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  3. 1019241967

thoghts about isolation.

Our discussion has to take place with mechanical isolating non-source components such as amplifiers and preamps.

My thought was wether we realy need to mechanically isolate non-source components or not. The impact from internal vibrations caused by the mainly power supply transformer will less-likely affect the operation of active elements fo the circuit such as tubes or transistors imo. The same thing comes onto mind about passive elements such as resistors and capacitors. What can affect the performance is the electrical isolation of power transformers especially in the power amplifier domain(that's why I prefere not using integrated amps). That's why it's very often beneficial to have an outboard power supply(not necessary battery) for the preamplification(phono, line or DAC)

I want to give some example where I've seen the PS300 power plant placed on the tip toes and I wonder why?

If we take source components, there are certainly good reasons for it such as mis-recepting the laser beam by CD transport or mis-tracking the record that can even be cause by the measurable amplitudes. In addition for the turntables the amplitude of a signal can somehow be matched and certainly cannot be neglected with amplitude of intermal vibrations caused by friction of a platter, motor that is transfered to the tonearm and cartridge as well.

IF YOU'RE LAZY TO READ THE WHOLE THING YOU CAN ANSWER JUST THIS GENERAL QUESTION:

Do all audio components need to be mechanically isolated?
128x128marakanetz
caterham1700
271 posts
 
Audiotweak,

Why would the makers of the Systrum support recommend the use of a damping material for the vertical leg members if not to damp?
I'm in agreement in the logic of rapidly spreading excess resonant energies over a broad spectrum as well as the reality of ultimate failure when attempting to completely "isolate" from internal and externally sourced vibrations but am puzzled as to where the leg filling fits in the concepts.
Using the principles as I would understand them, would it not make more sense to use vertical members with varying wall thickness or solid members of varying material, shape or density to efficiently transfer those energies to the substrate?
From my vantagepoint, it appears that the upper component support spikes are collectors and filters of component generated and airbourne vibrations.
The horizontal framework appears to a broadband frequency modifier and energy transfer conduit with the vertical legs serving to sink,damp and dissipate these energies both from the component as well as to damp and block those vibrations sourced from the floor.
Please correct me if I am misunderstanding what's going on here.Thank you.

Best,
Ken Lyon
GreaterRanges/Neuance
caterham1700
271 posts
 
sorry- my reply to Audiotweak should have been attached to the Symposium thread where I've reposted it.
nevermind.....
;0)

mspink
1 posts
 
I'VE ALAWAYS WONDERED HOW MUCH OF AN IMPROVEMENT A SET OF AUDIO PIONTS MAKE. WELL I ADMIT AT FIRST I WAS VERY SKEPTICAL THAT I WOULD NOTICE ANY IMPROVEMENT AT ALL,SO I GOT ME A SET OF THREE TWO IN THE FRONT AND ONE ON THE REAR CENTER OF THE CD PLAYER. THE RESULT WAS NOTHING SHORT OF AMAZING. IT WAS LIKE I HAD A COMPLETELY DIFFERENT SYSTEM. FIRST, THE BASS WAS NO LONGER MUDDY IT WAS DEFINED AND TIGHT,SECOND THE SOUNDSTAGE WAS AWESOME WITH A HIGHLY FOCUSED CENTER IMAGE AND CLEARLY PLACED INSTRUMENTS. THIS IS THE BEST UPGRADE THAT I HAVE MADE. GIVE THEM A TRY YOU WILL BE GLAD YOU DID..
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