Confessions of an Audiophile Junky-I Got Center Stage With Pitch Perfect Sound

Dear Mr. Lavrencik,

This is such good news to me. I am one of your customers using cms rack. Reading Steve's extraodinary experience with these magic footers, I no longer have to upgrade my rack to your Olympus. This is the kind of value creation all manufacturer should do for their customers :).

Kind regards,
Tang

But what about your turntables? Hahahaha. I upgraded to Maxxums for mine :D

Hey Joe, they almost done? Pics please :)
 
You'll know exactly what direction your system is heading in long before 2 weeks. May I ask what components you use and the same for your rack system? I might be able to provide a better time frame.........

Custom Jatoba* stand
Nottingham Spacedeck w/Spacearm and Sumiko MDC-800(aka The Arm)
Custom Phono Stage
Red Rose Audio Model Five
P.I. Audio Custom UberBuss

*the hardest exotic hardwood available
 
But what about your turntables? Hahahaha. I upgraded to Maxxums for mine :D

Hello Jack,

I use Maxxums for my monos. I am thinking these magic footers are more for electronics. TTs are a bit more sensitive to tweaks.
I was just teasing the owner of CMS :D.

Kind regards,
Tang
 
Lol!
 
If I had not had the opportunity to use these footers, especially the production versions, I would not believe what I have written here. In fact before getting them to review, I had trouble believing what Steve was saying about them, because, after all, they are just footers and what he was saying was too good to be true, and thus likely not true. However, the daily change in sound, both negative in the beginning and positive after several days clearly showed that something different is going on with these footers, than any other footers I had auditioned. I then did something that Marty has taught me over the years--Wait and just listen and be open minded. You will have no trouble knowing when the cohesiveness hits because it will no longer sound like a system, but rather life. The more lifelike it becomes, the more believable it becomes and the more it talks to you and says "come on sit down and listen to something familiar and hear what it sounded like when it was recorded, not just how it is reproduced, as we have settled for for years.

I now know that an unusual sound I heard at Marty's after his footers were in for over a week was not so much from his typical system tweaks, but rather an new quality of believability that emerged at my house after 6-7 days. I heard it with both V1 and V2 footers, although must quicker with V2 and much more cohesive.
 
Hi Davey

I checked out the Harmonix site. As an FYI, these are not the same thing as CS.

Joe, there are a few different models of the Combak Harmonix feet. I use the tuning feet which are supposed to modify the resonance and change the equilibrium of the component that is being supported. Harmonix footers have been available for many years, but not well recognized and certainly not highly utilized. Like your new feet, the technology behind them is somewhat opaque at this time. Whether they are different to the CS or not, I couldn’t say, certainly in regards to the technology, I have no idea. However, the Harmonix footers work well and are particularly valuable beneath digital gear.
 
If I had not had the opportunity to use these footers, especially the production versions, I would not believe what I have written here. In fact before getting them to review, I had trouble believing what Steve was saying about them, because, after all, they are just footers and what he was saying was too good to be true, and thus likely not true. However, the daily change in sound, both negative in the beginning and positive after several days clearly showed that something different is going on with these footers, than any other footers I had auditioned. I then did something that Marty has taught me over the years--Wait and just listen and be open minded. You will have no trouble knowing when the cohesiveness hits because it will no longer sound like a system, but rather life. The more lifelike it becomes, the more believable it becomes and the more it talks to you and says "come on sit down and listen to something familiar and hear what it sounded like when it was recorded, not just how it is reproduced, as we have settled for for years.

I now know that an unusual sound I heard at Marty's after his footers were in for over a week was not so much from his typical system tweaks, but rather an new quality of believability that emerged at my house after 6-7 days. I heard it with both V1 and V2 footers, although must quicker with V2 and much more cohesive.

I'll bet you and Marty didn't pay $300./foot to try them.

I hope Joe get his Patent before Chinese audio has a chance to reverse engineer them and sell a $50./foot replacement.
 
Sorry if I continue to sound a flat note, but I'm a bit on the fence re being put "centre stage", "in the orchestra", "in the midst of the action" etc (name your analogy).
Are these CSFs trying to achieve what MCH does ie a more immersive soundfield, or a real change in stage perspective?
I remain a bit skeptical that's what I would want (purely personal view, YMMV evident in the number of sales and zero returns).
When I go to any gig, rock stadium, jazz club, classical hall, I'm never aware of being with the musicians, and I'm not sure I'd want to.
With the best venues there is more of a bubble of energy reaching out to me, but I'm never within it.
---
I labor this point because we all sniff at those electronic decoding boxes like Q0L that claim to try and apparently attempt the same thing as these CSFs, but are often rejected long term by their buyers.
 
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Hi Kingsrule

I checked out the Herzan site and so long as the unit is neutral, which I highly suspect it is, CS would make a terrific improvement. I'd put them under the clock too. You'll hear it.

We used them under an Olsonic transport sitting on top of a Soulution 560 DAC (with CS underneath) sitting on a CMS filter. Incredible. You should hear your system move in a very good direction. I'd bet you'd be back for more.

Joe

Thank you for taking the time to check Herzan site and recommendation
 
Sorry if I continue to sound a flat note, but I'm a bit on the fence re being put "centre stage", "in the orchestra", "in the midst of the action" etc (name your analogy).
Are these CSFs trying to achieve what MCH does ie a more immersive soundfield, or a real change in stage perspective?
I remain a bit skeptical that's what I would want (purely personal view, YMMV evident in the number of sales and zero returns).
When I go to any gig, rock stadium, jazz club, classical hall, I'm never aware of being with the musicians, and I'm not sure I'd want to.
With the best venues there is more of a bubble of energy reaching out to me, but I'm never within it.
---
I labor this point because we all sniff at those electronic decoding boxes like Q0L that claim to try and apparently attempt the same thing as these CSFs, but are often rejected long term by their buyers.

I think a system should give you what is on the recording. That means if it is recorded upclose and in your face that is how it should sound coming out. If it is recorded more distantly and spacious (or processed this way) then that is how it should come out of your system. If one is finding that ALL recordings are coming forward into the room or that all recordings look like they are viewed from a distance then there is something not right with the system that is pushing a particular perspective. I have some large classical works that are quite pushed back in the soundstage overall but I have some others that a much more up front and present. My guess is that very different styles were utilitzed in producing those recordings. DG recordings are multi-miked and then mixed up by a Tonmeister. Sometimes they do a brilliant job of recreating what one might hear mid-hall of a large concert hall and other times you can hear that some instruments are more prominent or more recessed than they would likely be in a traditional orchestral arrangement. I hear the same thing with chamber music. The best chamber recordings I have allow you to hear clearly the placement of all musicians and the space they inhabit and it is primarily at the plane of the speakers and behind. A couple of string quartets I have are quite forward as well and it is exhiliarating...like you would be sitting 1 meter away but most are not done like this. With Jazz recordings I have some where the horns almost land in your lap but the drums and bass are still clearly spaced behind the speakers. I find ECM to have often have the most transparent, best balance of presence and space but I also know they are manipulated recordings...but I don't care because they are manipulated to sound really right.

I don't believe that these feet would CAUSE the soundstage to come forward...it is probably just impacting a trait already present to one degree or another on that person's system.
 
Hello Steve,

Being designed by Joe Lavrencik of Critical Mass Systems, I have 100% confidence in the CenterStage footers!

CMS racks are well-known in Hong Kong and there are many happy CMS users.

I would like to know : can CenterStage be used together with CMS racks?
May Joe and you share with us your experience in comparing the performance of CMS racks with CenterStage, and tips in using them together on components and using them separately on diff components of an audio system?

Many thanks again!

CK

Hi CKKeung

Thank you for asking and thank you for the kind words.

With 4 Center Stage under each component in a signal path on a CMS rack you will experience a powerfully vivid improvement in reproduction. Images will become visually 3 dimensional; length, width and depth vividly enhanced. Images will become sonically 3 dimensional; timber, attack, bloom and decay all big steps closer to the real instrument(s) playing. The Immersion Effect takes on an enhanced 3 dimensional quality. To be clear, this effect is totally dependent upon the recorded material; if it isn't in the recording, it isn't there. But if it is in the recording, there is a tactile connection between the musicians and you - you can feel the instruments. In addition, each instrument possesses its own vivid and separate dynamic "pallet" within the soundstage. This should make sense because it is fundamentally necessary for the previously mentioned qualities to become established. And, on certain recordings, the soundstage surrounds you and envelopes you. If this sounds like a revolutionary new way to experience music, it is. Music becomes an experience, not a song.

So, in fewer words, there is a synergy between CS and CMS products because they were designed by the same person.

The only caveat is that the Hong Kong and China markets are very special markets for CMS. Steve is the international distributor. Period. Currently, Steve and I are working together to bring CS to these markets in an optimal way. We're not ready to release CS there yet, so I ask for your patience as we work through the details.
 
I think a system should give you what is on the recording. That means if it is recorded upclose and in your face that is how it should sound coming out. If it is recorded more distantly and spacious (or processed this way) then that is how it should come out of your system. If one is finding that ALL recordings are coming forward into the room or that all recordings look like they are viewed from a distance then there is something not right with the system that is pushing a particular perspective. I have some large classical works that are quite pushed back in the soundstage overall but I have some others that a much more up front and present. My guess is that very different styles were utilitzed in producing those recordings. DG recordings are multi-miked and then mixed up by a Tonmeister. Sometimes they do a brilliant job of recreating what one might hear mid-hall of a large concert hall and other times you can hear that some instruments are more prominent or more recessed than they would likely be in a traditional orchestral arrangement. I hear the same thing with chamber music. The best chamber recordings I have allow you to hear clearly the placement of all musicians and the space they inhabit and it is primarily at the plane of the speakers and behind. A couple of string quartets I have are quite forward as well and it is exhiliarating...like you would be sitting 1 meter away but most are not done like this. With Jazz recordings I have some where the horns almost land in your lap but the drums and bass are still clearly spaced behind the speakers. I find ECM to have often have the most transparent, best balance of presence and space but I also know they are manipulated recordings...but I don't care because they are manipulated to sound really right.

I don't believe that these feet would CAUSE the soundstage to come forward...it is probably just impacting a trait already present to one degree or another on that person's system.

I believe we are thinking along parallel lines. The cues are either in the recording or not. The universality you mention, I agree, would be indicative of a compromised set up whether the compromise be by choice or not. Again I agree that one should be able to have variability in the presentation based purely on the recording itself.

I would be concerned if music always stayed at the plane and behind it. Even in the most recessed classical recordings there's always motion if front of the plane on crescendos when played even moderately near realistic levels.
 
Please explain why these footers need to be broken in ? I’m a logical person and cannot understand why any inanimate object like a footer needs to break in ? How are these constructed (is it a proprietary secret) ? Other footers like stillpoints explain how they are made and what the damping/isolation scheme is. How about these ? An answer like secret sauce does not fly with me.:confused:

Hi rockitman

Maybe a better term is "settle in". It doesn't matter what you use for a rack or stands (including mine), your components reach a state of equilibrium with the thing they rest upon. Each time we play our system, we reinforce that state of equilibrium. When CS is inserted, you make a fundamental change to the state of equilibrium that was previously established. You're taking the stock feet of the component out of the equation and replacing them with CS. CS is designed to reduce the disorder that occurs naturally within every thermodynamic system by transferring a portion of the disorder across the boundary of the component into CS. This is accomplished by a new approach using material science as its basis. This process takes time. It requires playing time. More than anyone, I wish the effect was instantaneous, but it doesn't want to work that way. We're moving the components from a previously long-established state of equilibrium to a totally different state of equilibrium. I hope this helps.
 
I'm in the queue for a full set. If the stars align they should be here with my full new sets of Maxxums, full loom of MB Ultras and the Ultra 11s towers. That means they can all settle in together. The SYNERGISTIC effect of CSFs used on CMS racks is reportedly almost akin to an upgrade from one model to the next. Essentially, they replace the interface discs on current CMS products and the dual material footers on legacy models. A Sapphire behaves like a Platinum, A Platinum like a Black Diamond, a BD like a Maxxum and a Maxxum like an Olympus. Not being able to afford 12 levels of Olympus given the annihilation of my audio savings account, I opted for the CSFs.

From a business standpoint, this will not cannibalize sales of filters and racks but will allow my existing clients to up their SQ without having to unload their filters and replace them (PXK and QXK owners). These just make sense. They also allow non CMS owners to get a taste of CMS and may actually, in time, entice non CMS users to make the investment in a full rack and filter system.

My only worry was that I could never take these to show because of the settling time required. Seeing as Mike (Thank you for your show report my friend, gotta say, your photography skills are impressive) has independently reported that it is indeed doable with the production models with settling times of "only" a day or two on CMS racks, the last of my worries are gone.

I've signed on as Pitch Perfects fulfillment station for the Philippines. Congrats Steve!

I'm looking forward to the speaker footers in the future as the CMS RiZE speaker footers are already great and do much of what the CSFs do.

Hi Jack

I suggest using 4 per component. Marty was kind enough to put a micrometer to a random set of 4 feet and those feet had a tolerance of +/- < 5 microns (if my memory serves). Anyway, you shouldn't experience leveling issues unless the component has a base plate issue (some do).

When we used them at RMAF, day 1 was "decent". Day 2, the sound started to snap in a bit (the bass was still loose and there was an audible constriction in certain high frequencies). Day 3, the system popped and was good enough to hear what direction everything was going. So, it will never be "perfect", but it will be darned good. One thing that might help (we couldn't do this), is to insert CS under every component you're going to take to the show and let them settle in ahead of time. The transition time should be greatly reduced.

Thanks for ordering CS. I think you'll be amazed.
 
Having read the “white paper”, it does state that the devices need 7-10 days to break in. That apparently allows the gear that is being supported to gain maximum equilibrium.. ???
I’m not really following this logic, but then the same could be said for how the Harmonix footers work, and work they do!

It seems to me that your opening sentences are accurate. The logic may seem different because CS and Harmonix are different and do different things. Because they are so different, they produce much different results.
 
My first thought, though somewhat naive in all likelihood, is that the break-in of the footers is similar to the effect of lying on a Tempur-pedic mattress where you gradually sink in due to the combination of weight and heat. This, in effect, will eventually maximize contact area and pressure distribution.

Lee

That's pretty good. I might use it someday....... :)
 
Thanks Russ.

The Pitch Perfect site looks good, read the white paper, I do believe that the best way to evaluate is trial and experience and if they sound right then the science is info of interest but truth in the listening is everything. Still surprised that the value of kinetic dispersal can run to 7 days but I am happier with the notion that there is much to learn still.

Will the materials and performance likely be reliable long term. Price point looks OK if it is working at the top end in performance as well. I assume given the CMS pedigree that this is all good as well.

Best of luck with it Steve and look forward to reading more of people's experience. Great resonance control is all good in my books. The more the merrier!
Tao

Yes, the effect is long term. And, yes, performance is at the high end of your expectations. I've tried to explain why the process takes time in other posts. Let me know if I need to explain more.....
 
wow

the sun is barely up here as most of California burned to the ground last night and I find that Joe has been busily answering questions. Thank you Joe. I bet you're still beat from RMAF so thanks for your contribution

The one very important thing that I want to also emphasize is the issue of total immersion by being "Center Stage and to correct spiritofmusic as this only occurs if it is in the music contains exactly what morricab and Joe describe. Once you experience it Marc I can promise you that your uncertainties about the product will rapidly fade.

IMO Joe has produced a product that has given us a different way to listen to music. IMO this is about as close to the real event as I have ever experienced.
 

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