Double up the speaker cables
Recently I have been using another trick of system setup to address what I consider as indistinctness in speaker performance. I recently acquired a unique speaker, in fact a model that is a literal one-of-a-kind in all of North America. I had set my sights on a review of the Kings Audio King Tower, a mid-size floor standing omnidirectional speaker which appeared twice at C.E.S. I had heard it briefly at one show, but long enough to know two things; it clearly had potential, and I wanted to be the first to review it.
As it turned out Kings Audio discontinued the model, so because of my interest in the review I was offered purchase of the speakers. I jumped at the opportunity! I figured that the uniqueness of the sound would be quite appealing and that I could work on their performance if it was not acceptable. When they arrived their definition was not up to my standard, so I kept adding speaker cables.
Doubling up on speaker cables is a very easy way to juice the performance of a single wired speaker system. The second set of cables is merely overlaid in terms of connections on top of the first. One must be absolutely certain that all connections are parallel, as one crossed connection could spell a blown amp. But the benefit is quite rewarding as there is a doubling of conductor material. That is a huge physical change, clearly audible, and I might add, highly efficacious. The most immediate impact is a focusing and highlighting of fine detail. It was so beneficial in the case of the King Tower that I ended up doubling both the bass and mid/tweeter modules. This is also an easy way to improve the bass response of the Soundscape 10 should you desire it. Doing so moved the speaker several notches toward the Finesse end of the spectrum with a more balanced amount of presence and precision.
Where the Soundscape 10 shines very brightly is in the midrange and treble, where it mimics attributes of several newer designs; some of which come to mind are the reviewed Raven Studio Ebb, as well as the brands Raidho, Monitor Audio and Jena Labs. I found both the Accuton ceramic mid and the RAAL ribbon to be well balanced on another spectrum I’ll call the “Forgiving/Precision” continuum. “Forgiving” means tipped down in timbre and sometimes with less detail. Precision means tipped up timbre and extreme definition. In terms of the American-made speakers mentioned above, I would place the Vandersteen and Chapman Audio brands more toward the Forgiving end of the spectrum, while the Von Schweikert with its Ring Radiator tweeter, closer to the Precision end. As for the others, The Legacy Whisper DSW would be closer to the Precision end and the Daedalus Ulysses more toward Forgiving. In other words, speakers can be all over the map in regards to the higher frequencies. You can typically throw a wide assortment of gear into the mix with a more Forgiving upper Mid/Treble and find the sound palatable, but need to be more discriminating when matching Precision upper Mid/Treble lest it be considered harsh and fatiguing.
I expected the ceramic mid to cause some trouble, but it never did. I thought that perhaps it would react poorly to the presence of a solid state amp, or that I would conclude there to be too much of a character difference in the drivers to blend seamlessly between it and the aluminum bass driver or ribbon tweeter. Again, I was pleasantly surprised; the combination of ceramic and ribbon was a winner!
An older recording which tests the resolve of many a speaker in that regard is the soul-funk genre Theme from Shaft by Isaac Hayes, as, “it’s one bad mother… shut your mouth! (Sorry, couldn’t resist).” The RAAL ribbon tweeter digs out an impressive amount of ambient information necessary to make the cymbal tolerable. Only a handful of tweeters have been able to render the cymbal’s reverberation cleanly; the Soundscape reproduces each strike complete with interim reverberation. Another challenge is posed by the guitar work of Joe Satriani in “I Just Wanna Rock.” It is edgy, as is the robot-like vocal, “What is your purpose?” In such instances every smidgen of detail is necessary to understand the words as well as appreciate the nuances of the playing. But a little too much brightness and woa, the performance is downright irritating! The Accuton makes Satriani’s guitar sound supple even when played aggressively. In addition, the -2dB treble attenuation switch at the top back end of the woofer module adds extra security for those who fear all ribbon tweeters are inherently harsh. I can imagine a system where harshness rules the day, where a dissatisfying shrillness permeates the sound. In such cases the switch will be a lifesaver!
Blowing out the back wall
I don’t listen at ear-bleed levels, so this paragraph is not about raucous listening levels. Rather, it is a about blowing out, or removing, the back wall of the midrange/tweeter module. One of the most endearing aspects of the Salk Soundscape design is the configurable back wall of the Mid/Tweet module. The rear baffle of the module uses implanted magnets to hold it in place, and does so commendably.
As there are two baffles, one open and the other solid, the options are: 1. Complete removal, opening the rear of the Quonset hut-like tunnel of the midrange housing, thereby allowing the rear wave launch of the Accuton driver to escape uninhibited toward the head wall. 2. Use of the grill cloth-covered open baffle which will impede the rear wave slightly. 3. A solid MDF grill cloth-covered baffle muffling the Midrange driver in a sealed cabinet. Of the three I most liked removal of the baffle entirely, very likely because I am used to the sound of panel speakers and enjoy the extra extension. The effect of the solid baffle is not unlike hearing a sealed box monitor; taut but not overtly powerful, which I did not find tremendously convincing. Conversely, the open-backed option reminds me of a bipolar tower. What is most ideal about this particular configuration is that none of the problems associated with bass drivers firing backward would apply, yet the frequencies most affecting the voice are treated. This is one of the highly rewarding aspects of the Soundscape 10’s design. In this respect the Soundscape steals a trick from panel speakers; it has a larger dynamic speaker’s subwoofer intensity in the bass, but the openness of vocals like a magnetic planar or ESL speaker. (Per Jim Salk, “There is actually another option that may be preferable to any of the above. The midrange enclosure can be filled with acoustic stuffing to any density required. This will allow a great deal of control where ambient information is concerned since the owner can adjust the density of the stuffing to suite his/her room and taste.” -Pub.)
You can get a feel for that type of effect by taking a ported speaker, stuffing a piece of foam or a rag into the port (Not too far!), then listening (at low listening levels) for the change. The driver will now have lower excursion and will seem “tighter.” The presence of an extra, time delayed wave emerging from the rear will disappear, making the soundstage seem a bit less deep, a bit more flat in those frequencies. Some people like somewhat thinner bass sound and a tight soundstage, while others find it uninspiring. With the Soundscape 10 you can have it either way, or moderated with the grill cloth baffle.
The effect on the midrange is considerable; Mandisa has a commanding Alto voice and she lets it roar on “Lifeline.” With the open backed mid cabinet she sounds more like she’s in a concert hall, while the solid baffle puts her in a studio. How much depth you want in the soundstage is affected by the delayed echo from the head wall. If the Soundscape 10 will be played predominantly at lower levels with placid music, the baffle selection will be somewhat less noticeable. However, at higher levels and with higher energy content the option is worth paying close attention to and setting for your preference. To get the full feel of the American speaker I suggest going big and removing the Midrange baffle entirely.
Good to go for HT as well
Though I did not work with the Soundscape 10 extensively in a home theater application I believe it would make for a compelling selection as a crossover speaker for both high quality stereo and HT use. It has the low end response of many taller tower speakers but sits lower to the ground, so it does not intrude as much on a large screen as viewed from a side seating position. As well, no subwoofers would be necessary as it has plenteous LF output. With the accompanying center and monitor speakers at the price it is a strong contender for a no-compromise multi-purpose audio system.
Escape with the Soundscape
The audiophile hobby is all about escaping into our own realm of music. I found that I could easily do so with the Soundscape 10. I consider it a superior example of the melding of nouveau driver technology and classic American big sound, executed in a tasteful and engaging fashion. If you are looking for a sound with a large LF platform, and forgiving yet delicate top end the Soundscape 10 would likely satisfy you immensely! But if this healthy dose of big American sound just isn’t enough for you, then I suggest you consider the Soundscape 12!
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