How an audio rack can enhance your amp/pre




Just thought I would share my recent experience with upgrading my sound star technologies rack to the new rhythm rack.

Every now and then, I have a visiting audiophile who really appreciates my system…and traditionally asks – “wow, what makes it sound so good?” My typical answer is it all makes a difference, even down the equipment rack, which can and certainly should be considered a component…but in many cases is overlooked…

Star Sound introduction

About 10 years ago, I was introduced to Star Sound Technologies Sistrum platforms and Audio Points. Audiopoints has always been known for its manufacture of well-designed and beautifully manufactured brass cones used under equipment and as an integral part of an audio stand. This ultimately led to the design of stands designed to transfer vibrations out of components and down to ground. What I didn’t know at the time was how good the Sistrum platforms ‘sounded’. So, I bit the bullet and tried several Sistrum Platforms - what intrigued me about the stands was the design of the Sistrum Platform which allowed a pre-determined pattern of energy, known as Coulomb Friction to develop and dissipate via a high-speed calculated conductive pathway to earth's ground. Which made sense…how do you deal with airborne energy dissipation? I know you could put cones to reduce vibrations from the ‘ground up’ so to speak, but how could you eliminate airborne vibration? We’ve all held our hand on our equipment when music is playing only to feel the equipment vibrate, so how do you deal with it? Draining it quickly to ground made sense, but at the end of the day, all I really wanted to know was…does it improve the sound?

To say I was shocked is an understatement - the Original Sistrum Platforms offered – smoother sound, better transients, dynamics and a lower noise floor. And, the cool part is that you could turn up the sound and the music would flow with greater ease…well worth the investment. Robert at Star Sound was extremely helpful in guiding me through which racks made the most sense for my system.

Rhythm Platforms

Which brings me to 2015…it had been a while since I last spoke with Robert curious as to what his engineering team was up to…which led me to check out the ‘new’ model of Sistrum Stands – the Sistrum Rhythm Platforms.

These new platforms / shelves were substantially heavier, with a nicer overall finish than the original stands, with more grooves allowing for substantially more options to place points in various places under your equipment to refine the sound even further. In addition, the shelves were engineered to deal with resonances in a more efficient manner…The brass cones at the bottom of the rack were substantially bigger in size - 3 inches and quite heavy. The brass cones under the equipment were attached with nicely crafted screws that could be hand tightened and no longer required a screw driver… a nice feature making it both easier to put together but also the amount of tightening could influence the sound. The brass and platform rods are modular, making it easier to put together and painted in a beautiful black finish – in combination with the brass I would say the improvement in the WAF factor is significant – the stands are really impressive to look at. As for structure, these things were a solid as could be – and heavy! Not going anywhere, even in an earthquake!

My system includes VAC equipment, preamp, amps, DAC and a transport. As well as power supplies. Most of which now rested on the new Rhythm Platform.

Listening Impressions:

My first impressions were clearly a lower noise floor with enhanced dynamics, while also being able to hear deeper into the soundstage, which now extended well outside of the speakers. Tempo was faster, due to better-defined, leading edges. The high end was ‘cleaner’, with more sheen and decay on symbols and hi hats. Brass had that right bite to it, without over doing it…Bass lines were tighter which led to better ‘rhythm’ … and best of all, I could crank up the volume and the dynamic range seemed to extend effortlessly, which was a nice surprise.

One thing I noticed, that was true of my initial experience with Sistrum Platforms, is that the newer Rhythm Platforms sounded progressively better after 3 days of ‘settling’ and reached full potential after about 1 week. So some form of break in is required.
Over the years, I’ve tried different racks and various cones under equipment, whether if be soft, hard, ceramic, rubber (or some variation of ‘absorbing material’ etc.) you name it. All of which ‘altered’ the sound, but nothing came close to the Sistrum Stands holistically; while the new Rhythm stands, just take it all to a higher level…
While I cannot expound eloquently on science of Coulomb’s Friction, I can tell you that whatever they are doing at Star Sound visa vie their racks, it works…and it’s not subtle. This is a very audible improvement in your listening experience. If you want your system to perform at its highest level, I would suggest that you maximize your investment in your equipment by letting it do what it does best and put it on a Sistrum rack that will allow it to perform at its best. And if you want the best, I would strongly recommend the Rhythm Platforms.
wisper

Showing 27 responses by geoffkait

I'm pretty sure long hair on a man these days means he knows Karate.
I prefer sapphire threads or if I'm pinched for money bungee cords.
Hey, what happened to the vibration coming up from the floor? That's a much bigger problem than anything the component can dish out. And that what the rigid rack amplifies. Hel-looo!
But how they heck do you prevent Mother Earth from affecting the components. Houston, we have a problem.
The best of both worlds is roller bearing on top of a mass on spring system for isolation in the vertical and horizontal directions plus the three rotational directions. I also like stacked mass on spring systems, you just have to work out the spring rates of the systems so they won't interfere with each other.
Good luck, Tom. It's not that difficult to figure out, honestly.

Cheers
Wahoo wah! Go Cavs! When I went to UVa Scott stadium was the world's largest outdoor bar.
Teleportation is critical. I usually teleport the vibration to Newark.
Well, to be accurate absolute isolation is not feasible but that's actually not the issue since we know all the mass on spring systems behave as low pass mechanical filters anyway. The objective of course is to construct a device with as many directions of isolation and as low a resonant frequency in those directions as possible without over damping or under damping. Most (well designed) devices have resonant frequencies circa 3 Hz which as fate would have is not low enough to filter the peak resonance of the Earth crust motion. Nevertheless, 3 Hz devices sound very good.
Just in case nobody else mentioned it already there is a slight, uh, difficulty with many racks and that is they actually amplify vibrations. It all depends on what the designer had in mind and hiw he was able to execute his design. As I am find of saying for the best sound the floor is often the best place to put stuff.
The cool thing about Earth crust motion is that the whole building is moved and flexed. Even the concrete slab. The Earth crust motion is similar to shaking out a carpet, that wave type action. Yeah, Baby!
The mass on spring device is of course a low pass filter that increases effectiveness of isoaltion as frequency of vibration increases. So the idea that turntable vibrations (which are relatively high in frequency) will be transmitted from the top plate of the spring platform is probably not true. The mass on spring device is very effective by the time the frequency is say 20 Hz. This is why on my device (Geoffkait's spring platform) I incorporated dampers on the top plate to dissipate excess energy that could arise from either energy passing upwards to the top plate or from the component mounted on the top plate. Way back when I employed the Tekna Sonic dampers that work very well in this application, these days I make a different but similar device, a constrained layer damper for the top plate of iso stands, large transformers, the top of CD transports, etc.
For the means of isolating components from very low frequencies of vibration, you know, the ones produced by ocean wave action on the shore, Earth crust motion, subways, traffic, wind, those vibrations with frequencies say between 0 Hz and 10 Hz there are precious few technologies to choose from. Let's take a look a the LIGO experiment for a second, the experiment to detect gravity waves,,gravity waves such as those left over from the Big Bang and that are notable by their extremely low amplitudes. Thus extreme measures are required to isolate the detection equipment from Earth borne vibration. So, what means of vibration isolation are required for such sensitivities, you ask? The real answer is complicated because there are now many stages of isolation in LIGO which is approaching 20 years old and just now getting ready to take data. But the primary means for the vertical stage is very high masses on special springs. Since very high isolation effectiveness is required even for say 5 Hz, as you can well imagine we're talking resonant frequencies approaching 0 Hz. Hel-looo!
Pity the poor folks who live by the ocean or on an island like Hawaii. The waves pounding the shore produce bad vibes. Vibrations thus produced not only travel quite far but have extremely low frequencies, like about 2 to 10 Hz. Just the sort of thing even really good isolation systems can't deal with very effectively.
That's the old Michael Green defense. Let the vibration be free! Let them flow unrestricted and unimpeded. let us pray. LOL
theaudiotweak, you are half right. You must isolate the component using mass on spring or negative stiffness or whatever iso technique AND spike the component to the iso device AND spike the iso device to the floor. and the spikes must be points down. Now, I'm not saying spikes are not better than nothing. but spikes simply don't address very low frequency structureborne vibration. period.
Damping is used to remove extraneous vibration from the top plate. Case closed.
Thanks for the heads up. You were the one that brought up my products, not I. I'm only here to help.

Lol
Roxy, hi, my products will kick Starsound's sister's black cat's rear end. Lol I was addressing Agear.
Folks would be much better off if they believed in too much rather than too little. - PT Barnum

Cheers
Sorry, the vibrations is not trapped. The isolation disallows vibration from entering the component according to the low pass mechanical filter characteristics. The damping of the top plate dissipates the vibration that the component might produce as well as extraneous vibration that makes it through the low pass filter of the iso device. Of course if you employ crap damping materials or techniques it won't be effective. There's a right way and a wrong way to accomplish all of this. I'm a little surprise you're arguing so strenuously as all of this vibration isolation stuff is well documented, even in audio since Shannon Dickson published Bad Vibes in Stereophile twenty years ago, outlining the plan for the future of high end audio.
It all started about 20 years ago as far as vibration isolation goes, sorry if I seem disagreeable, with Townshend Seismic Sink, Vibraplane and Bright Star, I guess I'd throw Mana in the mix and yours truly when I introduced the first 6 dregree of freedom Sub Hertz Nimbus isolation platform. There are any number of vibration management products,mas you call them, that to back even further, like Mpingo discs, Marigo dots, Harmonix dots, etc. Perhaps you were spacing out. Lol
The Nimbus Sub Hertz Platform, Promethean Stand and Cryo Baby Promethean Mini Isolators. Also, VibraBlock Constrained Layer Damper and Nirvana Dual Layer Platform. But who's counting?