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Does anyone use wood for vibration control?

What kind of wood have you found to be best?
bksherm
geoffkait's avatar
geoffkait
23,365 posts
 
Why would anyone think that the audio signal interacting with everything else is a good idea? Haven’t you heard of waves interacting, you know, constructive interference and destructive interference? Come, on guys. I know you can do it. Deprogrammimg is a specialty.
glupson
7,842 posts
 
I, actually, did not think much about electrical signal but focused on sound as movement of air or some other medium. Something that eventually interacts with one’s ears (just before it gets translated into electrical signal). That is easily the most prominent part of sound transmission and, I would guess, the one that can be impacted most easily and dramatically.

Still, even if considering electricity sensitive to vibration and agreeing it could be influenced by outside vibrations, it is hard to understand why all of those influences must have negative impact on the final perception of the sound. On the purity of the source signal is understandable, sort of, but on an individual’s preferences not so much. With some luck/practice, there is a chance one would prefer the final sound and that is what, it seems to me, michaelgreen is promoting.

An anechoic chamber is not the most pleasant place to be.


glupson
7,842 posts
 
"consider the case of a car going down the highway with two (2) sets of shock absorbers for each wheel, one on top of the other."
Not the best comparison, although understandable one. Shock absorbers are not exactly springs anymore and much more physics goes into their construction these days. Including electrical charge at times.

If they were just springs, two would make it an unpleasant, probably nauseating, ride. If there was only one, it may be better, but if you shorten and shorten that one, it may end up being bumpier again. It is about just the right amount.

So the comparison may be a good one, after all. Some vibrations may enhance final sound although too many may deteriorate it.

If I understand michaelgreen’s approach, it is about "controlled application" of vibrations or some similar description of it. It does not come across as "give me all the vibrations you can and it will be great". Maybe I am wrong.
michaelgreenaudio's avatar
michaelgreenaudio
1,019 posts
 

Back to Aerosmith.

After getting done some running around I've made it back to my place and am ready to see where I might want to go with the sound of Toys in the attic. The speaker and chair move have settled in and I can hear the stability of this soundstage. To give an idea of the general size the stage is about 8 to 9 feet tall and extends all the way down to the floor. This is great cause there is some great cymbal work on this recording and the end of percussive action has a nice round expansion. The stage is about 20 feet wide and front to back is about 18 feet (14 feet in front of me and 4 feet behind me).

I've decided I wanted that 70's tube sound so I've moved the LTR Tuning Blocks almost to the edges of the CDP with the grain of the wood running front to back. This is a common setting for me when I'm doing Deutsche Grammophon type classical listening. The similarities between some classic rock system settings and many of the classical pieces from DG, Phillips and London can be uncanny at times and one cool thing about a Tunable system in general is almost no recording sound bad, you just have to get used to certain adjustments if you want to really get that stage where you want it.

running in for a listen

geoffkait's avatar
geoffkait
23,365 posts
 
glubson, please try to keep up with the conversation. I’ve been talking about the electrical signal, not the final acoustic signal. I trust you don’t think the final acoustic signal is not dependent on what comes before, you know, the electrical signal in the power cord, in the electronics, in the transformer, in the fuse, in the interconnects, in the DAC, CD player or turntable, and speaker cables. I don’t think anyone can be that obtuse. Not even you. No offense.
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