- Written by Robert Kozel
- Published on 02 January 2012
The GoldenEar Technology TritonCinema Two Home Theater Speaker System In Use
For my listening tests, I was using an Anthem Statement D2 processor, Rotel RB-1080 and RMB-1095 amplifiers, and cables and interconnects from Cardas, Monster and Emotiva. I used an Oppo BDP-95 as my reference media player.I followed GoldenEar's recommendation and let the speakers break in for about 60 hours before doing any serious listening. I also ran the speakers with Anthem Room Correction (ARC) which, as I expected, really smoothed out the bass response in my listening room. GoldenEar also suggested that I don't overcorrect the speakers with ARC and recommended that I set the maximum EQ frequency in ARC to approximately 1.5 kHz as compared to the default of 5 kHz. I did follow this recommendation and my perception was that this really opened up the midrange relative to using the EQ frequency all the way up to its default setting.
The first thing that struck me when listening to music with the Triton Two Towers is their amazing sense of imaging. The Tritons are able to recreate a large soundstage but at the same time they provide an exceptional amount of precision and detail. I never found myself focusing on one speaker or the other, but instead I was always engrossed in the sound that was beautifully positioned in front of me. On track four, Don't You Remember, from Adele's 21 CD, the music starts with the strumming of a guitar that softly fades behind Adele's vocals. The Triton Two Towers captured the subtle details of the guitar with ease. The intensity of the track increases as the drums start to complement Adele's soulful voice. The Triton subwoofers produced a realistic bass response in my room that blended with the music without ever overpowering or distracting from the performance. Details in the music and in Adele's voice were abundant and the Triton Two Towers just disappeared into the background.
On the Ray Charles: Genius Loves Company CD, track six, "Do I Ever Cross Your Mind?" with Bonnie Raitt, the Triton Two Towers easily allowed Ray Charles and Bonnie Raitt to be center stage in my room. Vocals were exceptionally textured and notes lingered effortlessly as the duo sang this great song. There was clear placement of instruments in the soundstage. From the detail in the electric guitar, to the snap of the drums and percussion instruments, the Triton Two Towers did an amazing job of bringing to life the warmth of these wonderful duets with Ray Charles. Sandy says that he calls this ability of the speakers to put the musicians in your room, "suspension of disbelief".
I was really amazed at how I could listen to the Triton Two Towers for hours without experiencing the listening fatigue that often happens with speaker systems. This experience was consistent for me regardless of listening volume. I shared that observation with Sandy Gross and he explained to me that the reason for the lack of fatigue could be found in the ability of the HVFR tweeter to produce sound without much of the "hash or noise" that is produced from typical aluminum dome tweeters.
For high resolution music content, I explored an exquisite Blu-ray disc titled Chris Botti in Boston. If you don't know who Chris Botti is, he is an exceptional jazz trumpet player and an amazing entertainer. This concert was performed with the Boston Pops Orchestra in 2008 and features performances with artists such as Sting, Josh Groban, Yo-Yo Ma, Katherine McPhee, and Steven Tyler to name a few. In addition to gorgeous video, the disc contains a reference quality 7.1 channel (96 kHz/24 bit) Dolby True HD soundtrack. There is easily something for everyone on this disc. On chapter five, Josh Groban performs Broken Vow and the Triton Two Towers in combination with the SuperSat 50C formed an expansive soundstage which showcased Josh Groban's amazing vocal range. On chapter seven, Chris Botti and Mark Whitfield perform a rendition of Leonard Cohen's Hallelujah. While many people only know this song as the love theme from the first Shrek movie, this version is exquisitely beautiful. The Tritons captured the wonderful interplay of Chris Botti's trumpet with Mark Whitfield's elegant guitar work. The Tritons rendered each note from both instruments with ease. The high notes never sounded harsh and the long, slow notes from the trumpet and the picking on the guitar would effortlessly linger in the room and then quietly fade until another magical note took their place. On chapter 15, Billy Kilson performs on the drums with accompaniment from Chris Botti, Mark Whitfield, and the Boston Pops Orchestra. Billy Kilson's drum work was just mesmerizing. I was really pleased with how well the Triton Two Tower subwoofers were able to create strong, subsonic bass response while not overpowering the performance. I was also impressed with how well the SuperSat 50C blended into the sound stage. The ability of the SuperSat 50C to contribute to the bass performance felt as if another small subwoofer had been added to the mix. The Tritons were positively addictive when it came to producing the beautiful music from Chris Botti and his friends.
I've never had the luxury of having a separate room for music and another for home theater, and I've always felt that speakers that perform for music do just fine for movies as well. I was definitely not disappointed with the TritonCinema Two System when it came to movies. The SuperSat 50C performed well in terms of bass response and overall vocal clarity. In Win Win, Paul Giamatti deals with family challenges and second chances. The Triton Two Towers and the SuperSat 50C presented the movie's dialog with great detail and I especially loved the appropriate transition to Bon Jovi's "Have a Nice Day."I was already very pleased with the Triton's bass response with music, and I was curious how the Triton Two Towers would handle some extreme subwoofer challenges.
In the opening minutes of the movie Priest, which is kind of a wild-west meets postwar-apocalyptic-vampire movie, a family is threatened by an unknown assailant. I was watching the characters eating dinner in a small cabin when my entire listening room begins to quake from the deep subsonic bass coming from the Triton Two Towers. I was shocked at just how much bass was coming from these relatively small towers. After shaking the room for more than a few seconds, the bass promptly comes to a dead stop as the vampire enters the room. The Triton Two Towers and the Super Sat 50C had no trouble producing this incredible bass and grabbing my attention for this scene.The SuperSat 3 did a great job with the sound effects in this movie, and I also enjoyed hearing some of Mozart's Requiem on the sound track from this film.
In Transformers, Dark of the Moon, the TritonCinema Two System did everything I could ask for in recreating this sci-fi spectacle from director Michael Bay. While the story and the acting may not be the best, this movie is all about special effects and of course sound effects. When the paratroopers are approaching Chicago, there is a scene where the rotors on the transport plane sound like they have just ripped through the room. This scene is an excellent test of bass response and the Triton Two Towers and the SuperSat 50C produced more than enough bass so that each turn of the rotor blades could be felt pushing air throughout the room. From the mayhem of the battles, the crashing of buildings, to the laser cannon blasts that could be felt throughout the room, the TritonCinema Two System managed to effectively recreate this movie in all its sci-fi glory.