“deep, powerful and lightning- fast bass”
At one point in the chase, for example, the evil Terminator (Loken) attempts to dispose of the good-guy Terminator (Schwarzenegger) by dragging him through the cab of an oncoming fire truck. Through many speaker systems the resulting collision produces nothing more than a generic loud noise, but the ST system — thanks to its superb detail and pitch definition — lets you hear the unmistakably metallic “claaAAnk” of the heavy-metal Schwarz-inator plowing into the nose of the truck.
Similarly, in the final shootout scene from Open Range, the ST system displays raw power (delivering the ear-splitting “craaccKK”of individual gunshots) as well as impressive textural subtlety. You can hear the ratcheting “clicks” of Colt revolvers being cocked, the sharp “whir” of shards of wood sizzling through the air as shots go astray, and the gentle moan of the prairie wind in the background. The point is, the ST system weaves together small, seemingly insignifi- cant details to create a fabric of sheer realism that is captivating.
“the Definitives will treat you to rare sonic delights you may never have experienced before”
MUSIC PERFORMANCE But as superb as the Mythos ST system is in a home-theater context, it is really at its best with music — and the higher the resolution the better. In fact, the biggest “problem” you might encounter is finding electronics, source components, and recordings good enough to tap its full potential.
Let’s start with the basics. The ST system is sensitive and easy to drive, in part because its powered subwoofers shoulder the lion's
share of the bass workload. Further, the ST system offers smooth, neutral tonal balance; delicate and extended highs; deep, powerful, and lightening-fast bass response; and the ability to resolve very fine levels of sonic detail. And therein lies the genius, but also the only potential drawback, of this system.
“one of the rare few systems that sounds great on movies,
but even better with music”
The good news is that the ST system can clarify subtle textural and dynamic details that other speaker systems (even quite good ones) are apt to miss. For instance, it shows how soft outdoor sounds — the sound of birds and insects chirping or of a gentle passing breeze — contribute tremendously to the pastoral ambience and overall vibe of “The Park” from Feist’s The Reminder [Cherrytree /Interscope]. But the not-always- good news is that the Definitives can also reveal sonic shortcomings in associated equipment and recordings. For example, the recording quality on Feist’s vocals varies considerably from track to track, ranging from dreamy smoothness on “How My Heart Behaves” to an almost hard-edged sound on the closing chorus of “The Park” (the result of overly close microphone placement). These changes are easily heard. It’s not that the STs are finicky, but rather that they are honest; for better or worse, they report whatever they “hear.”
“the ST system helps instruments, vocals, and even the recording space come to life in a brilliant way”
When recordings are spot-on, as with Sara Hickman’s glowing sweet vocals on “In the Fields” from Shortstop [Elektra], the Definitives will treat you to rare sonic