WHAT HAS WORKED FOR YOU? ISOLATION PLATFORMS, FOOTERS, ETC. for a DAC?

Another update, and a shout out to @bdp24  for bringing these to my attention.

I connected with Mike of Ingress Audio Engineering and will be getting a set of Level 2 and a set of Level 3 Rollerblocks in a few weeks.

Excellent David! I have a mix of the original Level 1 (same as the new Level 2, but with the cups made of Alcoa 6061 instead of the harder, superior 7075 of the Level 2, and the cup's bowl surface polished to a smoother texture with finer grit) and Level 3. The level 3 is made as per Barry Diament's design idea---a cup underneath the ball bearing, but no cup above it, the ball bearing instead riding across a flat, hard, smooth surface of the users choice. I found some stainless steel discs on ebay---very cheap!

I have been using Myrtle blocks i cut. I also have Herbies Tenderfeet and prefer Myrtle under everything except my Allnic L3000 tube preamp. The Tenderfeet sound great under my Harbeth. Anyone have any thoughts about Myrtle? 

I used Nordost Sort Kones, which replaced various devices: Tip Toes, Finite Elements rack with Cerabases and then Cerapucs. After the Sort Kones came the Stillpoints Ultra Mini Risers and SS footers. And shortly, the Townshend Seismic Isolation Platform will arrive. The Townshend is the 3rd generation successor to its Seismic Sinks. The first Seismic sinks didn't do much for my equipment, and I missed out on generation 2, which isolated in the horizontal AND vertical planes, something that was not true of the first generation sinks, and which was then supplanted by the Vibraplane (not in my system, just in the affections of the late HP of TAS). I am curious to see - as it isolates down to 3hZ, how the sonics will affect my turntables: an old Rega Planar 3 and a Notthingham Horizon. Unfortunately, my old Versa Dynamics 2.3 is out on the West Coast.
So far, the Stillpoints are the best, but there is a caveat with ALL footers: do not simply put them under the 4 corners and then think you've done everything you need do. You will need to move them around - and it can take a LONG time - to find the ideal spot, which is on in which dynamics have great range and contrast, transient accuracy is evident, low-level detail is at its highest and then - the one most people comment on - the bass is transparent.  Most people who've posted just say, "oh, it was the usual thing, the bass was a bit tighter..." If that's all they got, then they did not wring maximum performance out of their isolation device. TAS did an article in December of 2015, about how the authors experimented with the placement of several devices: Nortost Sort Kones, Stillpoints and several other devices. They found that tiny movements of the foots either improved or harmed the sound. Placement is crucial and you should be prepared to spend at least 20 hours finding the perfect spot. CDs work best for this: turntables will have you jumping up every 30 seconds.

Totally agree with the observation that the location of cones underneath components is a variable. By the same token, cones should always be placed under vibration isolation stands, either in sets of three or four, and those locations affect the sound, too. So, to summarize, we have the variable of cone locations underneath the component, whether the components is isolated by an isolation stand or not, AND the variable of cone locations underneath the isolation stand itself. As the previous poster points out it can take some time to sort out what the very best locations actually are, especially is there are six or more cones involved. Think of it like trying to solve six simultaneous equations in six unknowns. And finally, a big shout out for isolation devices that can isolate in more directions than the horizontal plane and vertical direction. Keep in mind that there are actually six, count em, directions of motion that are involved including three rotational directions. The horizontal plane counts as two.