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Thanks, interesting debate - so it's spikes then, rather than softies like Sorbothane Feet? Go on, someone explain to me this "grounding" theory! I actually now use those very expensive RDC (resonance damping compound) things from Germany which are a spike/Sorbothane sandwich! Phil.
Grounding theory is quite simple: why store unwanted energy when you can transfer it to ground? My entire stand, the Quadraspire Reference works on the low mass rapid energy transfer principle.
I guess it works in the same way as electrical earthing/grounding only with mechanical energy (vibrations) instead of electrical energy.
I tend to agree but these things are highly subjective. I'm sure Tony thinks our place is rather garish and bling in comparison.Quote:
On another note, I must say that Pink fish has a very dull colour palette, turquoise and white, mmmm - no pink at all though, weird.
Indeed, although I also agree with Rob. PFM has what's known as a 'dead-pan aesthetic'. No disrespect to Tony, but you can tell that his background is in IT rather than something which requires a little more artistic flair ;)
He should have listened to Vuk when he was offering advice on how to improve PFM's visual template. It's currently very functional but ultimately a touch bland and uninspiring. I guess it lacks 'warmth'.
I do remember reading an explanation of why Tony called his site 'Pink Fish Media' and it has got nothing to do with the colour pink, or even fish, for that matter! The thread will be somewhere in the archives.
Marco.
Steve, Thanks for your reply on grounding theory, but why spikes? Obviously, there appears to be a concencus that spikes work best, but why is this? What is it about tapering to a sharp point in contact with the ground that provides the best solution? One may think that in respect of sonic grounding, the more surface that is in contact with the ground the better, rather than spikes that give minimal contact. I assume that the arguement with spikes is they allow vibration to pass from the component to the ground, but the minimal surface contact allows little opportunity for vibration to pass in the other direction, i.e., from ground to component? Thanks, Phil.
Phil,
I think you are onto something with the spike theory. I noted that Still Points aren't a sharp spike though. The decoupling Music Works plastic spikes used under amp tables and top shelves for under CD players and preamps aren't exactly pointy either. They can support less weight, are brittle but do sound better in terms of dynamics than metal pointy spikes in this particular application.
What were the shameful events? That one must have passed me by. As Mike can testify I have a few bits of isolation in use. The one I have found to 'almost' universally work is the Townshend Seismic Sink, one each under the Pre and DAC. Apart from the 90Kg piece of granite under the TT ( floor not moved yet and the TT still level ) I have a 30mm bit of Cast Acrylic under the Phono stage, which is still under evaluation, I'll be removing it in the future and see what I am missing or gaining in presentation, whatever the case may be.Quote:
Originally Posted by Steve Toy
Andy - SDDW
I guess for the ultimate in overkill, one could spike a component on a Seismic Sink which is standing on a 90kg granite wall mounted shelf.
Show me a wall shelf that will hold all that lot and I might just try it, will need a crane to lift the granite to the shelf though.Quote:
Originally Posted by Filterlab
Second thoughts you probably can produce the shelf that will hold a total weight of 120Kg, I'll stick with my current configuration cheers. I need my back in working order. :) I'm not too sure if the house walls could take the weight either, built by 'Bodge it and Scarper' a good fart would make the walls move.
Andy - SDDW
I like the PFM aesthetic, and I'm an arts graduate. Less is more, and all that.Quote:
Originally Posted by Marco