Not sure if I understand what you are actually saying.
The Kagura’s have been standing on their - non Shun Mook - specially made Ebony platforms of 35 cm wide, 60 cm deep and 5 cm thick since the last one and a half year or so. I replaced this week the footers - on which these Ebony platform were resting - by three SM ultra diamond resonators (per platform). So the SM are not directly placed under the Kagura’s but that is for a reason: the six Kondo feet of the Kagura’s make the placement of the ultra diamond resonators quite difficult.
If the Kondo feet are causing a placement issue, you can put a couple of the resonators on the outside, with part of the resonator jutting outside the area of the case. That is ok. So it will be towards the outer part of the edge or corner, and part of the resonator inside, but away from the Kondo foot.
For what you, Ked and Bruce, suggest me to do I need six additional footers or cones. These have to be placed under my Ebony platforms. At the moment I do not have those available unless I remove my old and trustworthy 2 x 3 Goldmund cones which are currently placed under the Genesis 1.1 (servo) solid state amps. Not sure though whether (i) the Goldmund cones can handle a weight of about 70 kg (although I suppose the answer is likely yes) and (ii) the Kondo feet under the Kagura’s can actually be removed (if I would follow Bruce’s suggestion).
All this is quite an operation, something I cannot do on my own while there are in my view no guarantees that the Shun Mook ultra diamond resonators directly placed under the Kagura’s will be a good / ideal fit. Although I have always liked the Mooks a lot - I have been using them for at least 15-20 years now - imho one has to be somewhat careful with them as well. They are very effective in particular the midrange and upper (or even mid) bass but at the same time they soften the high frequencies somewhat. Employing quite a few sets of Shun Mook resonators directly under various components in one audio set up might be too much (to my taste anyway). But I am curious to hear what other members think of this.
No Rudolph what I am suggesting you can have two sets and just rotate them to see which components are the most responsive. What I am suggesting is that to get around the feet of the component, you can keep the resonators on the outside of the casing so part of the resonator juts out. Taking off the feet is ideal like Bruce said but not sure you will be up for that. While doing these experiments I will leave the ebony board aside. I am not suggesting employing too many sets at all
I fully understood what you said, Ked. But I am already employing one set of SM resonators under the Tidal Camira dac. Was doing the same since last Wednesday with a set under the LDMS server but removed that set again yesterday because it was becoming ‘too much’ for my taste.
My point is the following: putting the Kagura’s directly on the SM resonators - whether or not removing the six Kondo feet of these amps - might also be ‘too much’. Cannot be sure about that till I try it out, but that is a lot of hazzle again and something that can only be done with two persons. In addition I rather not have the Kagura’s directly on my (wooden) floor while resting on SM resonators or whatever footers.
Last wednesday it was eight weeks ago that Miguel added dedicated grounding binding posts and grounding schemes to both my Kondo Kagura poweramps and tomorrow it will (also) be eight weeks ago that Miguel did his last modification (main chassis of the LDMS server). So I am nearing the 60 days period after which things should become more stable. However, I can still clearly hear variations in sound quality. Although I cannot be completely sure about the cause of these variations they possibly can partly be attributed to power fluctuations. That said, I got feedback from the USA that only after approximately 90 days the Tripoint ground cables were fully settled in a high end system of one of Tripoint’s USA customers. If that also applies to my audio system I still have some ‘settling in time’ ahead of me. So at this moment I suppose I still need to be patient before I can draw any final conclusions as regards all the ‘grounding work’ Miguel performed during his last visit.
However, some sonic aspects are already quite clear though. One of them is that the Kondo Kagura poweramps have benefitted greatly. They have become much faster / explosive (see also Ertrugul’s earlier comments in this thread), more powerful (and yes I know that this is ‘only’ perceived additional power), control the eight bass drivers of my Tidal LA loudspeakers better and show more ‘command’ in the sense that the ‘foundation’ - on which the whole musical picture is presented - seems to be more solid than ever before.
I presume the sonic steps forward in the next thirty days or so will likely be incremental or smaller in the sense that the music presentation will become more refined with a more beautiful tonality (or in other words: more ‘analoglike’) and added serinity.
As regards the playing in of my Kondo Kagura amps I am just over ten weeks now; next Sunday the same will apply to the LDMS server (being the last audio component that Miguel of Tripoint audio modified when he visited me for the second time). So I am past the 60 days ‘burning in period’ after which the shifts should become less ‘violent’ and that is actually the case. So that is really good news. On the other hand, shifts are still happening. For example a few days ago I noticed that all of a sudden the soundstage depth started shrinking (and shrinking). And another example: the tonality varies from time to time: on certain listening days the musical presentation is more unmechanical / serene / fluid / ‘analoglike’ than on other days.
I am not sure though if these audio shifts are actually being caused by (the settling in of) the Tripoint audio ground cables. Adding (i) three new Tripoint Emperor mk ii ground cables (two of them are connected to the (copper chassis of my) Kondo Kagura amps while the third one is connected to the power supply of my LDMS server) (ii) (internal) grounding schemes and ground wires to the various audio components that are being employed in the Tidal La Assoluta set up, that is a. the afore mentioned two amps, b. the main chassis of my Kondo G-1000 line stage (the power supply of the G-1000 was already ‘grounded’ during Miguel’s first visit to me), c. the power supply of the LDMS server, d. the main chassis of the LDMS server and (iii) wider / larger spades to two Emperor mk ii ground cables to ensure better connection with the Tidal LA’s clearly resulted in a much lower noisefloor with all the usual benefits like for example greater transparency. A consequence of this may be that the musical benefits and drawbacks of power fluctuations have become more obvious and significant than ever before. Once I am past the 90 days of playing in I want to investigate the power fluctuations if these musical shifts keep on bothering me.