Stillpoints Ultra Vs - Wilson X1/Grand Slamms

[LL21]

Hi Lloyd , you should definitely try lifting your PSU , at times the last piece is like flicking ON the switch , as it was in my case with the U5's under my speakers . My barometer for the Entreq will soar , if you decide to keep it .So do keep us posted . Yes the guys at AE (HKG) are raving about the Signature Troy , even having coined out worldly terms like "resolution of the soul" in describing it's effect , not just plain resolution mind you.... Definitely bears more investigation, yes it does .

Done! Smokes...I put 3 Ultra 5s under the Transport PSU. Done...so done. Got a price break but still insane. Fortunately, the entire system is totally floating from first entry point from wall into Power Conditioner thru source thru preamp thru amp thru speakers and sub...each component floating. Done!

 

[Bill Hart]

So because I have decided to try independently 'floating' the final component (which is currently stacked between bottom of 6" thick rack...birchply and slate), I have asked to hear 3 Ultra 5s under it...the PSU of the Transport. I would never think it would make much difference, but after hearing what 3 did for the Transp Ref Power Conditioner right next to it on same lower shelf...I am tempted. I also may try them in place of the HRS nimbus/couplers under my GAT...and then move the HRS nimbus/couplers under the Zanden Transport PSU. Will be interesting given comments here from people who floated that 'last component' and found a nice 'ahaaa!' type improvement. Even the sub is floating and 'sandwiched' as well as the X1/Grand Slamms (on Ultra 5s). we shall see...

Lloyd, if you remember, some time ago, I did a comparison of various 'footers' under the PSU of my phono stage and wound up preferring the Stillpoints Ultra SS over all the others I tried (I did not try the Ultra 5 or whatever the big daddy version is). In fact, you contributed to that thread at the time....

 

[PeterA]

another use for stillpoints. I am using an LP1 on my tonearm armboard. It added more snap and clarity if I were to describe it. The puck sits low enough to not affect the tonearm motion (it clears it).

Christian, can you post a photo of this? I'm having difficulty imagining the size and location of the LP1. Thanks.

 

[rockitman]

Christian, can you post a photo of this? I'm having difficulty imagining the size and location of the LP1. Thanks.

Here you go Peter.

 

[PeterA]

Initially a little disconcerting as the sound seems to be defying gravity and floating, but losing some substance/groundedness as a result. Then the effects snap into place - basically a lot of air and ambience is being revealed, with a commensurate elimination of bass bloat and excess euphonic warmth.

Spirit, I like your description of "substance/groundedness". I recently heard both the Magico Q7 in a top of the line Spectral/MIT system and also the Wilson XLF in another super system and to me this quality is exactly what was missing in these two demoes. The music was huge, ethereal and seemed to float BUT it lacked a sense of "substance/groundedness". It was more like a vague dream than reality. Pleasant, detailed and interesting, but not so natural. The instruments did not seem to be physical objects making sounds in the room. Very strange as I had such big expectations about these systems.

I then returned to my modest Mini2 based system in a non dedicated room with less ambitious cables and electronics and that 3D palpability (plus warmth/body/naturalness) was there in spades. And there was also that sense of air and ambience you mention without bass bloat. It was more convincing. I wonder why the other systems lacked this?

When you write that "then the effects snap into place", what do you mean? How does that suddenly happen and what causes it in your system? Is it system warm up or is it something about your Symposium isolation, or where you just getting used to the new sound?

It sounds like you are making real progress with a keen eye on value. That is a very worthwhile goal, IMO.

 

[PeterA]

Here you go Peter.

Thanks Christian. Wow, they are beautiful right there and almost look as if they were designed for the purpose. Really nice.

I wonder if they are effective because your arm board is a cantilever design? They must be addressing some vibration at that hinge point.

I'm frightened by all of the positive reports about these Stillpoints and what they do. I'm too scotch to contemplate spending the money, but my arm is slowly being twisted. You may see one or more in my system one of these days.

 

[rockitman]

Thanks Christian. Wow, they are beautiful right there and almost look as if they were designed for the purpose. Really nice.

I wonder if they are effective because your arm board is a cantilever design? They must be addressing some vibration at that hinge point.

I'm frightened by all of the positive reports about these Stillpoints and what they do. I'm too scotch to contemplate spending the money, but my arm is slowly being twisted. You may see one or more in my system one of these days.

Stillpoints are highly addictive and effective. You can only resist for so long....
Before I tried the LP1 I was using 3 ultra mini's and got a similar effect but not as pronounced as the LP1. If you have a small arm board, they may make a better fit. I think the cantilever spring bd effect of that style of arm board benefits from vibration damping.

 

[Bill Hart]

Here you go Peter.

That makes total sense given the design of the table and arm board. Probably very noticeable difference.

 

[rockitman]

That makes total sense given the design of the table and arm board. Probably very noticeable difference.

It's hard to describe, but the music seems to flow with greater ease than before.

 

[LL21]

Lloyd, if you remember, some time ago, I did a comparison of various 'footers' under the PSU of my phono stage and wound up preferring the Stillpoints Ultra SS over all the others I tried (I did not try the Ultra 5 or whatever the big daddy version is). In fact, you contributed to that thread at the time....

I remember...I am now up to 18 Ultra 5s and 1 Ultra LPI. Every single component is now floating include speakers and sub...but I have not replaced Ultra Vs for my existing HRS nimbus/couplers...nor am I going to...hate buying and flipping! I suspect the Ultra Vs are better...probably closer to an M3 Shelf. Just in the same way that the Ultra V as a damper was better than all the HRS damping plates until I got to the double thickness 12" long HRS damper plate.

 

[Mike Lavigne]

That makes total sense given the design of the table and arm board. Probably very noticeable difference.

i agree on the arm board contribution to how much influence any sort of dampning (sitting on the arm board pivot) might have on the performance. basically the arm board pivot point has resonance, especially when the arm board is relatively 'soft' aluminum. the arm sitting on the extended part of the arm board is acting with leverage on that pivot point.

if you placed a 'brick' on that pivot point it would have an influence too as it would lessen the degree of resonance in the arm board.

when i owned my Dobbins 'The Beat' tt i had arm boards of similar design and went thru a discovery period of cause and effect. eventually the best solution was a one piece arm board where the cantelivered part was one piece with the tower. that large piece was aluminum, my next step if i would have kept 'The Beat' was to make it stainless steel.

 

[LL21]

It's hard to describe, but the music seems to flow with greater ease than before.

In my own system, what happens is that is simply becomes easier to hear, say, 6 or 7 different instruments playing their own particular line of music. You can actually hear one instrument by itself playing without having too hard to block out the other 5-6 instruments. And yet, you can just 'step back' aurally and allow all 6 instruments to play together...and in fact, you also more easily understand how the 6 artists were clearly playing OFF OF EACH OTHER...and playing contrapuntal themes. Really allows me to enjoy the music even more. Fun. And ABSOLUTELY NO CHANGE IN THE TONAL QUALITY OF MY SYSTEM which has been of critical importance to me.

 

[PeterA]

i agree on the arm board contribution to how much influence any sort of dampning (sitting on the arm board pivot) might have on the performance. basically the arm board pivot point has resonance, especially when the arm board is relatively 'soft' aluminum. the arm sitting on the extended part of the arm board is acting with leverage on that pivot point.

if you placed a 'brick' on that pivot point it would have an influence too as it would lessen the degree of resonance in the arm board.

when i owned my Dobbins 'The Beat' tt i had arm boards of similar design and went thru a discovery period of cause and effect. eventually the best solution was a one piece arm board where the cantelivered part was one piece with the tower. that large piece was aluminum, my next step if i would have kept 'The Beat' was to make it stainless steel.

I'm sorry to have drifted into this arm board discussion and away from the OP. But Mike, I noticed a similar progression when I switched from the SME 10 with a cantilevered arm board to the 30/12 which has a massive arm board bolted at four points to a large upper plinth. I'm sure this contributed to the solidity and foundation I heard (as well as LF extension). The resonances in the arm sink into this much larger and stable mass.

It's cool that the Stillpoint LP1 can deal with this resonance by dampening it. Those armboards on "the Beat" look similar to those on Micro Seiki tables and also those from TW Akustics though they may be made of copper or brass.

It's interesting to note that Christian's new Tech Das mounts the arms directly on the plinth with no cantilevers.

 

[rockitman]

I remember...I am now up to 18 Ultra 5s and 1 Ultra LPI.

Your not done yet until you have LP1's on the top of each rack component, amps, ect..

 

[LL21]

Your not done yet until you have LP1's on the top of each rack component, amps, ect..

I have a combination of HRS dampers, Artesania dampers and Ultra Vs on top of every component...with 40-75lb brass weights on top of the dampers for the Amp and Sub. I hope I am done!

 

[rockitman]

Okay, I didn' know you were using ultra 5's on top. Congrats on finishing.

 

[LL21]

Okay, I didn' know you were using ultra 5's on top. Congrats on finishing.

Thanks, Christian. I have finally heard my system play the Glenn Gould Bach Goldberg Variations (1983) meaningfully clearer than what i remember from the all-TAD reference system at their HQ in Japan, but with the Zanden tonality I prefer. All a personal preference...but I give MUCH credit to the Ultra Vs which now sit under or on top of 7 components and have changed my system so much in clarity, speed, finesse, nuance, spacial information...without changing the fundamental tonal character/balance of the system.

 

[Bill Hart]

i agree on the arm board contribution to how much influence any sort of dampning (sitting on the arm board pivot) might have on the performance. basically the arm board pivot point has resonance, especially when the arm board is relatively 'soft' aluminum. the arm sitting on the extended part of the arm board is acting with leverage on that pivot point.

if you placed a 'brick' on that pivot point it would have an influence too as it would lessen the degree of resonance in the arm board.

when i owned my Dobbins 'The Beat' tt i had arm boards of similar design and went thru a discovery period of cause and effect. eventually the best solution was a one piece arm board where the cantelivered part was one piece with the tower. that large piece was aluminum, my next step if i would have kept 'The Beat' was to make it stainless steel.

Mike: I saw an additional reason- the arm board appears to be cantilevered from one of the support pillars of the table. I don't know the table (other than having seen pictures of it), but was assuming that this pillar has some purpose- in addition to acting as a 'leg'- to drain energy generated by the table- if that is so, and the arm board extends from something that is functionally like the top of a 'coupler' (think spike or in old product terms, a 'tiptoe'), the design could exacerbate vibration to the arm board or at least not isolate it. (Perhaps there is already some kind of decoupling material between the top of the pillar and the bottom of the arm board mounting to it, but that would only reinforce my conclusion that the pillar has the potential to send vibrations generated by the table to the arm board/arm).
That is what I meant about position of Stillpoint device making sense, in addition to your good point about the potential for flex of the cantilevered board.

 

[Jazzhead]

Done! Smokes...I put 3 Ultra 5s under the Transport PSU. Done...so done. Got a price break but still insane. Fortunately, the entire system is totally floating from first entry point from wall into Power Conditioner thru source thru preamp thru amp thru speakers and sub...each component floating. Done!

Way to go LL21 ! Me too , am done happy with the 5's under my speakers and Ultra SS under all other components . Am loath to try the 5's under my amps , cause I am sunk once I do , for better they will be . Will investigate a Grounding unit next . Enjoy !

 

[LL21]

Way to go LL21 ! Me too , am done happy with the 5's under my speakers and Ultra SS under all other components . Am loath to try the 5's under my amps , cause I am sunk once I do , for better they will be . Will investigate a Grounding unit next . Enjoy !

Sounds great! Will keep you posted on Entreq v Tripoint as I learn more. I really do think one Silver Tellus grounded to 2 units (CJ and DAC box) are about the same positive effect as 2 sets of Ultra 5s under 2 components.