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In Reply to: RE: Sheesham / Indian Rosewood Platform posted by KONA on February 03, 2017 at 11:01:52
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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