- Written by Piero Gabucci
- Published on 12 March 2009
To skip ahead just a bit I ran the pair in stereo mode for movies and I was absolutely blown away! Holy smokes! As much detail and definition existed in just a pair, I would have loved a full surround compliment of STS's, (the new Mythos Nine center channel using the same drivers as the STS is now available at $799). It didn't take long for me to be totally influenced by my experience with music on Blu-ray with Dave Mathews live performance at Radio City Music Hall. This mostly acoustic duet with Tim Reynolds has amazing clarity and dynamics and the STS immersed you in the show, front and center.
My mind kept telling me I should hear edge and brightness yet my ears knew I heard the warmth of acoustic guitars and Dave Matthew's unmistakable voice is solidly clear, silky and gravelly.
As much as the volume control for bass is convenient, I found myself constantly tinkering with every source - a bit less for some and a bit more for others. Is that good? Absolutely but it sure kept me jumping out of my chair for the slightest adjustments until I was satisfied for all inputs. The huge advantage is that of placement - the STS is very forgiving as dialing up gain on either speaker is simple. I ran some mono low test tones switching between left and right until I achieved what was best for my room, moving them around continuously. Does this compensate for the imperfections in my room, certainly not but it sure gave me options. Add to the fact that the STS is said to dip down to 16 Hz, and bass never became an issue, in fact a supreme bonus.
Not to overemphasize bass, but it's rare at any price range that such deep low impact is heard and felt and with such control. And yet just as you begin to lose yourself in the lower frequencies, you're jolted by a sparkle in the upper highs or the warmth and color in the midrange.
I've never been a huge fan of Norah Jones yet with so much new vinyl coming out I couldn't help pick up a recent release of her 2007 performance Live in Austin that I've seen on DVD. My impression from the STS was intimacy – not to say soundstage was not open and wide, but her voice, piano and guitar playing were immediate, centered perhaps involving the close microphone setup.
It's rare that during a review I'll play a full selection as I did listening to Mozart Requiem, K 626, Concentus Musicus Wien, with Nikolaus Harnoncourt conducting on SACD, I was immersed in the dynamic range of the chorus and the wonderful scaling of voices. The Supertowers were every bit so.
So warm it felt over the top lush playing Harry Connick Jr.'s CD, Blue Light. All horns sounded lively, brassy, and fat. Connick's voice is soft and mellow, yet articulate. The conventional big band sound stage is elegantly present, with the orchestra spaced well behind the crooner, except during those explosive trumpets and lively clarinets.
Marta Gomez's CD Cantos De Agua Dulce beautifully recorded by Chesky Records is still a wonderful demonstration disc for its musical simplicity. Chesky recognizes that her voice is first and foremost – although she is hardly forceful, her voice is soft and sultry and the recording could easily be a small ensemble in your living room. The Mythos STS captures this essence of delicacy and intimacy by beautifully placing her voice amongst the distinguishable instruments of the acoustic guitar, electric bass and small percussions.
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