Elipson Prestige Facet 24F floorstanding loudspeaker

Elipson Prestige Facet 24F

In my system, the Facet 24F produced surprising amounts of bass, so much so that I moved it away from the wall twice in an attempt to balance things out. But this didn’t really change low frequency level a great deal, so either this is the way they were designed or you need a bigger room; one that’s more than the 3.5m wide might help. I also noticed that the midrange is a little pronounced; voices and trumpets, for instance, are illuminated to a greater degree than usual while in the area between mid and bass there is a perceived suck out. The treble is a little soft/relaxed, but that’s no bad thing in my book.

What this balance confers is a tremendous sense of effortlessness, it really is unusually relaxed at normal listening levels, which can be very appealing. The flip side to this is that the sense of timing is a little slow; there is a degree of thickening in the upper bass that stops anything from happening quickly. As one visitor pointed out, the balance and presentation is not unlike the big Celestions of the 1980s, which given the popularity of such designs might make this a good choice. There are certainly enough nimble and lively speakers around so it makes sense to offer something a bit different. And to be honest I enjoyed the ease with which the Elipsons delivered all manner of material, from Herbie Hancock through Esperanza Spalding, and even London Grammar. The latter’s ‘Hey Now’ [Truth is a Beautiful Thing, Ministry of Sound] has plenty of low end on it and revealed that these speakers can keep things under control and push out a big image without too much trouble.

The image while large when it’s called for has trouble escaping the boxes, it was always thus with big wooden cabinets of the relatively affordable variety,  and while this doesn’t undermine enjoyability you do lose a bit of image precision. The compensation for this is good dynamics, a result of big drivers and good sensitivity. This means that the Elipsons can swing big changes in scale and power with ease. It’s a style that suits live recordings really nicely, Ryan Adams and the Cardinals [Live at Das Haus, archive.org] sound very much the part thanks to the low end prodigiousness and scale of image created. It sounds more like a live PA than usual, which given that it was recorded in the audience is probably right. Adams and his band clearly had a bit of a Grateful Dead thing going on, one because of the rambling nature of songs like ‘Magnolia Mountain’ and two in that they allowed fans to record the gigs. The results of both sounded excellent here. Patricia Barber’s ‘Company’ [Modern Cool, Premonition] is always a little bass heavy and with this speaker got a little too overweight, so much so that I decided to try a leaner sounding speaker cable. 

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