ovinewar1 - I consider floor coupling to be a hard problem, but containing some simple, executable aspects. The hard part is that various floor systems have their unique parameters of absorption, reactivity and so forth. No simple solution fits those complex factors.
One simple aspect includes stability, with a performance aspect of cabinet motion. Cabinet motion, primarily from recoil, can overwhelm driver precision, especially in the treble. Keeping the speaker stationary is sonically important. A straightforward way to do that is to shim one corner of the base-floor coupling. A hardwood wedge works well.
Many later Thiels, beginning with the 1989 CS5 had 4 adjustable feet for that purpose. The CS5 had zero-clearnace 5/16"x 18 threaded pins with integral wrench flats at the 4 corners of the base. The custom pins can be substituted with standard threaded rod lengths and locking nuts. For hard floors you can round over the flat end, and for carpet you can machine a point. That gets you a firm floor connection.
Another aspect is proper tilt to match your listening ear height. The design ear height is 3' from the floor. If yours differs, you should tilt the speaker to compensate. Position a line on the side of the speaker perpendicular to the back at 3' up. Sight that line to your actual ear height to optimize wavefront arrival for proper time alignment.
Farther into the weeds, the effective baffle tilt angle changes with listener angularity. 3' up is right when looking directly at the speaker. Most room alignments work best with the speaker pointing more straight ahead into the room. That angularity change decreases the effective baffle tilt. You must tilt the speaker back to compensate for rotating it outward. The magic spot is found aurally. Complex drum, piano or other percussive music work well for this task.