Vibration control question....

Hi Guido,

Optimally, a person should use a platform that has as little sonic character of its as possible AND that platform should absorb as much of the vibration and resonance out of the component as possible. Preferably, the platform would efficiently convert the mechanical energy (vibration) to a more benign form of energy (such as thermal energy - heat).

In addition, the support for the component should provide an effective barrier to stop vibration from entering the component from the floor/rack/shelf. In addition, there needs some mechanism to minimize the effects of air-borne vibration that is striking the component's chassis directly from the speaker AND addresses internally generated vibration within the component (motors, humming transformers and cooling fans).

Please be aware that natural wood, plexiglass, acrylic and many other similar materials are resonant and stone (granite, marble, corian, cement, concrete, glass, tile and other very rigid materials - IE: metal) will ring. The ringing and resonance will be transferred into the component and will negatively alter the signal flowing through the component.

Some people are confused about the fact that even though natural wood may be the right choice for a musical instrument (because it has distinct resonances) it is not appropriate for vibration control because of that very same reason. The components which comprise audio systems ARE NOT musical instruments. They should not have their own personalities (colorations) or have resonances imparted upon them by inappropriate choices in vibration control materials. The components in our audio systems are used to reproduce the sound of the original musical instrument as it has been captured in the recording. Anything that alters the signal flowing through our system's components takes us further away from being able to faithfully reproduce the signal in the recording.

As I am a professional designer of vibration control products I do not advise on DIY projects but I hope some of the guidelines above will be helpful to you.

Best Regards,

Barry

So Barry have you actually recorded and played back live musical instruments in the confines of your own studio so as to compare the tonal and dynamic influence your designs impart on the reproduction of the original? Tom

Barry, having been part of the world of music for the past 45 years, and having dealt with bowed strings for the past 15, I am relatively aware of the resonating properties of certain woods. That is why I was suggesting bonding 3 or 4 layers of poorly resonating 3/4 inch Baltic Birch plywood, finished by a top made by a 1/2 inch Corion sheet, which -- to the contrary of what you may believe -- does not resonate easily.

On the other hand, reading your initial article, and your response to my query, I am not quite sure why you are here. The article is regretably full of generalities, and your answer is rather condescending. I suggest that, unless you are prepared to foster the body politics with real practical knowledge or suggestions, if your goal were to promote your product and services instead, you may want to consider abstaining from posting to this discussion all together, as paid ads are more appropriate and especially suited for your very type of markcom. Regards, Guido D. Corona

I have five big pieces of 3" granite in my storage room. It just has too high a resonance frequency. I found the best way to use it was with sand under it in a wood surround. Soft isolators just steal the dynamics of music. I have found that a base with multiple resonances is best. Or one with none such as the Halcyonic electronic base.

If I'm not mistaken, Corian and similar products are styrene-based so any resonance they might have would be of a considerably different character than igneous rock. Whether Corian in combination with layers of wood would provide the same kind of benefits inherent to products developed by the better-known manufacturers is debatable. But, what the hell, that's why God provided us with workshops and Sears' cards. Just be careful with that axe, Eugene.