Setup and Listening
My first order of business with the Banshees was getting the placement
right. Of course, with any new speaker, I was pretty eager to just get them
plugged in and give them a quick test drive. Maximizing their potential in
my living room was paramount though, and it took playing around with their
positioning to get that.
At first, I had them placed fairly close together
at about eight feet apart. While the tone was great, the imaging wasn't
defined. Per Michael's suggestion, I placed them farther apart near the
edges of the room, about a foot and a half away from the walls. This ended up
being around twelve feet apart and about seven feet away from the listening
position. They were toed in slightly towards the listening position. It was
in this configuration that the imaging cleared right up and the soundstage
began to take definition.
Overall, the Banshees easily deliver transparent,
airy sound, with instruments easily identified on the soundstage. The
speakers feel like they disappear into the room, and what you are left with
is the warm textured sound that fills the listening space.
Without a doubt
the Banshee loudspeaker performs much better in larger living rooms, as the
driver layout is not intended for nearfield environments. In the right
living room, these sound stellar with balanced tone and precise definition
and imaging.
I spent a lot of time listening to various styles of music with the
Banshees. What I liked best about the performance was the clarity and
resolution in the midrange, through the treble frequencies. This ended up
giving the sound texture, warmth, and precision. I very much liked the way
the human voice sounded and it became my favorite material to audition on
the speakers.
Here are some specific listening notes.
Miles
Davis, ESP, Columbia/Legacy Records. Miles Davis, Wayne Shorter, Herbie
Hancock, Ron Carter, and Tony Williams round out this all star cast of jazz
legends on an album that is filled with musical excellence both in technical
performance and soulful delivery. Here the sound is balanced and each
instrument is separated from the next. Miles Davis' horn cooks on the
soundstage with a tone that isn't harsh or cutting but rather warm, smooth,
and projected with authority. Ron Carter's bass work and Herbie Hancock's
piano work combine to form a sound that is melodic, colorful, and articulated
precisely. The speakers are handling the transient response very well here,
and the bass and piano lines can be followed with ease. The sound is warm
and full of texture. Tony Williams' cymbal work has excellent resolution, and
to my great satisfaction doesn't sound harsh. It was appropriately bright but not
overly bright or tinny. On a track that featured brush work, the sound was
airy and smooth, and the sound seemed to dissipate right in front of me.
This was very pleasing to the senses.
Augustana,
All the Stars and Boulevards, Epic Records. If I would have first heard this
record on the radio, I would have easily passed it up as just another modern
rock band with a nasally sounding front runner. Fortunately, the first time
I heard this band's offering was on the Banshees in the form of a free video
download of their track titled "Boston" from the Xbox Live Marketplace. Here,
the sound is very natural and the singers voice has depth, texture, and
surprisingly doesn't sound nasally or chesty. In fact, the sound is very
airy, and all the instruments sound delicate and refined, which is something
I didn't expect to find from a garage band album such as this. The snare
drums have a nice sound with a textured snap, and the guitars drive the music
with a warm lively tone. Also, the Banshees are creating a very well defined
soundstage here, with the ability to point out instruments in their
location.
(The performance on the speakers made this album sound so good that I bought
the CD from the record store.)
Weather
Report, Heavy Weather, Columbia/Legacy Records. Probably the best reason to
explore this jazz fusion record would be to listen to the bass work of the
late great Jaco Pastorius. His style is very diverse and exciting. Here, the
speakers are playing the bass work with precision and with a quick transient
response. The bass is delivered with authority, and the lines are exciting as
they have full body and texture, and the room is filled with sound. The bass
extension is good here, but it's clear that it could also be substantiated
with a subwoofer to go deeper (as with just about every speaker out there). The percussion instruments sound great, with
deep and rich conga drums that have plenty of bite with the slaps of the
instrument.
The multilayered sounds are giving great depth to the soundstage
and all the instruments sound natural but also full of life.
Sarah
Mclaughlin, Afterglow, Arista Records. I've already mentioned that I really
favor the vocal performances that the Banshees deliver, and this record is a
great example. Sarah's voice does not have sibilance here; rather the tone
is smooth, richly textured, and has high resolution. In addition to the
vocal performances, the guitars sound real, as if they are actually in my
living room.
Conclusions
I enjoyed my experiences with the Banshee loudspeakers very much. They work
well in larger listening spaces, and they provide high
resolution (great detail) as well as clear soundstage placement. If you are on that quest to get the
ideal
loudspeaker for your home, you owe it to yourself to look Facet Audio Labs
up and put the Banshees on your short list to audition. They are as beautiful
to the eyes as to the ears.
-
Adrian Wittenberg -
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