ps regarding your comments on lack of science I for one have no problem with references to known and published science (e.g. use of springs to manage seismic interference, even Mr Kait's citing of Sheldrake to support some of his tweaks), it's the stuff I've never heard of before that I expect people to be able to provide some back up for. WIthout a source it's hard to attach any credibility for or against Folk, my point about science was in reference to specific experiments and measurable results. I have seen no data from Mr. Kait demonstrating the effects of spring isolation on speakers for example. None. Yes, there are historical references to springs and seismic "interference" but what does this have to do with audio? The onus is on him to prove his point with reproducible data. Adding the Townshend Podiums had somewhat of a similar effect in the bass range. The immediate effect seems to be that the speakers are LESS efficient. i.e. it "sounds" less loud at the same volume setting. But quickly you realize that this is the removal of the floor borne boom that I described in a prior post. I find then that some tracks that had been limited by a bass distortion (e.g. a resonance or boom) could now be turned up a couple of notches without any issues.Your room boom and whatnot may be more of an energy management issue within the room itself and not a deficiency of spikes, etc. Furthermore, if you view a speaker/room as a musical instrument (like a violin), you don't want to isolate or dampen energy. You want to harness it correctly, like this: http://http//toneacoustics.com I supposed you could use a spring or Townsend like device for a cello, but it would kill the music. Now isolating the actual stage from seismic juju with springs is an exciting concept. Maybe that would improve the entire orchestral performance....;) |
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