Stillpoints and reference-level speakers

Seems logical to assume that the makers of megabuck speakers would use superior footers in their designs. Any experience out there with Stillpoints isolation devices to support the reference-level offerings from Magico, TAD, Rockport, Tidal, and others?
I am installing 2 sets of (3) Ultra 5's with Ultra bases under my Magico S5's in the new few weeks in the optimal sloped side up configuration. I hope to post an update later with my findings.
Melbguy1, with the Ultra bases you will not be using the Ultra 5s in the recommended way. I have no idea what threaded options there are under the Magico S5s but if you could use them to mount the Ultra 5s so that there is some minimal distance between the bottom of the speaker and the bottom of the Ultra 5s, you could adjust the angle of the speaker, mount them properly, make the speakers more secure, and save the money for the bases.

I have a pair of LSA1 monitors with no threaded holes on their bottom for which I have to use the Ultra SS wrong and dearly wish I could use them the other way.
I installed two sets of four ultra 5's under my Q5's. No bases though. Did not see the point(no pun intended). I also bought 8 of the Stillpoints adapters 1/4 20 to 3/8 16 which you will need as well. I love the look and solid foundation they give the Q5's. As far as vibration control goes, under the loudest volumes the speaker housings remain quiet with no vibration. What else can you ask for? I hated their original STAINLESS STEEL spikes. Wrote magico about my view never heard back. Can't do better. My experience anyway. Expensive though, but I guessing you know that.

In my opinion the article "Speaker Spikes and Cones – What’s the point" by Dr. Jim Lesurf is very well written.

The ones here who have criticized it should realize that this article was intended for non-expert readers (e.g. audiophiles and audiophile journalists) and not for a speciality journal. The goal of the article was to explain to non-experts that spikes do not isolate (as it is often believed or claimed) but increase the coupling e.g. between speakers and floor. The analogy given for explaining this (i.e. spikes on running shoes) is as simple and clear as it gets. The ones who do not understand this analogy are simply in no position to criticize the article or understand it for that matter.

As other have already mentioned, all these vibration management devices (e.g. footers, spikes, etc.) are fine tuning devices which depending on the situation may work or may not work.

(These devices are unable to get rid of the real elephant on ones room, i.e. excited room modes - the most critical type of rezonance in one's system. Consequently, I am of the opinion that one should take care of those type or resonances first before starting to debate the benefits and superiority of various fine tuning devices.)

I apologies if I sound condescending, but I lost my patience with some of the silly arguments above. I have started to read this thread in the hope of learning something from people with first hand experience with these products ...
The goal of the article was to explain to non-experts that spikes do not isolate (as it is often believed or claimed) but increase the coupling e.g. between speakers and floor.

Nvp, the goal of the article and its unfortunate resurrection seemed to be to cast a jaundiced eye on their use in the context of a thread celebrating such a technology. Since you're a physicist, please explain how they might be beneficial, and you're not allowed to use that lame analogy of shoe and cleat.

Here is one explanation from Starsound technology by way of the department of engineering at Stanford:

Here is a snippet from Robert of SS:

Link to Coulomb Friction on website:

Conclusion and Application
Essentially, Coulomb friction (or forced-damped vibration) is not considered to be acknowledged here unless it is a repeated resonance or of an oscillatory pattern. The above text is taken with a simplistic approach considering a singular part of a signal.
In the terms of music or other complex signals such as keyboard synthesizers, strings, drums, etc., many of the stated parameters are required to be addressed to each part of the signal simultaneously. This creates very complex harmonics which can carry out to several or multiple levels of harmonics, noting that there will be a reduction in amplitude over time.
Simply stated, if the vibration is not directed away from the source, it will modulate the source causing the original signal to appear distorted, thus defining the requirement for continuous dissipation of vibration.
In a practical application scenario, you have multiple electronic components and loudspeakers connected through a series of conduits (defined as instruments), all of which interact with each other producing sound and picture. We describe this union as a system.
The system generates and conducts various forms of resonance, including mechanical, electrical, and airborne. Refer to “The Proving Grounds” for more details on these basic principles online at
This form of resonant energy is indirectly reintroduced to the system and will cause interference with the signal pathway (being that of the whole) at one or more points in the audio/visual reproduction process. If not addressed, these resonance patterns will propagate forming inefficiencies thus limiting the product’s function and affecting the overall sound and/or visual quality.
Employing isolation techniques, one merely protects one component from interfering with another that it is in direct contact with. Isolation increases the effects of Coulomb friction by building resistance between the mating surfaces. With regards to airborne resonance, isolation principles serve much like the dielectric material in a capacitance device, essentially turning the component into a giant Resonance Capacitor.
This is not the opinion of our company, Star Sound Technologies, LLC but rather that of the average graduate - level physics textbook.
Minimizing the resistance (as caused by Coulomb friction) via a mechanical grounding process is the only logical way to compensate for the effects of Mechanical, Electrical and Airborne resonance within any given system.
Again, if detrimental vibration is not directed away from a component, loudspeaker or cable conduit, it will modulate and re-modulate the original signal causing degradation of said signal. This defines the requirement for continuous dissipation (not isolation) of the unwanted vibration.
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