Victor
Well-known member
Over the years I've noticed that these can confer benefits (or sometimes not) when used to couple phonostages to the supporting surface?
By way of illustration here are 2 fairly recent examples :
Example 1 :Raven 1/Linn Ittok/MMIII with Whest PS0.3 phonostage (MM 47K input) :
Using 3 cones under the Whest resulted in a more tangible presentation. Low frequencies had more presence & solidity giving a greater sense of realism without any sonic penalties.
Example 2 : Raven 1/Graham Phantom II/Lyra Delos :
As you can see same basic foundation (also same 3 shelf rack as used above)
Top frequencies suffered from excessive glare, seeming more artificial compared with resorting to the Whest's normal foam rubber feet.
(...and there was I expecting identical effects!)
In this case the cones were not preferred...
In both cases the cones were operated spikes downward and situated in the same locations (one directly under the transformer, the other 2 positioned for stability)
Each shelf on the table is tri-spiked onto the level below (Steel spike onto embedded steel shoe). Stillpoints are standard on Ravens.
Interesting contrarian results going from MI to MC, albeit with different arms.
I could give other examples going further back in time with other phonostages...and other T/T.
It shows how unpredictable this hobby can be and emphasizes the importance of trialling rather than just assuming everything works to a pattern - even with such simple components as these?
Please feel free to share your own experiences.
By way of illustration here are 2 fairly recent examples :
Example 1 :Raven 1/Linn Ittok/MMIII with Whest PS0.3 phonostage (MM 47K input) :
Using 3 cones under the Whest resulted in a more tangible presentation. Low frequencies had more presence & solidity giving a greater sense of realism without any sonic penalties.
Example 2 : Raven 1/Graham Phantom II/Lyra Delos :
As you can see same basic foundation (also same 3 shelf rack as used above)
Top frequencies suffered from excessive glare, seeming more artificial compared with resorting to the Whest's normal foam rubber feet.
(...and there was I expecting identical effects!)
In this case the cones were not preferred...
In both cases the cones were operated spikes downward and situated in the same locations (one directly under the transformer, the other 2 positioned for stability)
Each shelf on the table is tri-spiked onto the level below (Steel spike onto embedded steel shoe). Stillpoints are standard on Ravens.
Interesting contrarian results going from MI to MC, albeit with different arms.
I could give other examples going further back in time with other phonostages...and other T/T.
It shows how unpredictable this hobby can be and emphasizes the importance of trialling rather than just assuming everything works to a pattern - even with such simple components as these?
Please feel free to share your own experiences.