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Ceramic insulator cone under phono stage shocker!

I have used small ceramic insulator cones underneath my phono stage for quite some time.
Previous phono was a Gold note ph10 and it did not make ANY audible difference I could detect which way up the cones were so I had left them cone upwards.

When I changed my phono to a Manley Chinook I just left the cones same way.
This afternoon I decided to flip them over so cone down just to see.

I honestly could not and cannot believe the difference!
I may have lost a smidge of low bass but everywhere else is improved in spades.
Much more detail, resolution, air, imaging, dynamics.
Just completely shocking how much better a small change has made.

But I am perplexed why such a huge change on the Chinook where I noted nothing on the ph10?

Any theories here?
128x128uberwaltz
geoffkait's avatar
geoffkait
23,365 posts
 
three_easy_payments
Although BDR goes on to say:

The proper placement will significantly affect the performance of the cones so the rule of thumb is the tip of the cone towards the resonant surface. For example, under a CD transport sitting on an MDF shelf, the tips of the cones should be pointing down.

So apparently the orientation depends on whether you are using a BDR shelf or not.

>>>>Depends on how you define “resonant surface” since the BRD shelf is still subject to seismic (low frequency) vibration. The whole idea behind vibration isolation and resonance control is to (1) isolate the component from seismic type (very low frequency) vibration while - at the same time - (2) provide a path for rapid evacuation of vibration of the component from motors, transformers, or caused by acoustic waves. So it’s simultaneous equations, not just one equation.
three_easy_payments's avatar
three_easy_payments
2,097 posts
 
@geoffkait 

Yes, that makes sense.  In terms of cone tip direction it seems it's really the relative resonant difference between two shelves or a component and a shelf.  In my case the BDR "The Source" shelf is the most resonant so the cone tips point towards The Source shelf and away from my rack shelf.  I realize there are competing forces here to resolve - the seismic energy from the floor propagating through the rack and the TT above The Source being absorbing by the underlying "The Source" shelf and into the cones.  In the end I know which direction sounds better so that makes it easy.  Now if I start decoupling my rack feet more effectively from the floor I may decide flipping the cones may sound better.
geoffkait's avatar
geoffkait
23,365 posts
 
I have mucho experience with all manner of cones, ever since I started developing my Sub 1.0 Hertz Nimbus platform which has been a while. What I found out was that the two critical characteristics of cones are hardness and shape. The very best cones, like ceramic Super DH (Diamond Hardness) Cones from Golden Sound, are both very hard have a very ballistic shape. They are more open, more natural and more dynamic. By contrast, BDR cones (carbon fiber) are relatively soft (on the Mohs scale of Hardness, I.e., strong but not hard, AND they have a shallow, much less ballistic shape.

Everything is relative. A. Einstein
three_easy_payments's avatar
three_easy_payments
2,097 posts
 
Perhaps I will give the Super DH cones a try too. I hear there's nothing quite like ballistic audio.
slaw's avatar
slaw
21,967 posts
 
With all due respect, if @three_easy_payments is still think of decoupling from the floor, I don’t know if the DH Cones are the best solution. I saw, for sale, here, Stillpoints 5...4 for 1500.00. As far as Stillpoints go, that’s a great deal. I pondered buying them myself.

Remember when you decouple your rack, all the other components will benefit as well.
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