Do we believe in Machina Dynamics?


Let's see: we've had the pebbles, the little clock, the turntable platform that includes only some old springs...and now the Contact Paper CD tweek. Do any of us believe in this? I know Geoff's an advertiser, and actually a very nice guy, but come on, fellow audiophiles...this is all the epitome of snake oil! No?
Every idea was tried, and has failed, numerous times. Despite being a nice guy, all he's selling is audio nonsense.
musicseller
Well the good thing is that they come in "mikro", "mini", "large" and "extra large". I'm thinking a person would have to be a fool to start out with the "Extra Large".
Tvad 20 years ago, if some come out with shakti hallograph soundfield would it be claim as snake oil? What about if somebody tell you fuse can improve dynamics of yr sound system? what abt put some liquid on the Cd. Abracadabra and the sound improve. Paint some silver stuff on yr connectors or tube pins, suddenly better resolution and lower noise floor in yr system. Believable or unbelieveable or snake oil? Today we know that the above products work. I dont have the opportunity to try Machina Dynamics in Malaysia. Therefore is fair for me to refrain from claiming that it is snake oil. Knowing whether a product works or not, its all abt listening to it right? So happy listening
>>Well the good thing is that they come in "mikro", "mini", "large" and "extra large<<

Yes but are they available ribbed, lubricated, and in different colors?
Audioblazer, several items you mention in your list produce effects that can be measured: electrical fuses, contact paste/liquid. Items that have a basis in physics and can be tested and measured are not snake oil.

This is the fundamental difference between snake oil products, which the Machina Dynamica products are, and non snake oil products.
So only things that we can't measure are snake oil, and things that we can measure are not. So, jitter, for instance, did not exist until it was measured, or perhaps had no basis in physics. All distortions presumably existed before our ability to measure them, if not, how could we build the measuring gear? Here is the crux of the technocentric view of evaluting audio gear.