@amtprod Exactly! Sometimes it's hard to describe your scenario and experience, but pictures tell it all. For someone just starting into the decoupling arena like my wife I can highly recommend them. I've read the Townshend's take things a step further, but for $200 I'm happy to start here. I'll be trying components next.
Speaker Spikes - Working Principle
Vibration damping obvious makes sense (in speakers just as well as in cars).
That involves 'killing' (converting into heat, through typically internal friction) kinetic energy. So any sort of elastic material (rubber has lots of internal friction) makes sense.
And then there are spikes. Using a pointy hard object and pair it with a softer, elastic material (to deform, and kill kinetic energy) can work; think metal sharp spike into carpet or wood floor.
But what is the idea behind pairing fairly unelastic metal (brass for example) with similarly unelastic (brass, stone, etc) material (example photo provided)? Only thing I can come up with: LOOKS good and makes owner feel good thinking its an improvement (works only for Audiophiles though),
Even more curious: are they ENGINEERED "spikes" (vibration dampers or shock absorbers) for speakers that are TUNED for the frequency (and mass) that needs to be dampened? Can piston style fluid dampers be designed for the high frequencies (100, 1000, 10000 Hz) using geometry, nozzles size and viscosity of the fluid?
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Geez! For the last forty years, I've followed Linn's maxim that the speaker should not move a millimeter. In other words when I place my hand on the speaker it should not move side to side, back and forth, not rock at all! Time and time again I've heard demonstrations of this by simply loosening/tightening one spike allowing the speaker to move just a little and notice a smearing of the signal. I remember one demo where Linn did this to a pair of speakers by loosening a spike on each speaker stand a bit and as I listened, persons standing next to each speaker pressed down hard on the tops of them to keep them from rocking. Everyone heard the difference easily. The reason? Simple, the tweeter and many midrange drivers' pistonic motion, throw, is tiny, and just a small amount of movement of the cabinet will blur the signal from them. How a device like the Townshend or Sorbothane (useless), or any products that introduce a rocking motion to the speaker helps. I understand where an entire floor of a room floor on a suspension system helps isolate it from the outside but that's it. I've heard Townshend's devices a couple of times. Once under a large heavy pair of floor standing active ATC's and a pair of Proacs. They did nothing but screw things up and I'll bet both companies wouldn't recommend them in any circumstance. |
@vitussl101 do OSCILLATING tweeter membran REALLY MOVE a 50 lb speaker? Remember, those milligram 'pistons' go back and forth (SAME force or better, same impulse in EACH DIRCTION) about 5000 time PER SECOND. that 50 lb MASS is way to slow to move. To move the entire speaker i suspect the required accel and decel would SHRED any speaker to pieces. IF that test was done (hand on speaker) and actually had (not perceived) results as described, the only explanation would be that the hand DAMPENED the vibrations of the respect speaker PANEL; and yes, they DO move/flex. The WALLS of the cabinet, not the speaker. |
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We would first like to point out a few items on the OP’s brass cone examples and will follow up with a functionally proven theorem that has taken the first steps to qualify as a science. Cones (spikes) - the Shape is rarely talked about. Using the image from the OP exposes so many fallacies that the product would never work. 1 Take the machined knurled rings with uneven edges. These establish notches in the body that create rough surfaces and shear waves. The energy has an unsymmetrical travel pathway that makes a lot of noise and distortion. With an uneven medium, the energy flows back into the speaker's chassis. Reflected sound is like light reflection. It is ten times more evident on rough surfaces. The nuts on this cone design produce a lot of noise. 2 If you take a horizontal view and discover an exposed thread, the system becomes dysfunctional by establishing a separation in the mass and shape of the material. Using a separate nut for leveling the speaker breaks the transition of resonance flow. This designer needs to learn how a cone works before selling fancy-looking parts. Most spikes manufactured have zero capability of function other than raising speakers off the flooring. 3 The disc receptor has ninety-degree angles. Ninety-degree angles add noise and distortion—the same with wall, ceiling, and flooring angles. Ninety-degree angles limit performance in speakers, inside and outside of chassis, pucks, springs, etc. They are not beneficial for energy flow and sound. The examples shown do not work, so you need to upgrade the designs before they qualify for analysis purposes. Adding rubber or any material between the device and the floor other than an engineered coupling disc adds to the soup sandwich attempting to correct something doomed from the outset. Impurities in the material also generate shear energy. There are hundreds of types of brass. Cheap brass means minimal attention to chemical manufacture and less performance. Chemistry is essential to the functionality of any cone shape. Robert Maicks Vibration Management Specialist Tom DeVuono Research & Product Development
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