Nonamehifi Resonance balls: 

(Note : Nonamehifi is former name of Audiophile.Org) and we we producing some equipment at that time.

Some audiophiles claim that manufacturing floating rack platforms (rack platforms that stand/float on a special blend of sand, totally separated from the main rack body) is the only option for true isolation.

Some would prefer non-floating racks/boxes, a standard carpenter job. The rack platform material differs for many audiophiles. For instance, some use natural wood, some marble, aluminium or other composite materials. The majority group of audiophiles I know treat each component separately. 

 There is another group of audiophiles whose understanding is to ONLY use wood beneath their gear. Among the wood types, rosewood, cherry or the exotic ebony are the most popular, where they claim to reach the ultimate musicality while not trading off the fundamental audiophile base, such as dynamics range, depth, low-level detail, the critical liquidity and/or the realism in high-frequency.

There is no end to exotic moves, therefore I will not go further into the popular designs of custom-made wood platforms too much..   Just a reminder:  There is no perfection, there is no absolute in a high-end system.   There are so many brands out there. I would like to review the below of which I have been curious about for along time: I will keep the ideas short, hoping I do not create any prejudice among you valuable audiophiles. These are just my findings... 

http://www.isocleanpower.com  Isotip SI (300 Euros set of four)   http://www.combak.net/feet&bases/FEET&BASES.htm  Tu 210 zx Tuning feet (810 Euros set of four)  

http://www.starsoundtechnologies.com  Audiopoints (135 Usd Set of 3)   http://www.symposiumusa.com/rollerblocks.html  Rollerblock Series 2+ (500 usd set of three) 

http://www.neuanceaudio.com  Platform 200 usd. 

www.nonamehifi.com Resonance Balls (110 usd Set of Four)  

I wanted to test three American, two Japanese and one Turkish isolation device at home today. 

My own racks are fairly neutral, where I use 97 % natural wood – Canadian Maple, 2% metal and 1% of other composites: My stands are made of pure Canadian Maple and beneath each stand, I use Soundcare spikes.

Beneath my speakers, I use my beloved Cerabase steel/ceramic base from Finite Elemente.   I have already isolated my 47labs transport and DAC with a Neuance platform, now I would like to try these test units BENEATH my pre-amp. The pre-amp section - in my opinion - needs the resonance fine-tuning the most. Therefore I have tried each of these units one-by-one beneath my pre-amp and my findings are as follows: 

 Isoclean ISOTIP SI.  

Units constructed of compound materials ranging from very hard, hard and soft hardness to dampen and absorb micro mechanical vibrations. The end product being the results of numerous experiments and listening sessions. 

PROS: A fairly improved focus, a fairly improved depth in the stage. Micro details are relatively the same. 

CONS: A sense of dryness appeared. Low level details have slightly disappeared and low level performance decreased. My system is no longer liquid and the life-like performance has slightly disappeared.  I will give out a rough comment. If your system is too bright or you have uncontrolled bass, Isotip units may be a resort.  

Harmonix Tu 210 zx Tuning feet: 

Harmonix tuning feet are the first step towards perfect sound. Placed under CD players, turntables, preamps, power amps, speakers, and other equipment, these remarkable devices eliminate electronic and mechanical distortion to bring out a depth of sound you didn't even know was there.  A very an elegant design. An aesthetic beauty for a price of 800 Euros +.

These units are especially offered for usage beneath tube-pre-amps or power amps. 

Pros: Focus and the feeling of depth in the soundstage have incredible increased. The soundstage has widened outside the speakers at least 40 cm from each speaker. I would say that the soundstage has widened 20% compared to my original set-up. Transparency has slightly increased as well. Resolution has increased significantly. The size of instruments is considerably bigger. There is control. 

Cons: A slight dryness in lower mids and a slight loss of bass. Perhaps the composite brings a very slight edginess. I am not too sure on a dynamic range improvement since my experience is towards a slight dryness in the lower frequencies. Bass is not punchy as expected but smaller in scale and definitely controlled.(contrary to all instruments appearing ‘bigger’ in the soundstage) this unit serves perfectly well for midrange and upper extensions in my system. But my overall set-up is simply not synergic with these feet. Perhaps with some authoritarian, and ultra-transparent setups, these feet may serve well.  

The Original Audio Points by StarSound:  

The unique design of AudioPoint displaces the focal point of resonant energy to a virtual point below the tip of audiopoint.  I have the non-threaded 1.5 aP1D size. 

PROs: A fairly improved soundstage; not a significant improvement in stage width and depth. Resolution has slightly increased, though. 

CONs: Transparency has slightly decreased. I should perhaps use the threaded versions and critique the unit later-on. I have suspicions that my pre-amp is not heavy enough (just 10 kg) to give enough pressure to keep the audiopoints truly stable. No significant change has occurred with these units. 

Symposium Audio, Rollerblocks Series 2+: 

Ball-bearing isolation devices can make improvements in system performance unmatched by other isolation devices. SYMPOSIUM introduced the bearing isolation device for active components with the original ROLLERBLOCK in 1997. Constantly improved since then, we make the finest bearing isolation devices anywhere - because when it comes to bearing isolation for audio and video, we wrote the book.’ 

Pros: Amazing focus and truly improved soundstage. Harmonics are delineated and individualized. Transparency very high. There is a feeling of a relaxed ambiance in the midrange. Highs are very crisp and clear. Soundstage has expanded 15 – 20% both in the width and depth. Low-level detail is there. 

Cons: The punchy feeling is slightly low. The highs may sound bright to some. In general, my definition would be a slight analytical performance. For a dull and bodily system, these may serve perfectly fine. My past experience has served well in the front-end and pre-amp section.  

Neuance Platform: 

Neuance is a high performance accessory isolation platform of exceptional expressiveness, custom-fitted to replace the stock shelving of your existing rack system or used as a free-standing table top platform. The unique low mass, rapid dissipation design augments your components' own resonance control functions. Neuance preserves the pace, rhythm and timing of the original musical performance, offering an organic, natural and balanced presentation. The result is a product that reveals the music's dynamic, kinetic and emotional qualities.  I currently use it beneath my 47 labs Flatfish Transport and Gemini DAC. A perfect fit. Also strongly advised by Kiuchi-san of 47 Labs.  I have tried a second Neuace platform beneath my pre-amp. 

Pros: Musical. Very organic. The instruments have more body, especially in the lower extensions. Soundstage has slightly improved. Two simple words to define this platform: palpability and coherence in the final outcome. 

Cons: Too musical. An upfront midrange has blurred the inner-details. Other than that, the emotion is there. But I am positive that a second platform is beyond my system synergy. Therefore this is not the perfect choice for my pre-amp, unlike my front-end. A very interesting platform indeed. May create marvels in many systems. A must-try.  

Nonamehifi Resonance balls: 

(Note : Nonamehifi is former name of Audiophile.Org) and we we producing some equipment at that time.

Our fellow audiophile has come up with Pendula wood of which I have been very curious to experiment. Standing on ceramic concave platforms, these wooden balls are very stiff.  Just like the previous devices, I placed three of these under my pre-amp. Two in the front and one in the rear. After correct positioning, I raise the pre-amp for a second time, wait until the balls are centred on-axis in the ceramic holder, and finally place the unit for a more-centred and relaxed floatation. 

Pros:  Very Musical.  Soundstage has improved 25% in width and 15% in depth. Correct size of each instrument relative to each other. A controlled and tight low-level detail. Realistic bass performance, sufficient impact, Punchy. Harmonics with speed and clarity...  The violins are not analytical and does not aggress my Beryllium tweeters nor does the vocals ‘shout’. ‘A general calmness without effort’ is how I would describe the Pendula. Doing a wonderful job beneath my pre-amp, I would describe these units as a great overall performer. 

Cons: I could not detect any considerable drawback. It is a no-sound of her own product. I mean, no considerable ‘wood-sound’.

I will benchmark this unit with some of the most expensive and exotic wood isolation devices in the future.

I will receive the famous SHUNMOOK Ultra resonators (higher in price though, 1000 usd a set of three) in the near future, and will make a comparison with these units. But today, these resonance Pendula wood has brought a truthful emotion to my system.  In the top-end, I will have enough alternate isolation devices to extensively critique the NonameHifi Pendula, but in a standard hi-end synergy, I would say a must-try.   Yes, the sounds are musical with the Pendula, but let’s see what the Shunmook will bring, 

Some would claim true ebony design has the most musical and organic sound. Well, Organic. Like cashmere. I love my cashmere sweater. I do not itch, nor do I sweat. I do not even feel it is on me most of the time.  Wishing for a truthful and true auditioning experience...

Kerem Kucukarslan

2017

President and CEO - Absolare High End  http://www.absolare.com/

Related Links:
https://www.soundstageultra.com/equipment/nonamehifi_cl_rab.htm

https://positive-feedback.com/Issue30/gingko.htm

https://www.audiocircle.com/index.php?topic=53267.0