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In Reply to: RE: Sheesham / Indian Rosewood Platform posted by Duster on February 01, 2017 at 14:21:54
I am also a fan of BDR cones and use them in combination with other materials beneath components. I'd like to thank you again for your recent recommendations. I now have two Oyaide Black Mamba V.2 cables feeding my ARC SP16 and VS55. They are a significant improvement over an Empirical Audio and an Alan Maher cable which they replaced.
I also have incorporated the 40 mm carbon fiber discs into my system to good effect. I was wondering, in addition to the usual suspects, have you ever experimented with thin brass sheets? I find that these can provide a unique benefit in the right location. One example, beneath the spikes of my Sonus Faber Cremona floor standers I employ two 40mm carbon fiber discs with non slip feet at the rear (the heavier side) and two ebony cups with a thin sheet of Herbie's material beneath, and under that a thin square of brass next to the oak floor. These brass shims are quite thin. In this application they are just thick enough to be stiff however in other applications I've used the even thinner, foil like, brass material. If the brass is too thick the benefit is lost.
Edits: 02/05/17Follow Ups:
Perhaps you would explain the sonic benefit of the thin brass square. I'm not familiar with that approach. Have you tried a thin layer of another material instead, and what was the effect?
The effect in the particular application I described, beneath the front spikes of the Cremonas, was to open up the soundscape. In other words the space around the sounds took on a more three dimensional aspect. In the Anonymous Four cd Gloryland there was more delineation within the acoustic space that the four voices occupied. This was also apparent with the cymbals and drum kit in the Brad Mehldau Trio's cd of Blues and Ballads. This effect I've described occurred when the brass shim was added to the ebony/Herbie's combo, and disappeared when it was taken away. Incidentally using carbon fiber exclusively under the Cremonas produced an unpleasantly harder sound that seemed dramatically less natural to me. As you know, better than most, there are many materials and strategies to isolate, damp, drain or improve the sound of an audio component. I can't lay claim to having comprehensively tried them all I just have over the years accumulated an assortment of them which to my ear have a synergistically positive effect in my systems, as well as being relatively economical.
I haven't experimented with other metals except, many years ago to compare brass washers to steel, in that case preferring brass but as I said that was a long time ago and the application was different.
The brass shim may be acting as a resonator, and it's likely changing the coupling/decoupling dynamic of the ebony coupling discs and Herbie's decoupling sheet, which is perfectly fine since this is the nature of a customized system tuning effort. Changing the resonant nature of various audio components with designs/materials implemented as a vibration control device is what it's all about. The vital thing is identifying various audiophile listening cues, and seeking your own aesthetic presentation as the goal. IME, the ideal goal is a coherent presentation of both listening cues based on aural information (such as resolution), and physical sensation (such as PRAT).
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