Loudspeakers

For example, Rebecca Pidgeon's 'Now Begins' [Parts Of Speech Pieces Of Sound; self-released 44.1kHz/16-bit] enjoyed a wonderful bass sound and delicate depiction of its percussion, plus the floaty, expansive soundstage. It was slick, modern and ethereal. But at the other end of the musical spectrum, the raw production of 'Combination' from Aerosmith's 1976 album Rocks [Columbia 474965 2] shone through, even while the precision of the S5t unwrapped the deceptively busy mix to make it sound fresh and new. Multiple guitar parts and layered vocals weaved in and out from various parts of the stage before Joe Perry locked into the centre for a fuzz-laden solo.

Equally revealing was 'Take It Easy' by The Eagles [Eagles; Rhino Records 192kHz/24-bit]. This sounded sweet and smooth in the midrange and bass, without losing any crispness to its percussion and leading edges. Backing vocals surged from behind singer Glenn Frey, and such was its resolution that my focus drifted during the main guitar solo to the banjo plucking away quietly in the background, not a detail I'm always aware off.

Angle Grinder
Back to the S5t's handling of bass and low-end detail, to which I'll say if it's on the record you'll hear it. Jastin Martin's 'Miss Me Yet' [House Of Fame; 44.1kHz/16-bit] is a fine example of R&B/hip-hop in the 2020s, blessed with samples, synthetic beats and deep bass notes, the latter given genuine extension here. Similarly, 'Stalker' from drum 'n' bass producer Aphrodite [V2 Records VVR1006952] filled the room with metallic-edged bass notes that, thanks to the loudspeaker's uniform dispersion, appeared to attack me from all angles.

That said, the S5t is more confident in its portrayal of finer bass elements, doing so with speed and grip. The syncopated drum intro to The Steve Miller Band's 'Take The Money And Run' [Greatest Hits 1974-78; Mercury 44.1kHz/16-bit] warranted a few listens to appreciate the absolute control over the kick-drum and snare, while the fullness, tightness and speed of the bass transients on Dire Straits' 'Tunnel Of Love' [Making Movies; Vertigo 800 050-2] formed a firm foundation for Mark Knopfler's vocals and Fender fireworks.

By being so dynamic, precise and fleet of foot, the S5t brings a feeling of directness to whatever you're listening to. Lalo Schifrin's funky 'Main Title' to Clint Eastwood's Dirty Harry OST [Aleph Records] sounded immediate, almost like having a live percussionist at the end of the room. Dolly Parton's recent star-studded cover of 'Let It Be' [Butterfly Records] did the same for the big, rolling piano played by Paul McCartney, while the duo's vocals were as recognisable as ever, down to Dolly's slightly pinched pronunciation.

There will be times the S5t's measured, transparent performance might not give you what you want. As an example, the blues brilliance of Taj Mahal's 'Leavin' Trunk' from the album of the same name [Columbia 480968 2] captivated with its blasts of rough-edged harmonica, but the speaker's unvarnished approach had me hankering for a bit more bloom and scale to the bassline and drums.

Back To Black
Other times though? The S5t will blow you away. Joe Bonamassa's 'High Water Everywhere' [...Live From The Royal Albert Hall; Provogue PRD 7274-2], with its heavy drumming track spread across a huge stage, was an eye-opening moment. The twang of the steel string acoustic guitar had righteous attack, the singer's vocals were projected high and far, and the speakers disappeared entirely from view.

Of course, this recording is demo-worthy and mixed to sound gargantuan, but Perlisten's floorstander did it justice. And I got the same impression from Black Sabbath's 'Symptom Of The Universe' [Sabotage; Warner Records RR2 2822], arguably the first ever 'thrash metal' track. The S5t didn't shave an ounce off the grit and texture of Tony Iommi's serrated guitar riff, while drums and bass crashed around behind. I could have been in the Black Country in 1975.

Hi-Fi News Verdict
Perlisten's S5t is more than a fine runners-up prize for those whose listening room (or budget) can't accommodate the larger S7t floorstander, as it goes about its business in mostly the same way. Imaging focus, speed, resolution and instrumental detail are all on the menu, and while its bass output isn't extravagant it still hits hard, with musicality. This is another superb speaker from the fast-expanding US marque.