Loudspeakers

As far as the listening position is concerned, things are similarly simple – just ignore that big bass-box on the top, and sit with your ears on the same level as the Nest midrange assembly, and you won't go far wrong. In that position the fact fenestrias sound similar to, but rather better than, a good two- or three-way speaker from the company's main fact range and with a hefty dose of bass to underpin goings-on. We've had some big speakers through our hands demonstrating much more 'character' – for good or bad – than the fact fenestrias make obvious, but there's little chance you'll consider these speakers to be inauspicious or just plain ordinary on your first acquaintance with them.

One point worthy of consideration, however, is PM's observation regarding the sensitivity of the speakers. While they present a relatively easy-going 6ohm nominal load, they fall some way short of the quoted 86dB/2.83V/1m, suggesting some decent amplifier power won't go amiss. I imagine that some of the larger Bryston power amplifiers were employed in the development here – PMC distributes the Canadian brand in the UK – and this may explain why even with the Classé Delta Pre/Mono amps [HFN Jun '21] in harness, I was aware of having to crank the level on the preamp pretty hard to stir the fact fenestra speakers into life.

Given the power on tap from the Classé amps – PM measured 400W/8ohm and 760W/4ohm – this is clearly something to be considered. It's not just a matter of needing high-quality amplification for these speakers as high power is required, too.

Given that power, the fact fenestrias can certainly deliver, rocking out with the raw southern swagger of the title track of Blackberry Smoke's You Hear Georgia set [3 Legged Records 3LG14CD]. There's fine instrumental definition and speed, all underpinned with a big, solid bass thump, and impressive soundstaging.

Groove Kings
The same is true with the latest Crowded House set, Dreamers Are Waiting [EMI 3534658], the loudspeakers giving fine insight into the performances. They lurch appealingly into 'Playing With Fire' with real drive, and just as easily slip into the easy groove of 'Start Of Something', the beautiful harmonies on this song persuasively rendered to draw the listener into the very heart of the music.

Similarly, these speakers grab your attention with the vocals on Paula Cole's American Quilt album [BMG 538668572], set against superb, if spare, backing and with fine ambience. And when the fact fenestrias get the opportunity to show their scale and weight, as in the refined yet dramatic performance of Walton's Crown Imperial, from the Dallas Wind Symphony's album of the same title [Reference Recordings RR-112], they can delight.

They deliver detail deep into the orchestra – twinkling tuned percussion and glorious woodwind and brass timbre, but for all their size these never sound like big, slow speakers. Instead, they're fast and agile, while still capable of massive slam. The slow processional theme has richness and weight and the great percussion crump at the end of that section shakes the room. Fabulous stuff.

However, you don't need massive musical forces to hear what these speakers can do. With Martha Argerich's legendary 1965 recording [Warner Classics 9029669767, 192kHz/24-bit], the pianist, then just 24, plays with vivacity and wonderful expression, and there's a great sense of ambience around the piano in the studio, plus speed, attack and lightness of touch all at once. The imaging is rock solid, and the instrument convincingly scaled without being unnaturally close-up.But then that's the hallmark of these speakers – they have all the weight and solidity of those multiple bass drivers, without ever sounding over-large or ponderous.

Stately Sounds
This is apparent with the Band Of Brothers' set A Jazz Celebration Of The Allman Brothers Band [New West Records NW6474]. It's a concept that sounds like it shouldn't work, but it does, the jazz musicians charging through 'Whipping Post', thanks in no small part to the fact fenestria's combination of weight, information and speed, driving the rhythms thrillingly. The sound is big and punchy, with really powerful, characterful brass.

And that attention to detail is once more reinforced with John Challenger's atmospheric Salisbury Meditation album [AJM AJM001, 96kHz/24-bit], helped by the way these speakers cast the organ slightly distant in the acoustic, just as it should be. The impression of walking into a cathedral and hearing the instrument playing, rather than a close-up view, is highly persuasive with Albinoni's 'Adagio'. It's a great, unforced, stately sound, complete with the resonances of the space, and a fine exemplar of what the fact fenestria can achieve.

Hi-Fi News Verdict
These flagships manage to sound suitably big and weighty, without any of the excessive bloom or slowness one might expect from those two hefty bass bins on each channel. It's a striking piece of engineering, and delivers speed and detail, along with exceptional soundstaging and an involving effortless listen. Just don't stint on the amplification, for these speakers need plenty of grip and power to be heard at their best.