Subwoofer Footing - Connect or Isolate?

I just gave you two. Carver and VMPS. I meet Carver when I took a class from him as an apprentice and Worked with Brian Cheney off and on for 30 years before his death in El Sobrante, CA

BOTH isolated their personal rigs, and recommended their customers do the same.

The quote was from the old VMPS site.. NOT MINE...

IF you don’t mind I give BACK the "stupid" remark to whom it came from.. I’ll pass on your gift..

Again if you haven’t been isolating "things" and making sure they continued working for a living. Maybe you should pay a little more attention, before you infer others offer stupid advise..

The coherence between the bass from the speaker box and then transferring it to the floor causes smear. The Two are NOT going to deliver the same frequency at the same time.

That is why guys like MC notice a cleaner more time coherent bass AFTER decoupling from a second source. The floors, walls and ceiling.

"A cabinet output is transmitted to the listener ahead of the music, through the floor (made usually a good carrier of sound like wood or stone)".

"Soundwaves travel through many solids much more rapidly than through the air."

AIR transmits the sound slower.. Brian Cheney "Mr Bass" quoted that, pauly..

That is also why I use separate (directional) MB columns. There is NO sub or bass signals inside in my monitor cabinets.. There is no SUB frequencies in either MB or monitor cabinet..

ALL three types of speaker cabinets are DE coupled from the room and each other.. That is the eye opener of eye openers..
It requires more real estate and cabinets somewhat sized to the room, but it is the very best way I’ve found. BAR none..

Try it, seriously, your going to be surprised if you JUST try it.. I like innertubes the best for heavy Bass bins or subs.. I’d be happy to help if you want to give it a try. I’ve said it over and over. Stereo gear and all its crap is about as sophisticated as the door on a 63 VW Bug.. BUT not quit to the level of a 65 BUG left door.. I’m just a common man who happens to be an OLD heavy mechanic.

After years of repairing heavy equipment over the phone or via Email I could get a little passionate if I had to go do what I told people to do in South America on an off shore drilling platform.. It’s their 50k for 3 days of flying and 15 minutes of work.. 5 times at least that happened.

In California and the West coast every day for over 45 years..

Regards

Bringing back theorems from the 80’s and 90’s does not establish anything other than adding dated opinions into the mix. Vibration management has evolved since that time.

 There are NO STEEL WHEELS... You don’t couple vibrations to other structures... THINK!!!

Using other applications and sciences that are non-related to music reproduction does not fare well either.

Example: Buildings, car chassis supports and other related industries involving isolation techniques and products containing springs do little to reinforce the art of increasing sound quality and equipment performance. I never heard of an architect or car manufacturer or any electron microscope designer relating spring performance to musical characteristics such as attack, sustain and decay.

 

With regards to coupling vibrations to other structures… We have been doing so for three decades. Everything in audio from microphones and their stands, musical instruments, sound and visual reproduction equipment, power distribution, turntables, and structural sound rooms are evidence of successful direct coupling products and applied technology that is obviously scalable and highly adaptable.

It is obvious “oldhvymech”, you are a spring isolation advocate and that is OK, but when you produce challenges and/or statements based on your experiences, you can expect rebuttals, or a few questions directed back to you.

Another topic that is never talked about is the fact that springs wear out from constant compression and lose structural efficiency over time.

What happens to the audio signal when metal or stress fatigue involving a spring begins to set in? Is the human ear capable of hearing the slow collapse in performance or do we just go into the dark time-tunnel because we, as audiophiles, fail to go back to the original reference point replacing old parts with new ones?

Why do the finer spring manufacturers place a one-year warranty on their products?

Why are springs severely restricted to weight tolerances? Do you always have to change out springs because of changes in your equipment investments simply because one chassis is heavier than the other? I imagine the spring manufacturers love heavy-to-light and light-to-heavy selections as those changes simply sell more products.

For these reasons, we prefer mechanical grounding and high-speed resonance transfer techniques (direct coupling) supported by material science and geometries specific to parts shapes and designs that are all married to physics and earthly function. 

There are no weight restrictions governing performance. The smallest of parts can support 6 ounces and perform the same when applying over 600 pounds. When you purchase a bigger part, the mass increases, geometry improves, sonic quality increases, and the parts do not wear out.

Not saying our technology is better or the best as listeners determine those stats. I just wanted to offer up another opinion based on a newer vibration management theorem known as high-speed resonance transfer.

As Always - Good Listening!

Robert

Well at least you spoke your piece with more than "Your way doesn't work". 

I've done my bit..  I try to share.. :-)

Hands are killing me..

Regards

a newer vibration management theorem known as high-speed resonance transfer.

Word salad. But go ahead. Splain it to me.