You are stuck in the weeds of book mentality. I will follow up on the ‘clogging of signal pathways’ when I get the time to do so.
See this is just plain wrong, or again communicated poorly. There is no need to seek out "earth’s ground", otherwise known as something with high mass. You simple convert it to heat .... the most common form, by far, of vibration control.
No! You are just plain wrong believing the most common form of vibration control delivers the greater results. We seek only the best!
A one cannot control vibration.
B you are exposing yourself to inexperience, in particular the hands-on variety.
You are now discovering the difference a direct coupled approach to vibration management delivers. Conversion to heat is sluggish - at least with the products we have auditioned that rely on this methodology.
We lose the life, the dynamic, the harmonic structures when we listen to products based on heat conversion. We hear softer and rounded tones where we seek the leading-edge dynamic and live experience.
In music there is a timeline. In musical reproduction there are time elements. Beginning with the voice or the musical instrument to the mic diaphragm, to the recording equipment to the playback to the room performance and finally the human ear, music reproduction quality is relative to high-speed.
Everything in the entire musical spectrum is related to speed. Too fast and the note goes sharp too slow, and the note is flat. In classical music, the musicians play a bit behind the note where in rock the musicians play slightly ahead of the note.
Speed in music governs all sounds. Speed defines the highly audible difference between springs and Points (not cheap spikes) and delivers to us the capabilities to produce that leading edge sound everyone seeks.
Example: if we used a different type of steel where the damping factors are greater, the absorption process in the material changes hence so does the performance of the Platform as well as if the brass geometry changes so does the velocity of resonance energy transfer, therefore altering the timing and speed associated with the result, a compressed dynamic performance with shortened decay qualities.
Heat conversion is a ‘slow go’ in comparison to direct coupling. We have tried it both ways and to our ears, high-speed is the audible difference maker.
Perhaps you would like to explain that to capacitor makers whose whole work is to eliminate electromechanical vibration that leads to ... distortion. But maybe you are just communicating poorly.
The reference is an analogy only.. Remember everyone reading is not - NOT an engineer!
However, if the capacitor makers were to examine their designs overall, they would never rely on another entity taking control over their potential performance. If they were to include a mechanical coupling device or mounting system that transfers energy and resonance buildup, their systems would perform at a higher rate of operational efficiency.
We have manufactured mechanical grounding mechanisms for all key parts in an amplifier such as the caps, transformers, outputs, power supplies and including the circuit itself. At full rated output power of 100 watts per channel the amp was quieter and near cold to the human touch. The heat sink became the entire chassis of the amp where we used our Points, not cheap spikes as the exit for resonance flow.
They say no one has reinvented the amplifier in over forty years - this result at the very least took that understanding to a new level of design. It was not the original sonic whatsoever, it was so much more of the original sonic plus more importantly, the musical character instilled by the designer did not change. You should hear what Live-Vibe Technology does for a valve design.
Huh? So is vibration good or bad now?
The initial vibration contains the dynamics and harmonics we seek as listeners. The problems begin when resonance created by vibrations forms on all surfaces large and small establishing component operational inefficiencies.
Thank you for your time,