Do equipment stands have an impact on electronics?

 
theaudiotweak
1,424 posts
11-15-2016 12:04pm
How can interfering energy from within escape your bandpass filters ? Is the filter decay time faster in one direction than the other?

What the ding dong are you talking about? I've already explained to you numerous times it's not a bandpass filter. You guys need to get your act together big time. Have you no shame?

Have a a nice day 

Robert, why not give it a rest? I have already been through all of your so-called arguments, demands for proof, diatribes, dismissals and shilling with your former buddy. Like him you cannot actually generate a technical attack because well, quite frankly you’re not technical, not in the slightest. Like him it always comes down to its either your way or the highway. I personally find your diatribes repetitive, uneducated, and self serving to the extreme. They simply attack your competitors and pump up your own products. Maybe it’s time to call this thread DONE and stick a fork in it.

Did anyone ever compare the two really strong products mentioned above side by side? Let me elaborate on what one may experience. Clearly the Townshend and Sistrum Platform are two totally different approaches to vibration management. The technologies are opposite one another and SO are the Sonic Results (highly subjective to end users of course). The products do ‘not’ sound similar as if someone is comparing subtle differences between two good amplifiers. In this case, the differences are extremely audible and will easily provide you a favorite choice.

Robert/audiopoint-- if you would be so kind as to send me a pair of Sistrum Platforms sized for a Magico Q3 I'd be delighted to perform the comparison and report back -- just an open offer. My experiences moving from the Magico Q3 spikes (into wood flooring on concrete in an urban, highly traffic and construction affected room) to the Townshend podiums are on record. I would agree that the difference moving from spikes to the spring based platform was not at all subtle, one sounded like real instruments while the other sounded like a PA system but I'm open to other approaches to the same end

Your Highness please explain how springs selected at 3hz or 5hz or any frequency that doesn"t hurt ours..why are they not a bandpass filter. Tom

When I worked in retail hi fi ,Thiel Audio was one of our lines. The Thiel factory was 70 miles from our store and my home. The then current sales manager heard his Thiel speakers on our points and platforms at the store and also with my own Dunlavy's at my home.. He was was blowed away..he requested a design and quote for the outrigger style platforms for his new 1.2 or 2.2 speakers. Any way they took the concept and had them made in China out of pot metal and generic nails or points. The sales manager was disappointed with the results but Jim and Kathy thought their landed cost of 12 dollars American a PAIR was a good deal for them when they could retail them for 250 a pair...what a value. What a pile of crap..they were. Not a benefit to the sound or value to the customer.

I see this over and over again where a manufacturer can not see the value in higher performance parts to improve the sound of any of their components. Many don't even try..

After having several  of my direct coupled endpins installed in cellos that cost over a million dollars I am finally having retailers and luthiers who are now committed to offering their clients the best performance. When you can take a cello that sells for a mere 30k (that's a lot to me) and have it perform much like  500k Grancino then they finally decided to get their heads out of the sand. I guess they felt threatened by the lowly cheap 30 K cello that suddenly had a dramatic increase in acoustic weight and dynamic contrast..one that was easier to play because it now had less interfering energy being feed back thru the strings and bow.. and have as much as 2db more acoustic output than a replaced steel or carbon fiber spike..yea a 50 dollar spike in a million dollar instrument just like the 100k speaker with the same type of nonsense.

We test many new concepts and shapes with real instruments. Not only for sound but for how it plays and feels. If the instrument is easier to play for the cellist then there is a mechanical resistance or interference that is being reduced or removed. This is an improvement you can see in the cellist's body language and expression. If they feel more in control and more at ease then they play better and sound better. We make a direct coupled pathway between the real and the reproduced.
Tom. Star Sound