REVIEW: Silent Running Audio - Virginia-Class Reference isoBASE

Tango

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Dear Tima,

I find it fascinating that you could describe such immaculate micro details on the sound of a particular word or phrase of a song(s) as the effect of this SRA platform. Tbh after I read your review, I thought you were reviewing the LAMM not the SRA.

Tang :)
 

Mike Lavigne

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when i had the Lamm ML3's last spring, i bought the matching SRA Virginia Class platforms (4--one for each chassis) along with them. i never did an A/B comparison to another stand or the floor, but they sure did seem to do an excellent job with the ML3's. great ease and lack of smearing to the presentation.....i'm sure some of which would be attributed to those stands.
 

Cohnaudio

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when i had the Lamm ML3's last spring, i bought the matching SRA Virginia Class platforms (4--one for each chassis) along with them. i never did an A/B comparison to another stand or the floor, but they sure did seem to do an excellent job with the ML3's. great ease and lack of smearing to the presentation.....i'm sure some of which would be attributed to those stands.

Mike,
What do you use for your Dartzeels? Did you use the SRAs for your 108?
 

Mike Lavigne

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Mike,
What do you use for your Dartzeels? Did you use the SRAs for your 108?

only had the SRA stands while i had the ML3's. not had a 108 dart since 2012.

i sold the SRA Virginia Class platforms with the Lamm ML3's. not sure what the new owner did with them as i did not see them in the pictures of the ML3's he posted. he might have sold them separately.

in early June i moved my 2 Taiko Tana TS-140 systems under my dart 458's and wrote about it here (my Box Furniture amp stands previously under the 458's are for sale).

https://www.whatsbestforum.com/thre...ct-ii-digital-nvs-tt.25310/page-5#post-515620
 

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microstrip

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i sold the SRA Virginia Class platforms with the Lamm ML3's. not sure what the new owner did with them as i did not see them in the pictures of the ML3's he posted. he might have sold them separately. (...)

No, he did not sell them. But I am still listening tweakless! :)
 
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microstrip

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Tim,

Looking around for pictures of SRA Virginia class platforms I find that most people use them under power amplifiers, but not so often in the preamplfiers - even in the pictures in the Lamm site.

Considering the level of the signals, I would consider that a preamplifier would benefit more of the platforms than the power amplifiers. What is your opinion on this issue?
 

tima

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Dear Tima,

I find it fascinating that you could describe such immaculate micro details on the sound of a particular word or phrase of a song(s) as the effect of this SRA platform. Tbh after I read your review, I thought you were reviewing the LAMM not the SRA.

Tang :)

What are you trying to say, Tang?
 

Mike Lavigne

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No, he did not sell them. But I am still listening tweakless! :)

ok then.

i'll bet part of this is logistics. Micro's floor space while shuffling all those Lamm boxes around required him to use wheeled platforms. moving those 'very heavy' SRA platforms around and getting all the feet (all 5 of them for those particular stands) exactly level is challenging. for 'very mature' guys like us in a crowded place it's like a game of 'twister', and requires the proper mental approach.

once his system is more settled (if it ever is), then maybe the SRA's will join in the fun.
 
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tima

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Tim,

Looking around for pictures of SRA Virginia class platforms I find that most people use them under power amplifiers, but not so often in the preamplfiers - even in the pictures in the Lamm site.

Considering the level of the signals, I would consider that a preamplifier would benefit more of the platforms than the power amplifiers. What is your opinion on this issue?

Yes - good point, Francisco

Which component accrues more benefit, amps or preamps, I suspect depends on the individual component. The M1.2s definitely benefit from isolation. I discovered that when I reviewed them a few years back and wrote about it in a sidebar. You can read that sidebar HERE.

I think you find fewer examples of preamps on V-Class (or Ohio-Class) platforms for a couple reasons:
1. In the case of SRA, preamps are likely sitting on a Scuttle or Craz rack - mine are on a Scuttle3. These racks are very effective. I find there are generally two types of racks: those that support equipment and those that support equipment with the intent of significant vibration abatement/isolation.
2. The V-Class (and Ohio) units + preamp are too big to fit on any rack shelf but the top. I have seen SRA VR Bases (down line, shorter) holding preamps on middle shelves.

You do see platforms from across the SRA lineup on the top shelf and. other than amp stands, Kevin tells me next popular use is for turntables. I plan to order a Virginia-Class for my Monaco and write about that, probably by spring of next year.
 

microstrip

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(...) once his system is more settled (if it ever is), (...)

Even today it is more settled than it was in the photo, but intrinsically a stereo system is never settled. It is not a convergent system - a famous audio person said it is not even a system!

Anyway, it is sounding so good ...
 
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tima

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when i had the Lamm ML3's last spring, i bought the matching SRA Virginia Class platforms (4--one for each chassis) along with them. i never did an A/B comparison to another stand or the floor, but they sure did seem to do an excellent job with the ML3's. great ease and lack of smearing to the presentation.....i'm sure some of which would be attributed to those stands.

Mike - If I recall, the Virginia-Class you had were first generation. (Holes for the Lamm's feet?)
 

Tango

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What are you trying to say, Tang?

I was implying that it highly unlikely anyone who did this type of a/b (lifting 2 70lbs amp in/out, disconnecting/reconnecting cables, waiting his heart rate to come to normal for critical listening) did not experience hearing memory loss. This isnt like a/b ing a cable or cartridge that could be quickly done repeatedly. The hearing details you described were extraordinary. I would not be skeptical if you were describing the effect of the SRA in a "macro" picture not so specific. You also did not mention how it sounded without the SRA. How many a/b's you had to do to be confident that the SRA made such great contribution. I have done a/b's CMS amp platforms with my 65 kgs Ayon on/off before. It was exhausting repeating the a/b process. There was too much hearing memory loss for me to confidently conclude anything with such great details. I am intrigue by your very specific findings and questioning whether you were hearing and describing the amps themself more than the SRA.

Your sincerely,
Tang
 
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microstrip

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I was implying that it highly unlikely anyone who did this type of a/b (lifting 2 70lbs amp in/out, disconnecting/reconnecting cables, waiting his heart rate to come to normal for critical listening) did not experience hearing memory loss. This isnt like a/b ing a cable or cartridge that could be quickly done repeatedly. The hearing details you described were extraordinary. I would not be skeptical if you were describing the effect of the SRA in a "macro" picture not so specific. You also did not mention how it sounded without the SRA. How many a/b's you had to do to be confident that the SRA made such great contribution. I have done a/b's CMS amp platforms with my 65 kgs Ayon on/off before. It was exhausting repeating the a/b process. There was too much hearing memory loss for me to confidently conclude anything with such great details. I am intrigue by your very specific findings and questioning whether you were hearing and describing the amps themself more than the SRA.

Your sincerely,
Tang

Dear Tang,

You are correct - moving the SRA in place is a real work. It is one of the reasons I almost never listen to tweaks in A/B mode and in order to evaluate them I buy them and listen along many weeks or several months before taking a decision. I spend a few weeks listening with them, then a few without and again. It is why I take so long to evaluate equipment and seldom post immediate impressions. Surely there are thinks that are clear from start - when listening using the Lamm's LL1's and ML3's, even tweekless, orchestras have seem to have more instruments than with any other amplifiers ... The pairing is really much more subjectively silent - this hard to explain concept that can't be expressed in dB - than any other system I have hosted, solid state or tube. No A/B is needed.
 
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Tango

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Dear Tang,

You are correct - moving the SRA in place is a real work. It is one of the reasons I almost never listen to tweaks in A/B mode and in order to evaluate them I buy them and listen along many weeks or several months before taking a decision. I spend a few weeks listening with them, then a few without and again. It is why I take so long to evaluate equipment and seldom post immediate impressions. Surely there are thinks that are clear from start - when listening using the Lamm's LL1's and ML3's, even tweekless, orchestras have seem to have more instruments than with any other amplifiers ... The pairing is really much more subjectively silent - this hard to explain concept that can't be expressed in dB - than any other system I have hosted, solid state or tube. No A/B is needed.

Hi Micro,

So your SRA's are not under the LAMM's just yet. Pls, let us know the effect once you are confident to say. I will be following your path.

Tang
 

tima

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I was implying that it highly unlikely anyone who did this type of a/b (lifting 2 70lbs amp in/out, disconnecting/reconnecting cables, waiting his heart rate to come to normal for critical listening) did not experience hearing memory loss. This isnt like a/b ing a cable or cartridge that could be quickly done repeatedly. The hearing details you described were extraordinary. I would not be skeptical if you were describing the effect of the SRA in a "macro" picture not so specific. You also did not mention how it sounded without the SRA. How many a/b's you had to do to be confident that the SRA made such great contribution. I have done a/b's CMS amp platforms with my 65 kgs Ayon on/off before. It was exhausting repeating the a/b process. There was too much hearing memory loss for me to confidently conclude anything with such great details. I am intrigue by your very specific findings and questioning whether you were hearing and describing the amps themself more than the SRA.

Your sincerely,
Tang

This is kinda what I figured you were saying, but by innuendo. After reviewing for fifteen years one learns to expect all sorts of comments, but more often they are about the product. Your message is not about methodology or product. Reviewers have thick-skins and it is tempting simply to ignore another of your ad hominems. Please be as skeptical as you like - it won't change what I hear.

Signal comes from the Lamm amps sitting on the SRA platforms. Like all other individual components, the V-Class amp stands make no sound of their own. I described what I heard with those platforms in my system - the sound I heard came from my entire audio system. If it were different amps on their own V-Class or the same amps sitting on inner tubes, I suspect the sound would be different. I know you know this; what's so intriguing?

What you call extraordinary I call careful listening.

It's probably not wise to map yourself onto someone else in terms of physical characteristics. Tang, you don’t have a clue about how I do my work. I will tell you this much: I take very good notes while I listen.

SRA is very popular in the far east. Why don't you have a V-Class made for one of your electronics and listen for yourself.
 
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tima

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I continue to receive e-mails/messages from folks wanting to know the height of the Virginia-Class platforms and whether they also work for preamps, phonostages and turntables. So a brief update for others to read...

The height of the V-Class Ref built for the Lamm M1.2 is about 7-5/8 inches. Add maybe another 1/4" for the tip of the spike buried in the carpet, in my set-up. The main box, not counting feet, is about 5-7/8" height.

My understanding from SRA is they will build a platform for almost any component of any type. The main reason you don't see pictures of V-Class platforms for linestages and phonostages is because of vertical rack space - most racks don't have enough room between shelves for a component + V--Class platform. They work fine on top shelves for turntables and electronics. I believe SRA's VR=Series platform + component can fit on rack shelves, depending on component height, or the company can custom-build a Scuttle or Craz rack that has the needed vertical space.
 

Tango

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Here is another review of the SRA Virginia from the Audio Beat by Marc Mickelson. The conclusion is consistent to Tima's.

http://www.theaudiobeat.com/equipment/silent_running_audio_virginia_class_ae.htm

Interesting note on how Mr.Mickelson mentioned of a slight change in tone of his Lamm amps from " the rich end of sonic spectrum " to less rich. So what exactly is the tone of the Lamm amps they were designed to be. Which is more correct by the designers?

Kind regards,
Tang
 

LL21

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Well, piggy backing off this thread, here are my observations of my Zanden Digital Equipment under 5 different scenarios in the same system (mine) involving bespoke rack, HRS M3X+Nimbus+DPX damping plates, and SRA Ohio XL Class Isobases:

1. Zanden on my equipment rack (4" thick birchply on 1.5" slab of slate)
2. Zanden + HRS M3X+Nimbus (Underneath) and HRS DPX or Artesania Damping Plates (On Top) on rack
3. Zanden + SRA Ohio XL Isobases on rack
4. Zanden + SRA Ohio XL Isobases (on top of HRS M3X shelf with HRS DPX damping plates) on rack
5. WINNER: Zanden + SRA Ohio XL Isobases (on top of HRS M3X shelf but NO DPX damping plate) on rack

In a word, 5 wins, hands down. It is clear to me that SRA really mean it when they say they have calibrated the SRA isobase to the specific equipment incorporating its dimensions, materials and weight distribution. For the FIRST TIME EVER in 10+ years, adding an HRS DPX damping plate did NOT work.

NOTES:
HRS M3X + Damping plates (or Stillpoints U6s with HRS Nimbus Couplers + Damping plates)

- great combinations.
- I NEVER use Stillpoints without HRS Nimbus Couplers, except with big Wilsons or the Gryphon where the elastomer would collapse under the weight.
- they add a complete surety of sound, an increased density of note and a purity of tone
- the signal gets stronger/denser more confident
- no change in tonality that i could discern (NOT the case with Stillpoints alone)
- bass power, propulsiveness is far stronger
- it proves to be a great combination with the Zanden which (under less ideal isolation circumstances) can come across as too filigreed or 'pretty'
- CONCLUSION: This is an almost ideal combination to my ears, because you get the organic qualities of Zanden which are tremendous and unique in my experience...but with detail, power, propulsive dynamics which have matched all of the major comers of its generation (Esoteric, etc) which were known for power, incisive detail, etc.

SRA Ohio XL Isobases
- This was a 'funky experience' for me
- For the first time, i learned that a surprisingly GREATER amount of bass transients, soundstaging can come from isolation of equipment than i EVER imagined.
- For the first time, even on extreme treble transients, i did NOT hear the sound come for a nano-second from the tweeters.
- The sound has completely pulled AWAY from the speakers
- Further, the soundstage is now more dramatically different than ever before with deep house spreading across the front, back, sides with ethereal noises/special effects, and classical dropping more dead center into the back of the soundstage...and even spreading out WAAY in the back once again

Now that seems 'normal' as an upgrade...but what is NOT normal (to me) is that in spreading the instruments out...i ALSO experienced a NEW order of priority in the instrumentation...ie, i heard certain violins become more prominent while other [same frequency] instruments took a back seat in priority/scale.

At first, it seemed like tonality or sound had changed...and yet each individual instrument seemed fine...exactly as before...no change in tonality

And then i figured out that by re-locating instruments, really precisely ordering/organizing instruments, you really start to understand how the artists were performing, how the mixer was working through the edits...and trying to relay what was happening. And thus a 'flatter' presentation becomes a mix of layers where the priorities of each instrument are presented to you, along with the actual notes, air, power, etc...

...couple this with a strange kind of organic presentation of silence (which i suspect in reality is just far, FAR better decay and details of when a note finishes into silence and when the new note starts)...and what happens is that not only do you get a far better presentation of each instrument within the ensemble context (ie, who is lead instrument, who is not, etc)...but you ALSO get a much better sense of how artists are pausing, playing off each other in the ensemble...

I have never heard this before in any isolation, or equipment that i have used do this to anywhere near this extent...not even the mighty Zanden, CJ or Gryphon...and not the HRS, Stillpoints, Artesania shelves, footers, dampers...i have to credit this to SRA.

Well done.

SRA Ohio XL Isobases + HRS M3X
My only other final note is that just as SRA Isobases are designed to be on even more secure racks (ie, SRA CRAZ Rack)...i decided to try the SRA on top of the HRS M3X shelf to further isolate everything from the floor/room...it worked well. Really well. Perhaps, our equipment rack might be inadvertently contributing to some of the original observations of the Zanden...in any event, i am 'guessing' that any vibration has reduced dramatically with the HRS M3X and on top of the HRS M3X, now the SRA Ohio XL.
 
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