Salk Sound SS9.5 speaker Review

Bigger and heavier

Additional important points in regard to the design involve the much-appreciated height and heftiness of the cabinet of the SS 9.5, topping out at 46” and 112 pounds, which is commendable. Pay attention to the weight of a small- to mid-sized speaker’s cabinet. When a speaker is 3.5’ to 4’ tall and weighs in the range of 60-70 pounds (versus the SS 9.5’s 112 pounds), you should expect to hear the cabinet ringing when played at higher levels. I do not prefer to hear that much of the cabinet singing along with the drivers, and frankly, I probably would not review such a speaker.

There are many height-inhibited speakers near the $10K price point. In the Salk SS 9.5, the Satori and Audio Technology drivers are elevated well off the floor, which is a thoughtful move by Salk. There is little to be done to fix a stubby speaker because the locus of the source of the midrange and tweeter output is crucial to fixing the scale of the soundstage, and simply tilting a short speaker’s baffle back does not entirely accomplish the trick. In having a well elevated mid/tweeter set, the locus of the SS 9.5’s midrange and tweeter output moves in the direction of larger and pricier speakers when it comes to producing a large-scale soundstage. Driver selection, upgraded wiring and crossover components, the robustness of the cabinet and its height all add to the appeal of the SS 9.5, and put some distance between itself and many mass production speakers.

A particular amp recommendation for the SS 9.5

I normally do not make specific amplifier recommendations for speakers, but I offer one now to help potential owners maximize the performance potential of the speaker. In what follows it should be recognized that I am not suggesting the SS 9.5 can only sound terrific with a particular amp, but that it does sound terrific with the recommended amp. The amplifier on review that is being recommended is the Legacy Audio i.V Ultra. Note that this amp is discussed on the Legacy Audio site as an HT amp. Aside from indicating that it can be configured to have more than two channels, referring to it as an HT amplifier is woefully inadequate to indicate its design and capabilities. Consider the i.V Ultra series by Legacy to be not only superior to normal HT amps, but superior to other genres of amps in general, chiefly, solid-state class A or A/B, and tube amps, including SET, Triode and Pentode!

I feel so strongly about this particular recommendation that I will give you some ordering guidance, something I have never done in a review previously. The amplifier comes in different configurations from the i.V Ultra (“Ultra” build has separate power supplies for each channel) having from 1-4 channels, or the lower priced “i.V” build from 3-8 channels, which is better suited to high quality HT applications. Though I did not explore the HT dimensions of the amplifier, I suspect a blend of the i.V Ultra channels for the stereo speakers with the less costly i.V build for the surround speakers would be a winning formula. For those pursuing extreme systems, I recommend discussion with Legacy about amplification needs.

While I am discussing multi-channel and home theater applications, Salk Sound also builds bookshelf speakers suitable for high quality surrounds, as well as center channel speakers and four different Rythmik servo-controlled subwoofers. The company offers consultation on custom designs for those looking to bring something unique to life. Based on the presumption that Salk builds subs, surrounds and center speakers as well as mains, a full-blown HT setup with Salk products would be an impressive installation.

For the review I requested two i.V4 Utra units at the recommendation of Bill Dudleston of Legacy, as he indicated the Ultra build is clearly superior. Two units also allowed me to write the article “Audiophile Law: Burn In Test Redux,” which I strongly recommend as a must read for persons interested in tweaks. I am also using the two units to drive the Legacy Audio Whisper DSW Clarity Edition’s three sets of inputs, and when desired, the Legacy EXTREME XD Subwoofer via the speaker level inputs. Finally, in yet another form of system setup, two amplifiers allow me to place them next to speakers, which allows use of shorter speaker cables. When I use the PureAudioProject Trio15 Horn1 in Landscape orientation, I place the amps on the built-in speaker stands which hold the speakers aloft horizontally. I have 3’ speaker cables that reach efficiently from the amps to the speakers’ binding posts.

Along with this amp recommendation, I suggest that fans of bi-wirable speakers get their SS 9.5 with bi-wire capability, thus allowing use of the four channel i.V4 Ultra Amplfier. The review speaker is single wired, so I can only work with a limited performance due to the absence of the bi-wiring. I have done enough work with bi-wirable speakers to suspect I am not hearing the ultimate expression of the SS 9.5. Even with one hand behind its back, it’s a great result. For anyone who wishes to reach for the stars, the cost for the bi-wired speaker and those extra channels is so defensible relative to the overall cost that it would be a travesty to miss those advantages.

Jim and his team may strongly disagree with the recommendation of the SS 9.5 being set up for bi-wire use, and that does not bother me. Some speaker manufacturers are committed to single wiring as their preferred configuration, and I do not quibble with the arguments presented in favor of it. Overall speaker coherence is the number one most coveted aspect of single wired speakers, and I do not doubt that the SS 9.5 would exhibit a certain degree of lesser driver coherence in a bi-wire build. So what? That’s right, so what? Driver coherence is on a spectrum, as are all the other parameters of performance. In my experience, the advantages to bi-wiring fundamentally outweigh the disadvantage of slightly reduced coherence. With additional amplifier power one gets more dynamic capabilities and more linear control over driver movement, a pronounced shift toward ease of reproduction of the signal, cleaner bass with better transients, and often a slight shift toward an even richer, warmer sound without sacrificing detail.

Another potential winning aspect of a bi-wire capable speaker is the option to compare two sets of speaker cables, versus one set of speaker cables and a fine set of jumpers from the one set of speaker posts to the other. If jumpers are used, the owner should compare no less than three sets, and also compare jumping from the bass posts of the speaker versus jumping from the mid/treble posts, as there will be a noticeable difference in the cleanness of the driver set receiving the speaker cables directly, and in the tonal balance of the speaker.

A new series of speakers from a large manufacturer strikes me as one of the strangest developments in recent speaker design. I first heard the floorstanding model at a dealer in Canada while on vacation. I was bothered immediately by the stuffed, diffuse sound that came through the sieve of a grill. The grill is given a very fancy term, and the brochure claims for the grill to filter out detrimental out-of phase frequencies. I wonder how many in-phase frequencies are blocked by it? My suspicion of serious performance shortcomings was validated by a Lab Report in another publication. As I anticipated, if one reads between the lines, the measurements are awful. A further encounter with the speaker line did not sway my impression of the design.

Meanwhile, Jim Salk and team continue to incrementally elevate their game without perforated plates in front of drivers. There is no weird design going on with the SS 9.5, it’s all in the open. The speaker is honest, the performance straightforward. Honor is given to the beauty of the drivers and careful selection shows itself artistically. The speaker sounds like it, too. Without radically escalating prices, Salk Sound has elevated the listening experience for the ardent audiophile, and deserves to sell a slew of the SS 9.5. The fact that the aforementioned questionable speaker has active bass does not save it from the blockage of the waveform. Someone who wants a panel sound without the benefits of a panel character can gravitate toward them. For enthusiasts who demand pristine imaging, pinpoint location of artists on the stage, and stunning coherence, stick with the SS 9.5.

Musical selections

The SS 9.5 is not only refined in its appearance, it is capable of doing justice to refined music. I do not play much Rock music anymore, as it grates on my nerves. The exception is vintage Rock, which has far more character in terms of musicianship, and typically was recorded with less compression than today’s releases. I also like story tellers, such as Harry Chapin and Gordon Lightfoot.

I raved previously about the Legacy Audio i.V4 Ultra Amplifier’s capabilities, but the amp is not a mismatch for the finesse of the SS 9.5. Both Lightfoot’s and Chapin’s baritone voices carry quite nicely with the Audio Technology midrange. The speaker does not gain in harshness as it is driven harder. The sonic character of the SS 9.5 is not harsh, like Corian, but shows a warmer solidity, such as a natural hardwood. The treble avoids an etched character, which means that if you do wish to chase edgier Rock or harder-edged artists, you will not find your ears bleeding at the end of listening sessions. One of my all-time greatest tests of shrillness factor and harshness are the bands Simple Minds and Tears for Fears. Much to the credit of the SS 9.5, such pieces as “Seven Deadly Sins” and “Advice” do not stab such that the level has to be brought down.

Meg Meyers has a remake of Kate Bush’s “Running Up That Hill” that is worth hearing. The video is also worth watching, as it was hand colored by 2,130 children! Meyers twists her phrases to achieve a flick, a stab of emphasis, on her syllables. The synth is rendered quite well by the SS 9.5, considering that my references for great synth are the Legacy Audio Whisper DSW and the King Sound King III electrostatic, far larger speakers. Lyrics are rendered cleanly by this speaker, and its precision should satisfy demanding lovers of definition from dynamic speakers.

Guitar, such as heard in “A Taste of Honey” by Ulf Wakenius, is a treat, for the shimmering strings hold in the air beautifully. Morgan James has become a Jazz singing sensation, and her evocative “Call My Name” showcases the SS 9.5’s ability to handle powerful soprano singers without strain. One of my favorite demo pieces lately is actually three versions of the song “Holy Water,” performed by We the Kingdom. The three versions are (1) in studio, (2) “church sessions” (live), and (3) acoustic live, all of which inspire! It was sheer delight to hear the SS 9.5 handily reproduce each of the recording venues, replete with the nuances of the large band and choir. The SS 9.5 has a high degree of flexibility in regards to beautifully rendering a wide variety of genres of music, and this means it will have merit for serious audiophiles. I neither had to tamp down the speaker’s upper energy band, nor pinch it to liven it up; tonality and dynamics are beautifully balanced.

Remember Thiel speakers?

Toward the end of the review period, I had a visit from Jeff, one of the audiophile locals. It had been nearly a year since members had visited homes, and it was refreshing to rekindle the audiophile friendship. Jeff was sporting his new hearing aids, and as he listened approvingly to the SS 9.5, he made an observation that was spot on: “These remind me of the old Thiel speakers.” Precisely! The SS 9.5 does evoke memories of that heralded brand, especially models such as the prodigious CS5 or CS 7.2! I adored the sound of Thiel speakers when I was in my thirties. I used to drive 1.5 hours one way on a regular basis to hear them and other fine components. I coveted their solid, linear, coherent sound coupled with strong, accurate bass. Thiel meant high quality sound back then. I was an owner of used Vandersteen 2CE speakers, figuring that I would never be able to buy speakers as glamorous as a Thiel. It is a very good memory for me to overlay the performance of the SS 9.5 atop what I remember of those vintage speakers. It became popular to damn Thiel Audio after the death of Jim, as the company strayed from the concentric midrange and tweeter design. I recall hearing the big tower, the TT1, at a show and thinking that, at least in terms of some of the new, non-concentric models, based on performance the condemnation of the company was not entirely deserved. That big tower was very good, and the SS 9.5 causes me to recall that impressive design.

I had determined to use the SS 9.5 as the speaker in my aforementioned article revisiting the nearly decade old work, “Audiophile Law: Thou Shalt Not Overemphasize Burn In.” Knowing that the placement was not critical and all that was necessary was consistent test conditions that would allow a comparison, I left the Legacy Audio Whisper DSW Clarity Edition Speakers that were in the room toward the front corners in place and set the SS 9.5 speakers directly in front, about one foot forward of them with the chamber stuffed and closed, and with no toe in. The SS 9.5 were now positioned much closer than I had placed other multi-way dynamic speakers, about 8 feet from the listening chair and about 7 feet apart. This was getting to be a nearer field positioning for me, but suitable for the task.

As I began to gain familiarity with the setup in preparation for the test, I was struck by how gorgeous the SS 9.5 sounded. I was enjoying it more than any of the other locations I had placed it. It seemed the new speaker position had removed some bounce back from the side walls that I did not realize could be improved. I was stunned by the openness and character of the soundstage, thinking it was quite like panel speakers I have used!

This experience has me thinking of repositioning dynamic speakers, and perhaps you should rethink it also. I would not normally place a speaker like the SS 9.5 so close and narrowly, but it worked tremendously well. I feel the Salk speaker showed more impressively in this closer positioning than in farther positioning. It was smooth and subtle enough to not feel as though it was losing much in terms of coherence, and allowed me to lower the listening level somewhat, which made the event more relaxing.

As expected, the SS 9.5 easily allowed me to conduct a critical listening test with a variety of music. Persons seeking a highly resolving speaker without a too-aggressive character need to consider the SS 9.5, and should experiment with positioning them well into the room and closer to the listening chair than might be expected.

Avoidance of fatal flaws = premium speaker

The SS 9.5 is a rare speaker in that, given the inherent limitations resulting from building to a $10K (custom review model $11K) price point, it has no critical flaws. It has the requisite height, a sturdy cabinet with exquisite aesthetics, removable grills, sensationally refined drivers, and as a bonus the potential to adjust the damping and openness of the top portion of the cabinet. The performance is rich in timbre with copious resolution without stridency, making it not just a sensible pick at this price point, but a compelling and eminently wise selection for upper-end listening.

I thought the Soundscape 10 to be an admirable design, but the SS 9.5 elevates Salk Audio’s game. Speaker buyers on the lookout for an exceptional measuring and sounding, reasonably priced tower speaker should consider the SS 9.5 capable of going toe to toe with the likes of the Vandersteen models Treo and perhaps even the Quatro. You have seen what I said previously about the other unnamed speaker series. Jim Salk deserves to sell more speakers. I recommend the SS 9.5 as a superb choice, especially if the goal is to retain the speakers and upgrade components over time. It is suitable for systems even with $50-75K in components, and is one of the few dynamic speakers I would comfortably suggest could be the “budget” item in such a system. The systems I created for assessment centered around the $50-60K range, and the SS 9.5 would be the centerpiece of more modest systems. Most dynamic speakers would not garner these suggestions, as they have significant shortcomings. At this price point, the SS 9.5 is an outlier, a rare speaker. It is not only a quality effort, but an effort without significant compromise. Strongly recommended, especially for value-oriented listeners who demand high quality!

Pictured: Bi-wired terminals.

ASSOCIATED COMPONENTS:

Source: Small Green Computer sonicTransporter AP I7 4T and SONORE Signature Rendu SE and systemOptique

Streaming Music Service: Tidal premium

DAC:  COS D1 DAC + Pre; Exogal Comet DAC and Plus upgrade power supply and Pulsar IR receiver; Eastern Electric Minimax DSD DAC Supreme with Burson, Sonic Imagery and Sparkos Labs Discrete Opamps

Preamp: TEO Audio Liquid Preamplifier

Amps:  Pass Labs XA200.8 Mono Blocks; Exogal Ion (PowerDAC, used exclusively with Exogal Comet DAC); Legacy Audio i.V4 Ultra (pair, totaling 8 channels)

Integrated: Redgum Audio Articulata; Kinki Studio EX-M1+

Speakers:  Aspen Acoustics Lagrange L5 MkII; Kings Audio Kingsound King III; Legacy Audio DSW Clarity Edition; PureAudioProject Trio15 Horn 1; Pure Audio Project Quintet15 Horn1; Kings Audio King Tower omnidirectional; Ohm Walsh Model F (restored)

Subwoofers: Legacy Audio XTREME HD (2)

IC’s: Iconoclast 4×4 “Generation 2” XLR and 1×4 “Generation 2 RCA”; Clarity Cable RCA with Audio Sensibility Y Cables; Schroeder Method Audio Sensibility RCA; Schroeder Method Clarity Cable XLR with Audio Sensibility Y Cables; TEO Liquid Splash-Rs and Splash-Rc; TEO Liquid Standard MkII; Clarity Cable Organic RCA/XLR; Snake River Audio Signature Series Interconnects; (Schroeder Method, self-assembled with Audio Sensibility Y Cables used with several brands)

Speaker Cables: Iconoclast by Belden SPTPC Level 2 Speaker Cables; TEO Cable Standard Speaker; Clarity Cable Organic Speaker; Snake River Audio Signature Series Speaker Cables;

Digital Cables: Clarity Cable Organic Digital; Snake River Audio Boomslang; Silent Source “The Music Reference”

USB: Clarity Cable Supernatural 1m

Power Cables: Belden BAV (Belden Audio/Video) Power Cord; Clarity Cable Vortex; MIT Oracle ZIII; Snake River Audio Signature Series; Anticables Level 3 Reference Series

Power Conditioning: Wireworld Matrix Power Cord Extender; Tice Audio Solo

Copy editor: Dan Rubin