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Equipment isolation and vibration damping.


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I have no real desire to expend a bunch of time listening to different materials when you have already done the ground work -- and you undoubtedly have a much better ear for fine differences than I do :) that said...

 

Clearly any audio equipment with tubes would have to be a high priority for isolation. Speakers, amps sure ... A computer ... not as much. I am just suggesting that silicone putty may provide a reasonable backing material to 1) mate curved glass to flat metal 2) tone down the glass.

 

Regarding tungsten carbide vs cobalt chrome bearings ... hmmm.... when mated to a ***much*** softer aluminum bowl its really hard for me to see how this would make a difference. Wouldn't it be better to use a chrome steel bowl ... and if not, then maybe harder isn't always better in this application. If "dead" is better than live ... and hence aluminum ... then PEEK could be considered or ceramics.

 

Ideally we could do a group buy to machine say 2" 7075 alum discs with a gentle bowl (again while fascinating topic ... no time to do too much experimentation).

 

Hi jabbr,

 

I've found benefit in isolating *everything* including solid state gear (though tubes, being microphonic, would likely show an even greater degree of improvement) and power supplies, and speakers, and subwoofers.

 

As always, I suggest no one simply take my word for what will work for them. I can only report what works for me. My own take regarding putty is "why have to "fix" something if alternative materials won't require the fix?" Besides, why use a flexible material like glass in the first place, when we're seeking hardness and rigidity? All energy has to go into rolling the ball, not flexing the supposedly still parts of the isolator assembly. Also, adding anything compliant in the same plane of motion as the compliance of the isolator will, in my experience, hinder its performance.

 

Regarding Tungsten vs. Chrome steel balls on aluminum bases, what I've found is that 7075 is hard enough to work superbly. At that point, trying the different materials for the ball made a very appreciable difference in performance -- and an even more appreciable difference in cost. ;-{

 

All just my perspective of course. I advice as much experimentation as one is willing to undertake, while still having fun.

 

Best regards,

Barry

Soundkeeper Recordings

http://www.soundkeeperrecordings.wordpress.com

Barry Diament Audio

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That's interesting reading John, I don't suppose you have a link to the door stops which you used as they do look like something I could experiment with myself

 

Lee, thank you for the kind words. Sorry I do not have a link. I was just wondering thru the hardware store one day and noticed them marked down from $10 to $1 each, so bought a bunch of them thinking if they do not work, well I have only wasted $9 (for 9 Door Stops) for doing some fun DIY. Plus they sounded a lot better than some of the audiophile tweaks I had tried like Ceramic Cones.

 

I also mentioned them in my post because it was something inexpensive (unlike the very effective, though pricey Townshend springs) and that was a pleasant surprise.

 

I'm not really following the thread much (though I admire YashN investigation and curiousity), though one thing that gets mentioned a bit is the Aluminum Plates. I got mine from the local metal shop, about $25 to $30 each (depending on size). It really is a good material, plus inexpensive, so it fits the spirit of this thread.

 

My next step is to go back to my local metal shop and get some more Aluminum to replace the glass shelves in my hifi racks. I kind of feel like I have ignored the elephant in the room by not doing that sooner.

 

Lee, their are a couple of very knowledgeable people in this thread like Barry Diament and John Swenson. Also YashN seems to keep finding new stuff from all over the place! Great finds though!

Quite a few great ideas, so it is a worthwhile thread to follow.

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Hi jabbr,

 

I've found benefit in isolating *everything* including solid state gear (though tubes, being microphonic, would likely show an even greater degree of improvement) and power supplies, and speakers, and subwoofers.

 

As always, I suggest no one simply take my word for what will work for them. I can only report what works for me. My own take regarding putty is "why have to "fix" something if alternative materials won't require the fix?" Besides, why use a flexible material like glass in the first place, when we're seeking hardness and rigidity? All energy has to go into rolling the ball, not flexing the supposedly still parts of the isolator assembly. Also, adding anything compliant in the same plane of motion as the compliance of the isolator will, in my experience, hinder its performance.

 

Regarding Tungsten vs. Chrome steel balls on aluminum bases, what I've found is that 7075 is hard enough to work superbly. At that point, trying the different materials for the ball made a very appreciable difference in performance -- and an even more appreciable difference in cost. ;-{

 

All just my perspective of course. I advice as much experimentation as one is willing to undertake, while still having fun.

 

Best regards,

Barry

Soundkeeper Recordings

www.soundkeeperrecordings.wordpress.com

Barry Diament Audio

 

Fair enough. Tungsten carbide balls are very expensive and have a Vickers of ~2200. Almost 1/10 the price is Silicon Nitride with Vickers ~1500 which is still twice that of steel. Until I can get someone to make some 7075 aluminum bowls I am going to try this out with little white plates with raised edges. Has anyone tried ceramic bowls?

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When you will find easy cheap good looking practical solution alternative to tubes, do not forget to share;)

 

Take a look at these. At a low inflation pressure they may move around, but they are built for the task. At least you can try to "tune" them with pressure. I've used these on test equipment before.

 

McMaster-Carr

 

There are other compression spring and vibration isolation products there, also. And remember, laser tables are isolated using pneumatic springs. (and a whole lot of mass)

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[This is from Wikipedia]The participants were not told which pieces included the low-level 17 Hz near-infrasonic tone. The presence of the tone resulted in a significant number (22%) of respondents reporting anxiety, uneasiness, extreme sorrow, nervous feelings of revulsion or fear, chills down the spine, and feelings of pressure on the chest.[38][39] In presenting the evidence to the British Association for the Advancement of Science, Professor Richard Wiseman said, "These results suggest that low frequency sound can cause people to have unusual experiences even though they cannot consciously detect infrasound.

...

 

Their research suggested that an infrasonic signal of 19 Hz might be responsible for some ghost sightings. Tandy was working late one night alone in a supposedly haunted laboratory at Warwick, when he felt very anxious and could detect a grey blob out of the corner of his eye. When Tandy turned to face the grey blob, there was nothing.

The following day, Tandy was working on his fencing foil, with the handle held in a vice. Although there was nothing touching it, the blade started to vibrate wildly. Further investigation led Tandy to discover that the extractor fan in the lab was emitting a frequency of 18.98 Hz, very close to the resonant frequency of the eye given as 18 Hz by NASA.

 

Last night, we watched that Townshend video together, and at the end I told her about also floating the listener and the feelings of anxiety reported with infrasound. Then I told her about the resonant frequency of the eye and that this could cause some odd 'sightings' and told her nothing more.

 

She said that bizarrely enough, two times recently, she thought she saw a few whitish blobs out of the corner of her eye (but there was nothing of course).

 

And then I showed her the extract quoted above about seeing ghosts...

 

Now, isolating the listener as well should be good, but then you'd still get the room reverberations moving with the micro-tremors...

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When you will find easy cheap good looking practical solution alternative to tubes, do not forget to share;)

 

I may have found something else today: they are cheap ice-cube containers: they look rubbery, cubic and contain fluid, probably water. They are supposed to be put in the freezer and used as re-usable ice-cubes.

 

This is closer to what I was looking for, i.e. vertical + some damping. As yet untested though.

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Perhaps if someone were to do a "group buy" with a machine shop, a bunch of folks could get some aluminum dishes machined and save on cost? Given that I wouldn't mind these under a bunch of stuff but only some of it will get off the shelf Symposium kits, I would participate. Thoughts?

 

Could be a great idea.

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Clearly any audio equipment with tubes would have to be a high priority for isolation. Speakers, amps sure ... A computer ... not as much.

 

I wouldn't be so sure about the computer not needing the isolation as much, especially if it's part of the source chain. There are too many circuits in the computer, including DRAM, reading from the internal HDD, reading from external HDDs through USB or other interfaces, then outputting, clocks, etc... not to do it.

 

It really is an all or nothing strategy, and very worthwhile to go all the way IMO.

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Hi jabbr,

 

I've found benefit in isolating *everything* including solid state gear (though tubes, being microphonic, would likely show an even greater degree of improvement) and power supplies, and speakers, and subwoofers.

 

I would add a couple of related thoughts here: anywhere there is a circuit could be isolated, even cables.

 

Moreover, since we started with the speakers here, we noticed an increase in air pressure. The isolation should also help with air-induced vibrations in my opinion, much like the Wave Kinetics feet are purported to do.

 

So, if you start with your speakers, there is a high probability that airborne vibrations to your components and platforms are increased, and therefore, you must consider isolating the latter even more.

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My next step is to go back to my local metal shop and get some more Aluminum to replace the glass shelves in my hifi racks. I kind of feel like I have ignored the elephant in the room by not doing that sooner.

 

A three-way comparison with bamboo would be awesome (bamboo seems to be getting some love). I think wood comes and sounds naturally, but to have a good piece of wood may necessitate sandwiches with layers of alternating grain and some proper gluing and polishing.

 

Not sure it can be enough for our purposes of the platform resting on the ball, but maybe some thin steel or aluminium stuck to it or stuck to it via an inner layer of rubbery isolation could do.

 

BTW, thanks for the good words :)

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Has anyone tried ceramic bowls?

 

Haven't tried ceramic, but wanted to try Teflon (which was recommended against), and mostly flat containers with curves at the very end.

 

I think I saw one manufacturer using ceramic, but perhaps as the ball composition.

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Take a look at these. At a low inflation pressure they may move around, but they are built for the task. At least you can try to "tune" them with pressure. I've used these on test equipment before.

 

McMaster-Carr

 

There are other compression spring and vibration isolation products there, also. And remember, laser tables are isolated using pneumatic springs. (and a whole lot of mass)

 

These look quite cool, and the air inside could be indeed like what Townshend uses in his pods or as in some tables which use an air diaphragm with a valve in it.

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Floated the DAC today, or rather, I should say I attempted to float it today.

 

Recently, I commissioned my DIY USB cable to service again to great effect. However, it's bulky and heavy, so I doubt that the little iDSD Nano is being properly isolated. It's rather being actively tethered in a position by the tension of the cable itself.

 

Tomorrow, the plan is to probably make a lighter and shorter version of my cable, and also float the iMac. It already has an aluminium base, so I'll use that as is.

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A three-way comparison with bamboo would be awesome (bamboo seems to be getting some love). I think wood comes and sounds naturally, but to have a good piece of wood may necessitate sandwiches with layers of alternating grain and some proper gluing and polishing.

 

Not sure it can be enough for our purposes of the platform resting on the ball, but maybe some thin steel or aluminium stuck to it or stuck to it via an inner layer of rubbery isolation could do.

 

BTW, thanks for the good words :)

 

Your welcome :)

 

Though I must say I am finding it hard to keep up with you :) ... but at the same time have great admiration for both your focus and dedication to this undervalued or maybe less fashionable topic of improving audio. After power, isolation was my biggest win.

 

Yeah, Bamboo was the best type of wood. I tried 2mm ALU on top of it ... but not so good.

I think you need a certain amount of thickness for ALU not to ring or bend ... plus get that RF or EM benefits mentioned earlier (can not recall if it is EM or RF).

 

So just stuck with 10mm ALU plates as it was affordable. I think I asked about 15mm or 20mm ALU plates, but the price was a bit scary, getting too expensive for the amount I needed.

 

I will probably check the thread every week ... I am really interested in where you end up with your experimentation, research and final DIY solution that works for you.

 

Very Curious to see your final results.

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Though I must say I am finding it hard to keep up with you :)

 

Haha, no worries about that :) I'm also nearly done with my own AC filtering device. We had some fantastic and unexpected results last night, but not so much tonight because I accidentally changed the setting for impedance matching between my amp and my front-speakers tonight, so we'll try again tomorrow. And I am building two more electrical isolation boxes. These three items are in their own thread. This is not counting my coding projects involving thinking machines :P

 

... but at the same time have great admiration for both your focus and dedication to this undervalued or maybe less fashionable topic of improving audio. After power, isolation was my biggest win.

 

Thanks. I was talking about that power thing with my girlfriend tonight, and we realised that usually people take power as clean for granted: they buy a component, want to turn it on, and just plug it in and test it.

 

If it weren't for other people like Jon Risch, Lukas Fikusz, Isotek, John Swenson, etc..., we'd probably still be doing that ourselves. In fact, up to now, we practically did!

 

I think a lot of people take 'ground' for granted as well as cables and signal integrity, so my next couple of investigations will be of that nature. Last night's research was very promising!

 

Yeah, Bamboo was the best type of wood. I tried 2mm ALU on top of it ... but not so good.

I think you need a certain amount of thickness for ALU not to ring or bend ... plus get that RF or EM benefits mentioned earlier (can not recall if it is EM or RF).

 

OK, but here's the thing: we'd need the strongest material in contact with the ball, and two different materials bonded together provide some mutual damping, so ideally, I'd stick the thin Alu underneath the bamboo, and thus earn the benefits of both.

 

However, for the platform to work well, I believe your component should be coupled at the top surface...

 

I will probably check the thread every week ... I am really interested in where you end up with your experimentation, research and final DIY solution that works for you.

 

Well, let's see if I can describe this properly to make you visualise it:

 

The big issue with the air-cushion with the speakers is a stability issue because the air-cushion deflates with time, threatening a catastrophic imbalance of the ball-and-cup and speakers.

 

This is mostly a problem with the center of gravity of the arrangement, but also the nature of the air-cushion.

 

Hence, the design I came up with is to invert the speaker support and use an alternative to the air-cushion for the vertical isolations: i.e.:

 

1. Visualise, for simplicity's sake, a triangle flat platform glued to the top of the speaker, the triangle being larger than the speaker surface. The vertices of this triangle rest on 3 cup-and-ball arrangements, themselves supported by three pillars bending upwards like in a candelabra, and finding a single support below with a normal stand. This can easily support a bookshelf speaker.

 

2. For vertical isolation, a spring is between the lower surface of the speaker and the stand below, at the point where the three arms bend upwards. Looking straight at the drivers, one arm will be to its right, one to its left and the last straight at the back.

 

You could use the same arrangement with an open-baffle, either having the drivers centered (but risk interaction with the arms, or else put them at the front, but then you'd need a counter-weight at the back, much like a cartridge + counter-balance arrangement).

 

The point is that, with the ball-and-cup at the top, the speaker cannot fall and is actually, technically more stable, since the centre of gravity is now lower than the ball + upper platform plane as before and which could lead to the catastrophic imbalance and failure previously.

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I floated my turntable last night. 12" bike tube, low inflation. I was really pleased.Then I put John Martyn's Solid Air on. This has some lovely tenor sax that is often very soft and reflects the track's title. And that is what I heard as I haven't heard it in the almost 40yrs I have been playing it. Pretty darn good!

So then I put on 2 of my real test tracks - the final 2 tracks of Supertramp - Even in the Quietest Moments. Lots of details, noise, etc. The piano sounded more like a piano, especially the higher notes which can really sound hard. The vocal is also a good test as it can easily sound harsh and one dimensional. Here I was able to hear the timbre of the voice really well in its complexity. And then there is the crescendo near the end that ends with the sound of wind. I heard this transition wonderfully clearly. I hadn't realised how early the wind begins within the crescendo.

 

Today I have been playing the Moondance album and think the bass is more prominent than it has ever been and I am a little concerned there may be some bass bloat. I have now got Astral Weeks playing, and it has an acoustic bass, and it is definitely up in the mix. I can't let any more air out as it is just clearing the valve.

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Hi guys (and gals)

 

Dont know if this has been mentioned on this long thread already

 

I have just tried a friends Mad Scientist BlackPod Footers under my system. WOW, now THIS is really something. He has several set (alu, Zirconia and Tungsten). The latter was WAY better then the first two which also are GREAT. Better then Ansuz and Nordost Sort Kones which I both have access here to compare with.

 

The sound just opens up in every dimension, small details are now just in front of you, and the bass is fast yet deep. It´s a keeper (sorry for my friend, he´ll not get themback ;=)

 

KnockKnock

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These are likely too heavy duty, the smallest is rated at 100# per unit. To achieve that the wall thickness of the pod will be great enough to cause issues.

 

No one has mentioned it as of yet, but one could use Sodium Hexaflouride in Barry's inner tube concept. It is more compress-able whereby allowing a higher tube pressure or a lower resonant frequency than compressed atmosphere.

These look quite cool, and the air inside could be indeed like what Townshend uses in his pods or as in some tables which use an air diaphragm with a valve in it.

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I floated my turntable last night. 12" bike tube, low inflation. I was really pleased.Then I put John Martyn's Solid Air on. This has some lovely tenor sax that is often very soft and reflects the track's title. And that is what I heard as I haven't heard it in the almost 40yrs I have been playing it. Pretty darn good!

So then I put on 2 of my real test tracks - the final 2 tracks of Supertramp - Even in the Quietest Moments. Lots of details, noise, etc. The piano sounded more like a piano, especially the higher notes which can really sound hard. The vocal is also a good test as it can easily sound harsh and one dimensional. Here I was able to hear the timbre of the voice really well in its complexity. And then there is the crescendo near the end that ends with the sound of wind. I heard this transition wonderfully clearly. I hadn't realised how early the wind begins within the crescendo.

 

Today I have been playing the Moondance album and think the bass is more prominent than it has ever been and I am a little concerned there may be some bass bloat. I have now got Astral Weeks playing, and it has an acoustic bass, and it is definitely up in the mix. I can't let any more air out as it is just clearing the valve.

 

Hi rocl444,

 

Sounds like you're on your way.

I'd suggest trying an inner tube that describes a circle larger than 12" -- more like 18" or larger.

The 12" tube *might* be a bit stiffer than a larger one.

 

One other possibility is the plinth of the table itself. Try resting the stylus in the lead-in groove of a record *without* the table spinning. Then, with the volume at something close to your normal listening level, tap *very* lightly on the top of the plinth with your fingers. If you hear a rumbling through the speakers, I would suspect the turntable is very sensitive to airborne vibrations.

 

Best regards,

Barry

Soundkeeper Recordings

http://www.soundkeeperrecordings.wordpress.com

Barry Diament Audio

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These are likely too heavy duty, the smallest is rated at 100# per unit. To achieve that the wall thickness of the pod will be great enough to cause issues.

 

They are rated to work best above 400 cycles per minute according to the specs...about 6.667 Hz...shouldn't that be a lower single digit to perform as needed?

 

http://www.mcmaster.com/#adjustable-air-springs/=xtagk2

 

For vibration-control applications, the air pressure in the springs serves as an energy-absorbing medium to provide maximum vibration and shock isolation, load leveling, and height control. The springs work best at frequencies above 400 cycles per minute. Loads and height can be varied by adding or exhausting air.

Positive emotions enhance our musical experiences.

 

Synology DS213+ NAS -> Auralic Vega w/Linear Power Supply -> Auralic Vega DAC (Symposium Jr rollerball isolation) -> XLR -> Auralic Taurus Pre -> XLR -> Pass Labs XA-30.5 power amplifier (on 4" maple and 4 Stillpoints) -> Hawthorne Audio Reference K2 Speakers in MTM configuration (Symposium Jr HD rollerball isolation) and Hawthorne Audio Bass Augmentation Baffles (Symposium Jr rollerball isolation) -> Bi-amped w/ two Rythmic OB plate amps) -> Extensive Room Treatments (x2 SRL Acoustics Prime 37 diffusion plus key absorption and extensive bass trapping) and Pi Audio Uberbuss' for the front end and amplification

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They are rated to work best above 400 cycles per minute according to the specs...about 6.667 Hz...shouldn't that be a lower single digit to perform as needed?

 

Hi InfernoSTi,

 

 

Yes, I would agree. These might work but I would much prefer something with a lower resonance - by at very least a factor of 2, hopefully more.

 

Best regards,

Barry

Soundkeeper Recordings

http://www.soundkeeperrecordings.wordpress.com

Barry Diament Audio

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Hi InfernoSTi,

 

 

Yes, I would agree. These might work but I would much prefer something with a lower resonance - by at very least a factor of 2, hopefully more.

 

Best regards,

Barry

Soundkeeper Recordings

http://www.soundkeeperrecordings.wordpress.com

Barry Diament Audio

 

Thanks, Barry.

 

I've learned a lot from you and this (and a couple of similar) thread(s). I'm having very good results from the Symposium Rollerball Jr's and 1/2" plate aluminum (6061 even though I understand 7075 is preferred). Right now I have the lower side of the Rollerball Jr's, the steel ball, then the 1/2" plate. I think the DAC was the greatest single step but with great results when I did the DAC, pre amp, and CAPS computer. I may try the Rollerball Jr's top and bottom on just the DAC with the lower half/plate on the pre amp and CAPS computer sometime down the road.

 

I also have the Symposium Jr HDSE for my main speakers (threaded to the base). I only have one set currently (the other was on backorder) so I haven't tried them yet. After trying under my front end with great results, I can't wait for the second set to come in to try under the speakers.

 

I have some bicycle tires arriving. One thing, the size of the tire is largely limited by the size of your platforms, so for an 18" tire, you need at least 18"x18" (or a little larger) platforms. This is problematic with my existing rack so I'm trying smaller tire sizes for now. Some day I might get a larger rack (one that would allow a clear space of 20" or more in each direction). Things I didn't think about all those years ago when I bought my rack.

 

Thanks for all your insights and encouragement...

 

John

Positive emotions enhance our musical experiences.

 

Synology DS213+ NAS -> Auralic Vega w/Linear Power Supply -> Auralic Vega DAC (Symposium Jr rollerball isolation) -> XLR -> Auralic Taurus Pre -> XLR -> Pass Labs XA-30.5 power amplifier (on 4" maple and 4 Stillpoints) -> Hawthorne Audio Reference K2 Speakers in MTM configuration (Symposium Jr HD rollerball isolation) and Hawthorne Audio Bass Augmentation Baffles (Symposium Jr rollerball isolation) -> Bi-amped w/ two Rythmic OB plate amps) -> Extensive Room Treatments (x2 SRL Acoustics Prime 37 diffusion plus key absorption and extensive bass trapping) and Pi Audio Uberbuss' for the front end and amplification

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Thanks, Barry.

 

I've learned a lot from you and this (and a couple of similar) thread(s). I'm having very good results from the Symposium Rollerball Jr's and 1/2" plate aluminum (6061 even though I understand 7075 is preferred). Right now I have the lower side of the Rollerball Jr's, the steel ball, then the 1/2" plate. I think the DAC was the greatest single step but with great results when I did the DAC, pre amp, and CAPS computer. I may try the Rollerball Jr's top and bottom on just the DAC with the lower half/plate on the pre amp and CAPS computer sometime down the road.

 

I also have the Symposium Jr HDSE for my main speakers (threaded to the base). I only have one set currently (the other was on backorder) so I haven't tried them yet. After trying under my front end with great results, I can't wait for the second set to come in to try under the speakers.

 

I have some bicycle tires arriving. One thing, the size of the tire is largely limited by the size of your platforms, so for an 18" tire, you need at least 18"x18" (or a little larger) platforms. This is problematic with my existing rack so I'm trying smaller tire sizes for now. Some day I might get a larger rack (one that would allow a clear space of 20" or more in each direction). Things I didn't think about all those years ago when I bought my rack.

 

Thanks for all your insights and encouragement...

 

John

 

Thank *you* John,

 

I'm glad if my posts are of any help.

The thing about inner tubes that describe smaller circles is it is harder to balance the load and avoid tilting. (Some use multiple, smaller tubes but in my view, as soon as you use an inner tube to level a load supported by another inner tube, isolation is compromised at best and rendered ineffective at worst.)

 

If the platform above the inner tube allows it space-wise, you can always place the load (i.e., the component) so it is centered by weight rather than by its physical chassis. For example, my amps are heavier on the left than they are on the right, so I place them right of center on the platform, to better center the concentration of their weight over the inner tube below the platform. (I'm using 18" x 1.75 inner tubes under 20" x 20" platforms, on racks I designed to accommodate these.)

 

Best regards,

Barry

Soundkeeper Recordings

http://www.soundkeeperrecordings.wordpress.com

Barry Diament Audio

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I think Barry advises regarding materials and designs would be followed safely. I did almost everywhere, except marble plates - was not able to find proper hardness. Tried other materials, including some very hard ceramics, which was not bad. But what worked best for my speakers so far is polished hard aluminum plates between bottoms and bearings.

 

Update: Need to be considered as well - the choice of material may depend on preferred type of music. For example, in my system aluminum plates under speakers on a top of bearings/balls give better defined low end punch and smooth mids and works better for rock, reggae, etc. But, hard ceramic plates in the same position gives more air, transparency to more lifelike highs and works better for classic or chamber. Quite contrary to this ceramics gives less transparency and air under tube amp while alu here gives more air and better definition of high sounds.

 

Also spent today couple of hours machine-polishing already polished bowls working surface. I think it brought another slight improvement.

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Update: Need to be considered as well - the choice of material may depend on preferred type of music. For example, in my system aluminum plates under speakers on a top of bearings/balls give better defined low end punch and smooth mids and works better for rock, reggae, etc. But, hard ceramic plates in the same position gives more air, transparency to more lifelike highs and works better for classic or chamber. Quite contrary to this ceramics gives less transparency and air under tube amp while alu here gives more air and better definition of high sounds.

 

Also spent today couple of hours machine-polishing already polished bowls working surface. I think it brought another slight improvement.

 

Hi AnotherSpin,

 

Something sounds amiss but I don't know exactly what.

I say this because proper isolation should not alter tonality. It simply allows us to hear the inherent character of the gear better, or put another way, it frees the gear to do what it is capable of doing.

 

Best regards,

Barry

Soundkeeper Recordings

http://www.soundkeeperrecordings.wordpress.com

Barry Diament Audio

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