Hi Sean,
I think your pipe wrap idea is a fine one.I hasten to add that you really needn't to cover the entire length tho.
A little damping goes a long ways and quite frankly,I'll bet if you were to audition your Premiers both with and without damped rods in a side by side,you'd find that the differences would be extremely subtle and probably unnoticable in a more casual listening session.
Your biggest enemies are primarily the powerful and distruptive low frequency energies transmitted from the flooring and from the internally generated energies of power supplies and transformers.
I find that while it is beneficial to minimise and control airbourne intrusion,that these types of disturbances are *relatively* benign.The reason for that is that they are typically generated by the music itself and consequently "play in time" and "in tune".
I tend to avoid using extreme measures in controlling those for fear of throwing the baby out with the bathwater by "overdamping".
By this I mean that most conventional damping methods(particularly elastomers) tend to do the bulk of their work over fairly narrow frequency ranges and thus tend to create "hi-fi effects" by fragmenting the musical content.
The *art* involved in resonance control appears to center around creating measures which are extremely broadband and even in their nature so as to most faithfully preserve expression, emotions and meaning.
Best,
Ken
I think your pipe wrap idea is a fine one.I hasten to add that you really needn't to cover the entire length tho.
A little damping goes a long ways and quite frankly,I'll bet if you were to audition your Premiers both with and without damped rods in a side by side,you'd find that the differences would be extremely subtle and probably unnoticable in a more casual listening session.
Your biggest enemies are primarily the powerful and distruptive low frequency energies transmitted from the flooring and from the internally generated energies of power supplies and transformers.
I find that while it is beneficial to minimise and control airbourne intrusion,that these types of disturbances are *relatively* benign.The reason for that is that they are typically generated by the music itself and consequently "play in time" and "in tune".
I tend to avoid using extreme measures in controlling those for fear of throwing the baby out with the bathwater by "overdamping".
By this I mean that most conventional damping methods(particularly elastomers) tend to do the bulk of their work over fairly narrow frequency ranges and thus tend to create "hi-fi effects" by fragmenting the musical content.
The *art* involved in resonance control appears to center around creating measures which are extremely broadband and even in their nature so as to most faithfully preserve expression, emotions and meaning.
Best,
Ken