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.
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.
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.”
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
“deep, powerful and lightning-
fast bass”
“the Definitives will treat you to
rare sonic delights you may
never have experienced before”
“the ST system helps instruments,
vocals, and even the recording space
come to life in a brilliant way”
“one of the rare few systems that
sounds great on movies,
but even better with music”
