did result in a
trip to the local emergency room with breathing problems
similar to those sometimes experienced by arc welders and
caused by extended exposure to ozone.

The Wall Street Journal printed my comment:

"It was the perfect high end audio product: Exotic, inefficient,
expensive, unavailable, and toxic."