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The winters lessons.

I think it's time to move on from this past weeks discussions to something new. This past 5 months I've tried out a number of different footers, shelves, tweaks, power cords and conditioners. I'd like to share what I've learned here and hope others will do the same. Due to the unreasonable length of this thread I've broken it into three posts, Footers and shelves, power cords and conditioners and tweaks. That way you only need to muddle through my rambling if they interest you. My basic set-up has not changed this year, SCD-1,Kora pre-amp, Aloia amp and Audio Tekne interconnects (and my Empire turntable, clearly not a major component here). I started trying different footers but I went in a bit different direction that Redkiwi. I have been trying a number of Black Diamond Racing products since using a series of cheap cones and have found through a lot of trial and error a good match for my system. I also bought two sets of (OB) Orchard Bay cones, one titanium and one brass. These became the building blocks for me. As a lot of you know, and some don't like, I have a sandstone slab on a masonry hearth so my base is solid and in effect ground. For Christmas I got some BDR pucks, Cardas caps and these "vibration sheets" sold at Music Direct. As a summary of the following posts I would rate the value of the below items in the following order. 1- BMI power cords, 2- P300 power conditioner, 3- Neuance shelf, BDR puck, 4- Quiteline filters, 5- Monster HTS-2000, 6- dedicated circuit. For the rest you'll have to judge for yourself after reading this. If anyone has particular questions feel free to post or send me an e-mail. I tried to keep notes so I could tell you more, GOD FORBID!
J.D.
jadem6
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jadem6 OP
1,074 posts
 
here's a quick update Gregm. I've been playing with some different weight options on my pre-amp power supply and the pre-amp it's self. As you had predicted, by adding 7 lbs (an Iron cat doorstop) above the transformer created a bit better focus. Vocals that were murky are now easier to understand. Guiter strums that were clear before are clear enough now to sense the string with air around it. Noises that were there prior are easier to pick up on and define. I then tried a bronze casting I made back in collage that weighs about 6lbs over the biggest vibration spot on my pre-amp. My God, the bass tightened and intensified so that during bass passages that used to be focused and defined are tighter and have far more physical effect on the body. Amazing! I'm wondering if you can buy brass weights, not "audio tweaks" somewhere. I'd like to play with this further. Does anyone have thoughts on were I might find brass "disks" of different weight?
Thanks Gregm for giving me your thoughts, it just keeps getting better! J.D.
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dekay
5,854 posts
 
JD: I have used various objects in the same manner and with noticable changes in the sound. I found that the top weighting of my DAC and player reduces harmonics (I like harmonics and the lively sound that they offer), though it does define other areas of the sound, especially the mid bass on down. The best results that I acheived with top weighting was when using Mapleshade brass cones (point down on the top of my player) with a weight (my precious Des Moines brick) above them, resting on the flat sides of the cones. This method firmed up the lower frequencies while leaving the mids and the highs still "open" with very little loss of harmonics (though there was a slight reduction). Problem was that I found the setup to be too precarious. Anyway, try some downward turned points in between your flat weight(s) and the top of the unit(s) and you may like the livlier though somewhat more controlled sound that this method offers.
jadem6's avatar
jadem6 OP
1,074 posts
 
Thanks Dekay, I played around with a number of combinations today/night. With brass cones up or down the sound opened nicely but I found a bit too much treble energy. My system is tuned to the edge of bright/ fatiguing. I tried BDR cones up and down but felt I lost the immediacy of the presentation. I then tried BDR "those things, #4" plane under the weight, too thick and closed in. I finally worked with brass cones points up, BDR "those things" and then the weight. This seams to be the answer, all good, no bad!
It keeps amazing me the little things that can help or hurt the image and presentation. Thanks again for your suggestions. J.D.
gregm
3,415 posts
 
1st Update on winter lessons' lessons. I managed to locate certain vibration points using Jadem6's water trick (thanks again!). Placing cones accordingly, I gained treble energy and clarity using cones on the power supplies (CD and pre) rather than the machines. Putting cones undet the CD and pre, *shifted* the frequency response upward, giving too much treble at the expense of bass. A friend suggested I use absorbant material as a weight... sand bags etc being out the WAF region, I tried large, thick books (6-7 pounds), placed over the vibration points on: the CD, better imaging, tighter focus; the pre, more neutral sound, no loss of detail throughout the audible spectrum.
Maybe metal weights give their own *flavour* to the system -- i.e emphasizing treble??
On the down side, books on a piece of equipment look a bit silly....
BTW, JD, one cone under the power supplies, placed as per your findings, still sound better than three in my system!
jadem6's avatar
jadem6 OP
1,074 posts
 
Thank-you for the update Greg. I tried the single cone centered under the wire coil with no other cones. I ended up with it moved off center about 1/4". I think it's almost identical to my previose set--up except for maybe adding a bit more colour. I used Dave's True Story "Sex Without Bodies" song #5 as my test. Without wieght on top the bass was less detailed and a bit softer and the treble was without definition. I found weight with a single cone made Kelly Flint's voice smooth (don't tell my wife but I love Kelly)with good foundation.Bass was well defined, not the best but 95% there. At about 1 minute into this track there is a light either metal on cymbal or brushing of chimes in the left rear middle. The definition was best with cone centered, but the overall presentation was too bright. I'm going to stick with the single cone weighted for a while, I'll let you know the final. I find it just increadable that these tinny movements can change the quality of sound so much.
As per your books, I think that if Redkiwi were here to help us he might think the books add too much mass (slowing pace and storing energy). It might be worth trying the books seperated by cones. Who knows, it's fun trying this stuff though. J.D.
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