How important is the rack you use for your components


I’ve been browsing thru people’s systems on audiogon and have seen all different kinds of racks, shelves, bookcases , stands etc. For people’s equipment. My question is how important is the rack to the sound of the system. Has anyone gone from a basic rack to a premium and/or home constructed rack and noticed a marked improvement? And when I say marked, I mean marked. Looking for input
polkalover
mr_m

Sorry the AEP trip offer was extended to Kait a ways back. We offered this to him in order so he could meet and shake the hands of the people he was insulting and calling names. You know be a real man and not a chicken hiding behind a keyboard all the time.

Some things never change. 

If you are in the market for a room design, please give me a call and I am sure we can work something out in order for you to audition the studio.

Robert
Uh, Bobby, you’re the name caller. You’re just like your mentor, he got mad, too, when it was revealed how utterly backward the whole coupling argument actually is. “Let the vibrations be free to travel wherever they want to.” 😀 😀

There you go again Geoffrey C Kait, changing the thread topic attempting to make this a personal issue between us, so let’s waste some time and post up my meager defense.


To the readership, I ask your patience as the next flow of information coming down the pipe may or may not be of any value or interest to you. Thank you in advance for your patience.

I

I see through you like you were made of glass. One question, though. What makes you guys so angry? 😡

I obviously do not appreciate people that play both sides of the fence (get the hint)!


When challenged by anyone like yourself who does not have the ability to show respect for others, I automatically become a bit angry - just one of my many weaknesses.

Tell me Geoff Kait, what do you actually see through your looking glass?

 

You need to chill, it’s only a hobby, Bobby

Since I was sixteen years of age, I worked in the Music and Entertainment Industry with people of the highest integrity. I love music, desire invention and have a passion for success in the arts. This is not my hobby; it is my life’s work so I take personal pride in everything our company accomplishes.


You’re just like your mentor, he got mad, too,

Which mentor are you referring to?

I have been extremely and absolutely blessed with an overwhelming number of mentors. I consider myself the luckiest person on earth and am humbled every day of my life by people who continue to teach and help us.

You never met my Father or his friends, the original Bell Telephone engineers from Bethlehem PA who were some of the very first audiophiles I ever met. They were always modifying Fisher, Scott and McIntosh amps, Dynaco, AR and home brewed loudspeaker systems always seeking to increase a higher fidelity. I did not know they were audiophiles and did not know if the term audiophile even existed being twelve years old at that time. I knew they loved music, had large record collections and were always talking about how to get better sound. They even took the time and taught me how to solder.

On the personal side, my late uncle, Earl “Duke” DeEsch, a Naval Aviator who flew the Sageburner Project and his good friend and Project Manager Jim Lovell (NASA) taught me what it means to earn and grow character throughout my lifetime.

There was Big City Sound Company and Clair Brothers who inspired and mentored me in sound reinforcement and mixing music. The late Peter Helfrich of Helfrich Recording Labs who taught me how to cut a ½-speed master at 45 rpm on a record lathe. Steve Martin and his tour manager Mable who showed me how to keep laughing and find humor through the best and more importantly the worst of times. Jon Bon Jovi who insists on attaining the highest level of musical sound quality in the studio and on stage reminding to never give up advancing the technology.

Peter Israelson who is responsible for teaching me how to attain good sound in high end audio. The four engineers from Lehigh University who make up our research and development team. Thomas DeVuono, innovator of the cello endpin who pulled me through some of the toughest times in my life. Dr. Andrew Gear, one of the most intelligent and practical persons I ever met who funded and built the first Energy Room™, Dr. Bill Highleyman technical advisor and engineer extraordinaire, Rick Schultz, inventor, Industry affiliate and long time friend  plus the hundreds of audiophiles and listeners I was extremely privileged to work with solving audio related problems during my seventeen year tenure at Star Sound. There are so many more who inspired and mentored me over the years… too many to mention.


Mr. Kait, are you seeing any of this through your looking glass?

Now, instead of providing the same old blah, blah, blah in attempts to crap on my story, tell us a bit about your mentors and background in music and science. I am sure the public would also like to know more about you too.


it was revealed how utterly backward the whole coupling argument actually is. “Let the vibrations be free to travel wherever they want to.” 😀 😀

There is no “coupling argument” concerning us. ‘Direct Coupling’ is but one of many methodologies involving vibration management and audio reproduction. Coupling techniques (mechanical grounding) are also used by Linn and Goldmund to name a few. If you are claiming that Live-Vibe Technology™ is “utterly backward” then we will be happy to prove function and demonstrate successes on our end.

Mr. Kait, all you provided or write on the topic of vibration in audio are differences of opinion. When it comes down to one approach or belief outperforming the other; every product, every geometry, every company and every methodology is different so the reality of a good, better, best boils down to individual products performance based on reviewer and public auditions, fair comparisons and Industry acceptance - not applications or methodologies.

Your last statement about vibration being free to travel is also incorrect in comparison to the statements posted on our website.

Regards to that other guy you insist on always bringing into the conversation, our association with that individual involved an extreme marketing blunder made by me involving the Original Audio Points™ and who was the actual inventor. It was not him!  Finally, we do Not share or associate the same technical approach to vibration management with that other guy - none whatsoever - with one small exception... Both companies use brass footers for mechanical grounding purposes as do a host of other manufacturers. 


In closing, every product we build is based on “mechanical grounding” and vibration management.

How many of your product offerings are dedicated to isolation and/or vibration management?


Your turn,


Robert



Whoa! What? Hey, Bobby, you’re channeling Michael Green, again. 😳 I realize things are tough all over but you’re marketing technique could probably use a tune-up. 🤠
I have all home made bases or tables for my components. All are made of MDF. I do have four conical shaped metal devices I found made a huge improvement on my CD player. Sometimes I play cd's, which are very bass heavy and I was getting enough vibration to upset the playing of the cd. I tried the cones and they made playback possible, with no skipping. I had tried rubber feet, as well as Vibrapods to no avail. My TT platform kinda floats. I have it on a second story floor with springs and cables pulling it out from the wall. I tried a wall platform, but still had acoustic vibration. The platform doesn't touch the wall and is suspended, in a manner of speaking, from the wall and floor. I've enjoyed great success with this design. I know there are very expensive platforms made for extremely high tech equipment, but at $5K a piece, I elected to build my own.