Center Stage2
Designed by Joe Lavrencik, Critical Mass Systems
U.S. patent pending
Introduction
There were several objectives behind the development of Center Stage2. Firstly, we wanted to develop a novel approach to solving the problem of vibration degradation in audio systems.
Secondly, this new innovative approach had to be applicable to the widest array of components possible. And, we wanted Center Stage2 to bring a consistent level of improvement to the least expensive systems and the most expensive systems.
Thirdly, we wanted to make sure that Center Stage2 was beneficial across the audible spectrum rather than effective in a limited range of frequencies.
Finally, and most important, we wanted to develop a product that brought methodologies found in our most expensive products to the audio community at the lowest possible cost.
We are thrilled with Center Stage2 and we hope you will give them a try throughout your system.
What was the Innovative Approach?
Rather than approaching the problem of reducing vibration using classic methodologies, we decided to try to “work the problem backwards’. So, we started with design fundamentals that rest within the discipline of material science. Firstly, we explored the properties of a wide range of materials. Secondly, we determined the correct sequencing of the material. Then, we established the proper proportions of the materials. Lastly, we added damping in the very last stage in an amount that would eliminate the internal noise of the product and the component without rolling off the top end of the acoustic envelope.
How Does Center Stage Work?
Gain, Relative Permittivity and the efficiency of electrical devices can be expressed as dimensionless numbers. For a moment, think of electricity as dimensionless energy moving through 3 dimensional pathways; printed circuit boards, resistors, capacitors, inductors, power supplies, wire, transformers, etc. When vibration is introduced into the atmosphere at the front baffle of the loudspeakers, vibration becomes a 3-dimensional form of energy that can only dissipate by permeating into 3-dimensional objects causing an unnaturally high state of mechanical excitation to occur within them; the objects vibrate. They will continue to vibrate when music is playing and eventually establish a relatively constant state of unnaturally high equilibrium that is well known to degrade the performance of audio components.
Center Stage2 helps components reach their engineered potential in 3 ways. First, they mitigate vibration coming up from the surface below them. Second, they cancel out their own noise. This very difficult accomplishment ensures truth to source material and truth to component engineering design. Third, they transfer entropy out of the component. The transfer of disorder out of a component is rooted in the 2nd Law of Thermodynamic and requires time; thus the reason for the extended settling process.
We thought about evaluating Center Stage2 using standard accelerometer tests but, we were getting audible results far beyond the expected norm; results so undeniably powerful we knew that something beyond that which an accelerometer could show was going on. Center Stage2 is a foot with a footprint that exceeds most anything we’ve heard from a “shelf”, or a “box”.
It might be appropriate to view Center Stage2 as a catalyst in an energy reaction. This catalyst is designed to change the prevailing state of equilibrium in the reaction, to establish a better state of equilibrium, and to permanently hold the better state of equilibrium. The shocking surprise is the sonic envelope of the better state of equilibrium.
The Total Immersion Effect
The Total Immersion Effect can be described as a highly articulated acoustic sound field that extends out from the loudspeakers and wraps around the listener. Another way to say it is, the listener is pulled into the recorded acoustic. The effect is the same expressed either way.
In a “normal” listening room, you see an image in space and you hear a musical event occur at that location. With the Total Immersion Effect, you experience something on the order of a 4k hi-rez 3D surround-event. At times, you see the image in space, you hear and see the musical event occur inside the image, and then you hear, see and feel the sensory event spread out around you from the soundstage. You become immersed by the sound field.
Knocking down the “wall” that separates the listener from the musicians at the front plane of the loudspeakers requires the electromechanical balance inside the components to reach an ultrafine point of equilibrium and to hold that equilibrium point across 20,000+ Hz in a fluctuating energy field so that the component can remain stable enough to create the Immersion Effect with consistency in the listening space.
What to expect during settle in
It might be best to think of the break in period as 7 days in hxxx, well, you get the idea. Center Stage2 is a catalyst in a reaction that occurs in, on and around the circuit boards of the component powered by energy produced by loudspeakers and, in measure, the component itself.
The settling in process can be likened to the swinging motion of an undamped pendulum. Upon release, the pendulum swings freely on both sides of an equilibrium point where it will eventually settle.
Because Center Stage2 will dramatically change the current electromechanical equilibrium of your components, you should expect your system to temporarily degrade at the outset. Your soundstage will then begin to reconstruct itself by gently tipping upward and downward as it establishes a new and better equilibrium point. “Better” is inexorable.
During the settling period, the listener will recognize that he/she is listening to a series of long, nonspecific frequency oscillations as the better state of equilibrium is slowly established. This is perfectly normal and should be expected.
In fact, these cycles are extremely important. During each cycle, the component is moving closer to a better equilibrium point, AND, at the end of each cycle, the noise floor will drop. Thus, each cycle represents a reduction in noise floor and the formation of a better electromechanical equilibrium point. The longer this cycling continues, the better your sound will become. In this respect, a 7-day settling period is a very good thing.
In the end stage, the oscillations will become ultrafine and be largely experienced in the high frequencies. They will be barely perceptible unless you really focus. It is extremely important to let the system play for at least 7 days before assuming it has reached equilibrium. Playing a system 24/7 is not always necessary, but the more playing time the better.
Your end of the Bargain, or Making the Experience Better
Center Stage2 is good for beginners and advanced listeners. The sonic fluctuations you may experience during the settling period will subside as time passes. Keeping in mind that Center Stage2 is designed to be neutral, here’s what you need:
- Components crafted by a known and reliable manufacturer. Your components do not need to be among the “most expensive” or the purported “best” in the world. You will experience excellent results with low cost components. A host of components were used to design Center Stage2, some of them very low cost. This was done to assure consistency of performance. It is certainly true, however, that the better your components, the better your results.
- Neutral wiring crafted by a known and reliable manufacturer. Some wiring is a “tone control”. Tone control wiring is not necessary. The more invisible your wire, the less it makes its presence known in your system, the better your results.
- A Clean Circuit. It is important to make sure the “cheap” power supplies from computers, screens, servers and most turntables etc. are plugged into a circuit separate from the circuit servicing your main components. The dirt from these low-end plug-ins will contaminate your signal. You may not have heard the contamination before, but you will certainly hear it as the noise floor drops with Center Stage2.
- Stable rack(s) and/or stand(s). Home furnishings are fine. Center Stage2 was vetted on various flat wooden surfaces with Janka ratings of 1200 and higher equating to an elastic modulus of 4 GPa or greater. This means that virtually any flat surface will net tremendous results. Having said this, the better the surface with respect to its associated and/or inherent technological properties, the better the results. The results on CMS racks is superlative. Please note that bare metal surfaces may not net the best result and separating the foot from the surface with an appropriate wood surface may be required.
- Proper loudspeaker set up. This is essential. Center Stage2 was designed to be most effective in 2-channel stereo system listening rooms with conventional loudspeakers of appropriate size and design for the room, and with seating positions reasonable and appropriate for the loudspeaker and room dimensions.
- When you put Center Stage in, pull every tweak out. Center Stage2 will take about 7 to 10 days to settle. Be slow, careful and cautious about adding any other device(s) back into your system. Keep in mind that Center Stage2 is designed to support 'truth to the component engineering" and "truth to the source material". Recordings should sound as they were originally engineered. There should never be homogenizing of the signal output. Adding Center Stage under more of your components is the only means to realizing the full “Total Immersion Effect” so highly valued in high end audio.