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“But they didn’t sound the same. Through the Monitors, the second, final, “hidden” version of “Possession” on Sarah McLachlan’s Fumbling Towards Ecstasy (16-bit/44.1kHz AIFF, Nettwerk), sounded cooler than through the Totems. As the piano’s hammers struck the strings, they conveyed more detail than the Skys, which sounded fuller. Through the 200s, McLachlan’s voice sounded superb — I could more easily hear such nuances as the rhythm of her breathing and movements of her mouth. Through the Totems, McLachlan’s voice seemed to pop into the room, more upfront in the mix, surrounded by more space. As her voice rose into her upper register, it was as if the ceiling in my room disappeared — her voice seemed to soar above it. Its incredible presence through the Totem Skys helped convey a haunting character that lent itself well to this song’s dark subject matter.”

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