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All of these resonance control gizmos do something....you just have to select your favorite taste
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Five years later...in case I didn't mention it before, the Stillpoints - at least the Ultra Mini Risers - must be moved around underneath the device to find the spot where they suppress resonances best. And that is not always the four corners of your component. I suggest you move them one at a time. When you get improvement on one riser, leave it alone and go to the next one.
TAS had an article two years ago, done in what I thought was a very scientific method: the writers moved the location of all the various footers (Stillpoints, Nordost and others) and were surprised to find that the location of the footers contributed greatly to the sonics. So did Roy Gregory when he reviewed them. Don't just throw them under the corners of components and think you've mastered their sound. You haven't even begun the long hours of finding the "sweet spot," as the authors found out. |
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Ebm, I sold all of my Roller Blocks long ago. I thought the original Aurios were much better. |
Not me like SYMPOSIUM Roller Block JR HDSE much better!! |
Gbmcleod, years ago when my friend was the US importer of the Duntech speakers and had a room in McCormack Place in Chicago when the CES was still there, his room had heavy reinforced walls and was 50 x 30 with 12 feet ceilings. He was using the Sovereigns with FM Acoustic electronics. The sound was just outstanding for what was available at that time.
I would love to have that room. My big room is 28 x 18 x 11.5 and my small room is 13 x 10 x 8. Why would I bother with this small room? It is in our small home in the mountains of NM and was my only choice. Have I improved it with other devices? You bet you I have.
The room is very important, but commonly few of us have a real choice. So saying what you said is true and largely irrelevant. |
I agree with your statement, Fleschler: the room is an extremely important part of the quality. I have used components in 4 rooms: 2 in San Francisco, in which one room was narrow (I didn't know about first reflection points then), but the speakers were at the bottom of the "L" shaped room and therefore had access to the entire apartment. Then moved again and had a room with a concave ceiling back in 1988. That room sounded okay, and I used Sonex (too much) but had stellar imaging. Another room was 13 x 27 with 10 foot ceilings. Got great sound from that. The most recent two are here on the East Coast and the first room was my basement: 23 x 45. Of all the rooms, that one was fantastic, but I had to put RT-13 insulation between the ceiling joists (unfinished basement, joists just as it would be in a ranch built in 1965) and concrete walls and floor. I had to put area rugs in front of the speakers, and hauled the 30 or so tube traps into service. Despite the low ceiling, that room is easily the most transparent. However, I had an addition built onto the house and the new room, while good - and has a 10' ceiling in the new part (8' in the old) is no match for the basement where you could nearly just "drop" the speakers into any area and they sounded better (and this with water pipes and heating ducts overhead and the basement is only 7'6" high to begin with).
I heard my CD player many years ago in the rom of Tom McFaul, who wrote the Meow-Meow cat commercials. His living room is around 30 x 50 (bigger than my mother's ranch) and his setup atrocious, but the speakers he had (cheap Infinitys) had so much open space, they didn't care. Sounded astounding, given his speaker cable was cheap, he didn't even have speaker stands for the speakers AND the speakers were just 'thrown' into the back part of the room (where a grand piano was directly to the side of one speaker).
Room comes first: everything else is the equivalent of 4th place. |
Fleschler, I have seen many vibration devices come and go and have boxes of them. I had thought it was all merely a matter of what resonance point pleases you, but Star Sound Technology's Audiopoints proved this to be more complicated than I thought. Their brass Audiopoints sound better than any other brass point I have tried.
Halcyonics active isolation units, however, have no resonance frequency at low frequencies. And StillPoints' Ultra series seeks to convert all vertical resonances into heat. The Halcyonic units are too expensive and the SP Ultra Fives are expensive.
So we now have mechanical ground versus isolation devices, with the question being, which sounds better. I do know that on my TriPoint Troy Signature, the Star Sound "mechanical grounding" was better. |
Mphnkns you are so right. I have a high end system (cost wise under $50k) and stillpoints,audios,pillows, etc. for vibration control. The last upgrade component was a preamp. I was disappointed in the congestion of orchestral tuttis, difficulty in finding a good tonal balance, especially voices which my equipment/cabling exalts (or should), soundstage and imaging. I already tried several sound absorbing panels between the speakers and mid-room with Hallographs. I finally realized adding more panels, mixing them with reflective panels totally changes the room sound. After about 100 hours and 50 panel setup changes, I realized my goal, open, uncongested sound with superb tonality, soundstaging and imaging. I ended up with stillpoints under my monoblock tube amps (big ones at 140 watts), stillpoints under my VPI SDS, aurios under my EAR Acute, a pillow under my EAR 324 and a Seismic Sink under my VPI TNT VI. Funny thing, the sorbothane feet under the pre-amp sounded better than with any of the other vibration items.
While the vibration control devices are wonderful when placed correctly, the room is about 50% of the sound quality
of the music. |
Gbmcleod, I think my problem originates from the power of the Ultra Fives. I have used them on top of many components with great but expensive benefit, but in some instances they do harm. It also seems to depend on what is under the component. Ultra Minis and Ultra SSs are okay but not Ultra Fives.
I really have no explanation for the problem with the HB Designs Acrylic PowerSlave.
I should note that in the vast majority of cases, the various StillPoints Ultra are marvelous. For their impact per cost, the Ultra Minis are clearly a best buy. I would not try them under 80 pound amps or speakers, however.
I have noticed incidentally that Minis are isolators under components. The ceramic balls isolate the component from the base of the Minis. I have had mixed results with the Ultra Fives and have yet to try the Ultra SSs. I think this is important for the same reason that getting cables off the floor are important, namely static electricity. |
Tbg:
If you read Gregory's review on The Audio Beat website, he clearly states one must place the isolation devices directly into contact with the component and he states that removing it in any way from direct contact with the component has deleterious effects. Perhaps that accounts for your experience. I couldn't say myself. Just a speculation. |
I must say, there must be a reason the Stillpoints don't work under some devices.I wonder if there is some material in the device that prevents them (the Stillpoints) from demonstrating their magic. Must be some powerful voodoo in those other components hexing the Stillpoints. It is not, after all, an electrical interface. It is a vibational one. Unless all vibration is gone, this is a mystery to me. The closest I can come to the proverbial "curse" on a component/tweak not working is when I had the Black Diamond Racing Rack sitting on my Finite Elemente Spider Rack and put footers under an NAD C326BEE. The sound was grainy, like 800-speed film and NO dimensionality (not an inherent trait of the NAD BEE series amps). I couldn't fathom it. Eventually, I took out the Black Diamond Rack and put the NAD directly on the rubber pucks. VOILA! It sounded like the NAD. When I spoke to someone knowledgable about it, they posited that the Black Diamond, the Spider Rack and the footers I was using were "fighting" each other. It made sense, since the removal of the footers and the BDR Rack caused the NAD to sigh in relief, "That Fool. What the hell was he doing?!?!?! Putting competing technologies all together like that and not even testing it one technology at a time."
I never did that again. If I want a hard shelf on the Spiders, I just use maple board instead of MDF, and THEN put the component on that, as I did today. THEN, after listening to a few cuts, I inserted the Stillpoints. OH, BABY, give it TO me!!! LOL. It sounds great. I wandered in and out of the music room at several points during the evening tonight, thinking (delusionally) that the Frey had magically gone thru a time warp and broken in, but MAN, even un-broken in, it sounds as dynamic as hell, with instruments within sections jumping out towards you. Not a "reserved" sound in the least! It's like standing in front of a tiger's cage at the zoo: the tiger looks at you for a bit, not blinking, then quite suddenly rises to his feet, walks toward the edge of the cage...and before you can react, growls and simultaneously swipes at you thru the bars. Of course, you're too far back, but you still blink - if not let out a gasp and jump backwards, caught off guard by the suddenness of the tiger's lunge.
This would be, in audio terms, of the same speed with which the Stillpoints allow the (sudden) release of the dynamic inflections, as well as the dynamic outbusts, contained within a recording. |
TBG:
I suppose it is interesting, as an example of the capriciousness of this site's login issues.
The site kept telling me I had the wrong username and password - this, AFTER I had signed in to "My Page." I deleted cookies, closed down the computer, brought it up, and the site STILL gave me the exact same message. Fortunately, the first time it did that I copied and pasted my post into the "TextEdit" on my Macbook.
I'd like to try the Ziplexes. Who sells them?
By the way, my 2 meter Nordost Frey 2 arrived at my dealer's today. Installed them (in place of the 1 meter pair, since I needed longer lengths to go from preamp to amps. Longest pair of Nordost I've ever bought. $$$!!!) They actually sound quite good out of the box, unlike earlier models. Highly musical. And tomorrow, the Nola Contenders arrive! My cup runneth over, not to mention my electronics repair person informed me that the Hurricane amp was repaired and ready for pickup (I love my Hurricanes: their realism is astounding, regardless of their not being "tops" in the resolution sweepstakes). But back to the Stillpoints.
I'm completely thrilled with the Minis. I expected them to be great - but they are closer to "fantastic". Astonishingly so. Were I to have a state of the art system - or something close to it, or even if I upgrade further - I'll try the next Stillpoint models. For now, this is splendid! |
Gbmcleod, I guess there must be an interesting story behind your using your wife's name in posting.
I agree totally about keeping the cables off the floor. This is one area where reviewing gets to be a pain. I often end up with a snake's nest of pcs, ics, etc. behind my rack despite perhaps cleaning up everything maybe three times a year.
I was unaware of Einstein's remark, but will always remember a EE professor telling me that Ohm's law and a few others "totally" covered what happened in a circuit. Having been a grader in a physics course, I responded that I didn't think that was true. The look on his face convinced me that EE wasn't going to be a major I could tolerate.
On your room remarks, I would urge you to try Zilplex resonators. I have a big room in Texas and a very small room in New Mexico and both benefitted greatly from these guys placed where Zilplex says to place them. I have tried perhaps twenty other devices ranging from reflective mirror and absorbers to tubes, Tibetan bowls, digital equalization, etc. The Zilplexes are clearly the best at least in my two rooms. Obviously trial and error is our only way to assess the influence of anything, other than perhaps hosing down our system. : ) |
Tbg:
Using my wife's name to respond, but it's me: gbmcleod
I haven't placed speaker cables on the floor in many, many years, not since Enid Lumley said not to (circa 1990). Nor power cords. I've found that precise setup - which includes the room first, the electrical power second, and keeping cords anAd cables off the floor and isolation devices all third, set the stage for everything else to reveal itself. Leaving any one of those three out will dull the results and skew the actual performance of the products in the (usually) wrong direction.
The room is always the first thing I find most poorly addressed. Until the room is out of the equation, a person is wasting money on the wrong things. Of course, if you have a really large room, the room becomes less of an issue, although not a NON-issue.
All those things addressed, I'm sure you're correct. And I agree that
"seldom having the isolation devices in each of the four corners of a component is the best location for them." I'd never found that to be the way to do it. I usually slide the isolation devices all around a location (time-consuming to be sure, but I was the Equipment Manager for Fi Magazine before Harley was, so I do have some expertise in this) to find a "good" position, or I should say the improvement is "good enough." I then move to a second isolation device, slide that around and then to the third. After all 3 are in "good enough" positions (meaning the improvement in a soprano's vocal cords are pretty clear, especially trills), I then go back to the first foot and see if I can improve the clarity (and the transparency). Repeat ad nauseum.
I have no doubt that manufacturer's filters affect the sound, but if they can be turned off, i turn them off when I first get a product, so I can hear it "bare." I use the same logic listening to amps/preamps. First, I listen with the stock cord, and only then do I put in the audiophile-grade cord. It takes much longer, but a person can get a much better system with less money by investing 1), curiosity and 2), time. As Einstein once said, we should never lose our sense of curiosity and awe of 'the mysterious.' I think the same can be said for audio: magic happens much less expensively than most people know: they just don't have the curiosity of "I wonder what happens if I put this...here!!"
NOT investing time costs you a lot more money than investing the time in experimenting. |
Tbg, I was directing my comments to the OP, not you. I hear you concerning trying the Ultra Minis and not wanting to know, neither do I considering the prices for the ss. Your reason for not trying is sound, yours being an OEM product with a very specific market to resell. Ignorance is bliss, at least concerning the wallet. These guys keep feeding on our inpulses as audiophiles but there comes a point where I'm not buying. I'm not going to pay those prices for a passive vibration reducing device so like you, why listen? |
Tubegroover, I didn't say the Ultra ALs were superior or the equal of the Ultra SSs. It was the existing special feet on the HB Designs Acrylic PowerSlave that were better than the Ultra Fives.
I use the OEM aluminum feet under my LSA1s in New Mexico and have not tried the Ultra Minis there as I don't want to know they are better. The OEMs have no resale value as only manufacturers could get them. |
I'm happy to hear the ultras didn't notably improve things over the aluminum, they ARE rather expensive. I have used the aluminum Stillpoints w/risers throughout my system for years. They REALLY do provide audible benefits at least in my situation, more in some applications than others. I have used the 3 point speaker stands under the Merlin VSMs for years to good effect, improving most areas of performance.
Agree with Gbmcleod, you must experiment with placement. Again effects vary depending on the component but overall these are very worthwhile. Another point to consider, they hold their value so if you purchase used, in the event they don't work in your situation, you will have little problem selling at close to what you paid. |
Gbmcleod, I find the use of SP Ultras, including the Minis varies greatly depending on the ac filter used. SP Ultra Minis could not be used under my HB Designs Acrylic PowerSlave as it isolation feet are too long and difficult to remove. I put two SP Ultra Fives under it, and it was a disaster. They robbed the sound of all dynamics, much like rubber and soft woods do.
I tried the Ultra Fives also under the High Fidelity Wave Guide unit on its rails and found no benefit, but directly under the unit worked quite well. I tried to use the Ultra Minis but it was just too precarious.
I have used SP Ultra SSs under several ac devices with great success. These include the Sound Application, the Synergistic Research Power Cell Mk I and Mk II.
I would imagine that the amount of vibrations allowed within the filter affects the effectiveness of the isolation feet. |
I have Ultra Minis.
BY this time, Roy Gregory has weight in on The Audio Beat, a web magazine.He suggested line conditioner first, then amp, the preamp, the cd player, because, he says, power supplies generate tremendous noise and move them on into the components.
I put them under my ASL Hurricanes and heard a significant difference. However, it wasn't until the appeared under the Power Plant P300, that I truly "heard" them. Good Golly, Ms. Molly! The presentation came TO LIFE!!! Individual instruments, heretofore, playing along with a Geritol-type sameness, dynamically speaking, stood out as if they were doing solo turns. On the next Boxed set of Mecury Living Presence CDs, CD #23 with Farley, Grainger and someone else, and conducted by Fennell, it sounds as thought instruments are no longer playing in an auditorium with 100% humidity and 80% dew point. It's as though the dew point went down to 45 and the humidity 50. Subtle intstruments are obvious within the mix, ones that before you heard, but only has a "sound" never an instruments whose identity you could identify.
Nope. These are real deal.
Caveat: You MUST play with placement. A casual "lets-put-'em-here" toss will yield you less than stellar results. In fact, you'll wonder what all the fuss is about. |
Gbmcleod, the magic of great realism in sound production is quite fragile as you suggest. However, it includes many things you don't mention such as the speakers, your position, whether the power cords are on the floor, whether the speaker wires and ics are close to power cords, etc. And there are limitations, of course, such as what others think of the system you have laid out. My wife said, "I'm tired of having a sound laboratory in my great room."
Presently, I am working with the room treatments which are so critical in my very small listening room in New Mexico. It is 10x13x8 feet. I found that one of my Zilplex resonators was one eighth of a inch lower than that on the other side and was moving the sound stage toward the other side. These things are very powerful although they are just one half inch in diameter silver bowls.
I should also say that seldom having the isolation devices in each of the four corners of a component is the best location for them. If you have great latitude for placement, put one under the main transformer. Trial and error is the only game in town. |
gbmcleod, order the Stillpoints from The Cable Co. I got mine within days. I am using the Stillpoint Minis under my AC regenerator. I will add some to my CDP/DAC next. I also did a comparison between the Minis and Ultras and found no difference to my ears. |
I am about to buy the Ultra Minis. I had ordered them from Music Direct - whose website said "3-7" days before they shipped. 20 days later, they had still not shipped, so I cancelled the order.
I have had considerable experience with Goldmund Cones, Cerabases, Cerapucs, Cera anything you can name, and many other manufacturers devices. Shaktis, which go on top of things instead of under them work under the same principle, and that principle is this: placement is the b**** of all isolation devices. Tube traps are the same, and I've had them since ASC opened in 1984. If items are not precisely placed, you will think you have lost your marbles and be disappointed. NO. You must spend the time moving them around. And when you move ONE and it sounds very good, LEAVE IT ALONE and then work on the second isolation device until it improves something really well. Then go to the third. Once you have things properly placed, where they do the most good, you can get to excellent. Roy Gregoy has the same mindset about this. Tom Miiler, in one article in TAS, warned that, if you thought you were going to plunk down (I think it was the RoomTunes) the devices and they were going to work, you were sadly delusional. Everything has a point where it reaches 98% of its potential, and anywhere else it is only at 70, and that's where many people lose their joy - and hope. |
I don't know if any of you have the SPs Rack with acrylic shelves. If you do, get rid of the acrylic and get their new Grids to replace them. StillPoints keep costing me lots of money, but bring em on! |
Any chance I can get a picture and detail how to attach ultra to clearaudio feet. Thanks |
I use the 3 Ultras under my Raven one and found a marginal improvement over the Stillpoints with Risers.
On a different tack, I just got 2 sets of 4 Track Audio Isolation feet, to replace the Edensound Brass feet under my Daedalus DA-RMa speakers. They made more difference than any footer I have ever used before, deeper tighter base, better imaging. Like the Ultras, they are not cheap, but I highly recommend them for speakers. They are from the UK, but available in the US, through music direct I believe. |
I have four SP Ultra fives under my TW Acustic Raven One AC turntable and the difference is incredible. I also use four SP Ultra fives under my phono stage and dac. I will soon get them for my JM Labs Maestro Utopia speakers, Tripoint Troy/Orion/Spartan. |
Just put the SS Ultras with Ultra bases on my Magico S5 speakers...NICE |
Like Tbg I have been floored be Stillpoint Ultra SSs and Ultra 5s positive effect on music playback. I have 41 ultra SSs and 11 Ultra 5s (8 under speakers and 3 under Esoteric SACD player) all on the latest SP rack. Elsewhere on this site and the av.guide site I explain in detail some of the noted differences if anyone is curious. I had spent 90M+ on a whole new system and was very unhappy. The SP products took me from sadness and gloom to dancing with Cheshire grin affixed on face while non-stop dancing. I swear this is no exaggeration and can easily demonstrate to anyone within earshot. |
I have Ultra5s under Wilson speakers and Esoteric SACD player with ultraSSs under all units placed on SP rack and absolutely was floored with sonic improvement. Elsewhere on this site and the av.guide site I go much further into detail about when I bought my near dream system was was very unsatisfied until Stillpoint products were implemented. On the av. site my screen name is skyyone. |
Got them and put them under my Clearaudio Innovation Wood and using stillpoints bases under ultra 5s. I can literally bang the symposium shelf and nada -impervious to vibrations. Sonically dynamics are better, as is spatial resolution as is last iota of detail (top end opened up by 10-20 percent)...so sharper edges to notes. A step up for sure. |
Podeschi, did you get the SP Ultra Fives? What are your impressions? |
Getting 3 Ultra 5s next week to try under my Clearaudio innovation wood turntable. Excited to hear the difference. |
Podeschi, and Ultra Five (much, much better. |
I have minis, and ultra aluminum (better), and Ultra SS (even better). |
This thread has picqued my interest in the Stillpoint minis. I am curious if anyone has compared the minis to the orignal Stillpoints and, if so, your take. |
Well, like I said, I don't think there's much of a difference one way or the other between the Stillpoint Ultra's and the Strange Attractors. That is, expect the price.
I suppose the Ultra Fives are on a different level. And they better be -- they're $699 a piece!!!
I'm glad you found the ultimate. I'd love to try them with my Amerigos but, dang, that's a lot of coin... |
Jpan, your's is probably a more common path to assessing the benefits of isolation feet than mine. Initially, I had no interest in the original StillPoints and learned that the new Ultras were quite different. Then I had the chance to hear speakers with and without them under them. I bought eight. These were the Ultra SSs. I removed the spikes from my speakers and screwed on the StillPoints. I was really in disbelief about the improvement. Gradually, I got more and more of the Ultra SSs and each and everywhere I put them, I got a great improvement. Ultimate I had 32 of them! Yes, this represents a lot of money but together they gave me more improvement than even a $100,000 amp would give. I concluded that after listening to the Ultra SSs that no other isolation device was anything but a toy. I literally have boxes of other devices that no longer have any value to me.
Then came the Ultra Fives. Are they five times better for having five of the "technology" units versus one for the Ultra SSs? That is really hard to say, but if you were ever to hear them under your speakers where you previously had the Ultra SSs, you would do whatever you had to to be able to get the Ultra Fives. And under your turntable, wow! |
Tbg...from the Music Direct web site for the Strange Attractors:
"In fact, Strange Attractors act very similarly to a diode, which allows energy to only pass one way and not return. Strange Attractors remove both internal and external sources of vibration, hold your components very, very still, allowing your components to finally deliver all the music in your recordings. The effect is absolutely stunning..."
There's more on the web page. Just wondering if that answers your question from a technical perspective. |
Tbg, Sure...but just to be clear I didn't do a direct comparison. It is more of an inference based on my investigation and listening impressions. Everything was done at my home with my system.
First, I started with my speakers because this had always been an area I had wanted to improve since I knew I was losing something b/c of the carpet. I read a review of the Stillpoint Ultras and from what I learned about them they appeared to be a good option. After I received them it took about half-way through the first song I played to realize these were very special.
Then, after some time had passed (6 months or so), I decided that I wanted to look at additional components to treat, starting with my phono stage. And, that's when I learned about the Strange Attractors. I think I got a mini-catalog from Music Direct and saw them in there (I remember the red color, which was striking). The description--at least to me--sounded a lot like the Stillpoints. I liked the price point and decide to order a set.
As it turned out, I had a very similar experience in terms of overall performance with the Attractors that I had had with the Stillpoints.
At that juncture, I didn't feel like I needed to go through the added expense of the Stillpoints, so I stuck with the Attractors. Then, I moved on to the rest my components--line and amp.
Finally, I finished with adding the Attractors with the threaded screws for my rack/shelves, which is the Finite Elemente Pagode Signature. This was pretty critical because, again, the rack sits on carpet. The result, another nice, big improvement. And that lines up with what I had read about these treatments--they do appear to be cumulative. But, getting that rack off the carpet was really crucial to me. I knew I was losing a lot of energy using the basic spikes that came with the rack.
So, my inference between the two is based on using the Stillpoints for my speakers and the Attractors for my rack. Both are sitting on carpet and in both cases it's as if there's nothing there at all. I mean I have really, truly, been blown away by these products.
If I did it all over again, sure, I'd love to A-B the Stillpoints and the Attractors under my speakers. But, my guess is that there wouldn't be a whole lot of difference either way.
Sorry if this was a long-winded answer. It's been a long day.
If you have more questions or want me to focus on something more specific, just shout it out. I'll do my best to give you my impressions. I've learned a lot from the Audigon community and I'm happy to help others through my experience. |
Jpan, given your recommendation, I looked up the Strange Attractors. I understand how the StillPoint Ultras work, but I must say I don't have much of an understanding of how the Strange Attractors work. They say the resonant energy is "refract, dissipate, and reflect the vibrations off a sequence of boundaries." I know manufacturers have to have proprietary secrets but this is too vague. They also show a black cone which would seem to go into the aluminum top housing. The cone would seem to be a composite material.
Can you tell us more about where you compared the Strange Attractors with the StillPoints Ultras and what the shelves were under both? |
Hifial...When I first started down this road my priority was the speakers. At the time, I don't believe the Strange Attractors were available. As it turned out the Stillpoints did such a fantastic job and I didn't think twice about it.
It was only after I decided to tackle the rest of my system that the Strange Attractors appeared on the market (or, at least, that's when I became aware of them). And, as I've said, since the Attractors were (much) more cost-effective I gave them a shot, starting with my phono stage. They turned out to work really (sort of amazingly) well.
I would say, in my experience, the performance of each is very similar. And, from what I understand about their design and materials they operate under the similar principles.
So, I would definitely give the Strange Attractors a try with your B&Ws. I'd be interested to hear your impressions.
Just a thought, but can't you go through an online retailer to try them out? I know you probably have some loyalty to your local dealer, but if they can't accommodate you then maybe you could find an alternative.
Either way, I am going to guess that once you try them, you'll be a convert.
Again, I was really very, very pleased with both. I'm not saying one is better than the other. They're both great--and we're lucky to have options in this area. |
Jpan, have thought about trying a set of the strange attractors on your speakers in place of the stillpoint ss ultra? It is my understanding that spiral groove makes ones for speakers that will take the speakers to another level. I am trying get my dealer to get me a demo set for my speakers, B&W 802D. I am also on carpet and using the spikes that come with the speakers. |
Oh brother, don't tempt me... |
Jpan, try the StillPoint Ultra Fives, if you dare. |
I use the Stillpoint Ultra Stainless Steel (SS) under my speakers--Sonics Amerigos. They have been a huge improvement across all the usual dimensions--sound stage, bass, overall tone, etc. My listening room is carpeted and that has always posed a problem. But with the Stillpoints it has totally negated it that issue. It was a great investment.
However, for the rest of my system I decided to try Spiral Groove's Strange Attractors. These are (somewhat) more cost effective and I so I started out with using a set under my phono stage (Herron VSTPH-2). Again, another great bump up in my systems' performance.
Since then I've added the Strange Attractors to the rest of my system--under my line stage, amp and Finite Elemente rack. Again, each time I noticed a very nice improvement, especially when I put them under the rack. (I'm not using them under my table--Spiral Groove SG-1--as that has its own custom feet.)
Now, I feel like I'm really hearing my system at its best. It's really pretty incredible. (And I thought I was happy before going down this path.)
So, I am definitely a believer in "vibration control" or whatever you want to call it. Obviously, I haven't tried everything but I give two huge thumbs up to both the Stillpoints and the Strange Attractors. |
Thanks. Innovation table can only take 3 ultras. |
Podeschi, you will be awed by the Ultra Fives under the turntable. I must say that four or clearly better than three if you make certain that all four are engaged with the component. I had the advantage of having those under the tt screwed into a StillPoints Component stand. Since there are no height adjustments on the Ultra Fives, you need a flat bottom to your tt.
I have heard that the Ultra Fives are clearly better than the Magico QPods even under Magico speakers. |
Glaucon,
I tried it both ways -- actually bought the inserts to match threads on Sony 5400 and CJ amp. First screwed in (with a gap between bottom of Stillpoint and bottom of Sony) with tophat facing down sitting on Symposium shelf. Then reversed them and placed the tophats directly underneath the CJ and Modwright, but deeper inside from where stock footers sit. I found this to sound better. Spoke to Stillpoints customer service and they confirmed sometimes it does sound better to have stillpoints sitting hardhat up under critical areas of the component (e.g.., where power supplies are). So on Modwright 5400 I have 4 Stillpoints Ultra AL sitting hardhat up directly coupled to chassis. Fifth SS Ultra sounds better with fat base under transport area and hardhat sitting on symposium shelf. For my Clearaudio Innovation Wood table, I screwed the Stillpoint Ultra SS fat base side into the table, smaller end of ultra into the optional base, which sits on symposium Ultra shelf. I'm so impressed I plan on buying the Ultra 5s for the turntable, and will move the Ultra SS under some Magico speakers I plan on buying. Cheers |
