Do equipment stands have an impact on electronics?

We can hear it, we can measure it, there have been thousands of experiments over the years, some written up in peer reviewed audio engineering journals.
Vibration effects in equipment are orders of magnistude more significant than the tiny differences cables make (unless they're just clumsy cheap tone controls due to their reactance) BUT unless you intend tapping your cabinet along with the music, just put another tune on, pour a drink & enjoy

do you have citations to any of the  there have been thousands of experiments over the years, some written up in peer reviewed audio engineering journals??

I have access to most engineering journals and would like to look at the articles.

Ralph, this is very simple, and you have danced around it repeatedly:

If the "digital" artifacts you refer to are loud enough to be audible, then how come they don't show up in a standard FFT measurement? Or in a standard THD test that nulls the test frequency and leaves everything else. You already agreed that stuff 40-80 dB down is too soft to hear when it starts and stops in my Artifact Audibility test, so by extension it's too soft to influence "tonality" either. Aliasing, and all the other bugaboos you talk about, are 100+ dB down. And so they are inaudible. This is very simple audio basics, and clearly the burden of proof is on you to prove otherwise. Since you still haven't described a test you're willing to take that will let you prove your beliefs, it's clear that you're unable to do so.

Here's direct question I hope you'll answer: Since you are unable to prove your beliefs, I can only assume you haven't proven them to yourself either. So doesn't it make sense for you to do some experiments, so you will know that your beliefs are valid? I'll be glad to hear how you would test yourself!

"I’ll be glad to hear how you would test yourself!"

Maybe a misrouted-post intended instead for the infectious disease center, Ethan?

Dave

Perhaps it might help to know that in the last ten years, Dr. Herbert Melcher has shown that the human ear/brain system has tipping points. An example of that is if the playback has insufficient speed (risetime) the brain has a tipping point where the music processing is transferred from the limbic centers to the cerebral cortex.

Reference, and how did he discern such a transference? PET scan? I am in medicine, and no Neurologist (or neuroscientist) has such specificity at their fingertips. They are only making assumptions based on observed brain activity.

Another example of a tipping point is where the brain will favor distortion as tonality over actual FR errors! Now both of these things were not known back in the 1970s and are examples of ’now that we know that, we can do proper engineering to take them into account.’

Again, we need a reference. Makes for good audio prose and ideology but there is no data.

It does matter that our ears are tuned to bird song frequencies (IOW Fletcher-Munson); this is the result of evolution as birds are the early warning system of the presence of a predator in the environment. You can regard this extra sensitivity as a complication!

purely speculative.

seventh harmonic causing a metallic quality: I’ve heard that several places, but in this case the easiest to remember is John Curl (one of the top solid state designers alive today).
https://www.youtube.com/watch?v=fZwS-oyqc3w

Again, no data.  I guess we need to find that "big red book."