Thanks for the kind words!
Of course my answer on being a user is hopelessly biased as I'm the one responsible for voicing so you'd kind of expect me to gush, but there really is nothing on my radar I'd do differently. I really enjoy this as an all around headphone, I use it for pretty much everything right now and to me it's the most comfortable headphone in the line.
I've been using a DX220 with Amp 8 to wander about the house for chores, cooking, etc and the TT2/m-scaler for my main home system, a 2Go/Hugo 2 for the bedside, and a SMSL m500 at the home office. At work I'm running an Yggy driving a Liquid Glass with some Tungsol "Mickey Mouse" 12SN7GTs which throw a stunning soundstage, and an Asgard 3 on the workbench, which keeps surprising with it's smoothness and resolution (what a fantastic piece of budget kit). Everything runs off a Roon server. My home unit is a custom Linux server by Mojo audio with linear power supplies and a stripped down OS and everything running RAM Root, at the office we run a Roon NUC install on a LAN with Aloo Signature Pro endpoints.
I keep blissing out with the smoothness of the tone, rendering for vocals, soundstage, resolution, and the bottom end for electronica. I also really enjoy percussion and strings with the smoother top end the AMTS delivers, it just sounds more real/live to me, much more so than my speakers for that matter. A key thing I like about the vocals is the resolution without added breath/grain. I haven't heard others discuss this but I think a key issue many headphones have is rendering the upper mids relative to the mids. When I listen to vocals what I hear is that the tone and balance of voice just sounds right. When I listen to live acoustic singing or even just spoken word voices don't sound anywhere near as breathy as many headphones seem to make them. To me, Stealth's vocal rendering is really honest; it conveys chest without boxiness or boom, breath without excess breathless, lip sounds, and sibilance as close as I've heard to "real people" without amplification.
Right now I'm listening to Diamond Mine by King Creosote and John Hopkins and it's like it was made for the album. Hopkins' low electronica notes come through with pressure and clarity and no fuzz, the opening recording of a little shop really highlights the ambience of the room, vocals are detailed and really present, and the layering of the harmonies is really articulate with great lateral and front/rear layering. Before that I was listening to King Hannah's track Meal Deal and enjoying the thunderous bass and the layered distortion of the guitars at the end, as well as the explosive dynamics of the track. Really cool little Indy album by Hannah... Last night I listened to some of the stunning Engegardkvartetten string quartets, they are among the best classical recordings I've heard and I really love hearing the finger work and bowing, try the Red/Yellow/Blue albums...