Who has compared directly the sonic effect of placing a tube amplifier on an active isolation platform such as Herzan or Seismion versus placing the same tube amplifier on a MinusK platform?
What differences do you hear between these two methods of vibration isolation?
Who has compared directly the sonic effect of placing a tube amplifier on an active isolation platform such as Herzan or Seismion versus placing the same tube amplifier on a MinusK platform?
What differences do you hear between these two methods of vibration isolation?
IMO you must state a particular amplifier to ask such question. I can't explain why but found, for example , that an ARC amplifier had a very different reaction with a Finite Elemente Pagode platform than a conrad johnson. The ARC sounded lean on the platform , the conrad johnson sounded great.
When addressing platforms we must think of two aspects - vibration isolation and vibration coupling. So we want isolate our amplifier or do we want to couple it to a large mass?
When addressing platforms we must think of two aspects - vibration isolation and vibration coupling. So we want isolate our amplifier or do we want to couple it to a large mass?
As I research the MinusK (used under my friend's Berning SETs to happy effect) I have learned that the center of mass of the device being isolated has to be in the middle of the top of the MinusK platform. This is a problem if an amplifier is heavily weighted to the rear with big transformers.
A plate would have to sit on top of the MinusK with such an amplifier moved forward to locate the center of mass of the amp over the center of the MinusK -- seems like an unsightly project.
The challenge with any isolation platform in audio applications is the secondary vibration path set up by connected cabling. This is even more significant when those cables are relatively heavy. In my experience, the MinusK platform is particularly sensitive to cable drag.
I wonder if the best operating environment for sensitive electronics (those with highly microphonic components) and transduction sources (vinyl playback) might be in a room which is isolated from and separate to the primary listening room.
I wonder if the best operating environment for sensitive electronics (those with highly microphonic components) and transduction sources (vinyl playback) might be in a room which is isolated from and separate to the primary listening room.
Agreed … this is how my primary listening room is configured. Beyond isolation there is an added benefit of not creating a large mass of equipment in a primary reflection zone. On the downside there are UI/control issues and long cable runs to contend with.
