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Agoraquest • View topic - Black Diamond Racing Pyramid Cones

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View topic - Black Diamond Racing Pyramid Cones

Black Diamond Racing Pyramid Cones

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by maverick11359 » Fri Feb 01, 2013 11:03 am

Maxwire Quote :-
The other day I was reorganizing the Digital Audio equipment on my desktop which required removing the V-Link from the BDR Cones and placing it directly on the desktop. As soon as I began listening to the 24/96 V-Link without the beneficial Resonance Tuning of the Carbon Fiber BDR Cones I immediately noticed that the Music had lost the pace, rhythm and timing that it once had along with the incredible attention to detail that the V-Link immediately regained once it was returned to being rigidly coupled to the desktop with its original set of BDR Mk3 Cones.

I've been using BDR Cones for Resonance Tuning since 2006 and I currently have 8 sets of them throughout my Audio System where each set is making a very positive contribution to Resonance Tune the equipment and allowing it to sound more transparent. That said, I have found the V-Link to be more sensitive to the positive effects of Resonance Tuning than any of the other Audio equipment I am currently using.



G'day Maxx,
  I found exactly the same responce when removing my resonnance cones too.As you know I have been trying to tune my new gear since last october and the other day I experimented and removed my resonnance cones from the new Integra processsor . Also for me Immediately my sound became distorted with a feel of reverb through out the sound stage, I could not believe the huge difference they make, I forget sometimes and just take them for granted  . I 've been on many forums over the last few months looking for ideas on tweeking my particular gear and found it frustrating that we still have the no believers, particularily in cabling and ressonance cones. I've just this week found my answer to interconnects ,rediscovering that interconnects are really indigenous to each individuals system, what suits ones persons gear and room probably will not suit another.

I like your self find positioning the cones in different configerations under the gear also changes it's tone . I tried reversing the cones under the Integra placing a single cone directly under the power supply transformer the upper mids went through the roof , so back it went to standard two at the front and one at the center rear..

I also have put cones under my power amps , unfortunatley because of their weight and build I have to have 4 cones supporting each. The Emotiva XPA5 weighs in at 38 kg or approx 80lbs and the Rotel 18kgs both have build strenght near the original feet positions ,so I have no choice but to use 4.

heres some pics.



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Cheers Mav'
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by Maxxwire » Sat Feb 02, 2013 6:50 pm


On 2013-02-01 15:03, maverick11359 wrote:
G'day Maxx,

I 've been on many forums over the last few months looking for ideas on tweeking my particular gear and found it frustrating that we still have the no believers, particularly in cabling and resonance cones.


Mav- I've encountered many people who did not believe in the positive effects of improved quality cabling and Resonance Tuning and there are a number of reasons that I believe that they are justified in their personal opinion.

First of all most people do not have acoustically tuned listening rooms like you and I have and their listening rooms can produce nothing but time smeared sound which reaches their ears at so many different intervals that they are unable to discern the kind of intricate detail that improved cables and Resonance Tuning can reveal.

Another thing that can render people unable to hear the very significant sonic improvements that improved cabling and Resonance Tuning can bring is an AC Power Delivery System that is full of nothing but weak links starting at the Wall Outlet each of which debilitate the AC Power which the Audio equipment converts into DC Power and then modulates it into the Music signal which eventually comes through the speakers just as debilitated as the AC Power that it was made from.

Many times people make the mistake of Resonance Tuning only one piece of equipment and then determine that the cones like we use on all of our Audio equipment do not work not realizing that as with any other upgrade it must be applied system wide in order to realize the full effect.

The main reason that these improvements work for us and not for them is because each of us has spent many years refining the sound of our Audio Systems to such a point that they are now so sensitive that they will audibly respond to changes that are as slight as the directional placement of a cone under a piece is pointing as you described which is our reward for the 1,000's of hours that we put into tweeking our Audio Systems.


  

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by maverick11359 » Sat May 25, 2013 3:50 pm

Maxxwire wrote:-The main reason that these improvements work for us and not for them is because  each of us has spent many years refining the sound of our Audio Systems to such  a point that they are now so sensitive that they will audibly respond to changes  that are as slight as the directional placement of a cone under a piece is  pointing as you described which is our reward for the 1,000's of hours that we  put into tweeking our Audio Systems.

G'day Max,
            Your right,  I find I keep getting inspirations and trying minor refinements .

             I purchased some brass cones from the UK just to see if there was an improvement or difference over steel  to be had.
            Well immediately there was a change in my sound stage  , deeper mid bass, less control of and slight distortion in upper frequencies . particularly in playback of my favourite instrument for testing  the piano where it's dynamic range was compromised and less real.

            But from every experiment comes knowledge , in putting back the steel cones I had an epiphany ,I remembered you saying along time ago to experiment with the placement of the 3 cones even placing one cone forward and two at the rear. For so long now I've kept the same tested formula only varying the placement slightly for tunning( two forward and one centre rear). Well I tried the different positioning and found one cone at centre front which by happen chance  is directly under the toroidal  transformer  made a very very noticeable improvement . My piano test playback which I thought was great with the original steel cone positioning improved again, if I hadn't  heard the difference I would have been quit content.  

So thanks old friend your words still pop into my head on occasion and in this case it put a huge smile on my dial..

cheers Mav'

P.S should mention the cone testing was with my Integra processor.

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by Maxxwire » Wed Aug 07, 2013 3:54 pm

Mav- Its great to hear that you are still experimenting with Resonance Tuning and that the steel spikes that you have been using have been such a sonic success for the sound quality of your Audio equipment. I wanted to share with you and the readership a post that I composed recently about how Resonances are indeed weak links in an Audio System and the importance of using Resonance Tuning to mitigate these Invisible Weak Links...

  

So far we have dealt with the many aspects of eliminating Weak Links in the AC Power Delivery Network, but as far as dealing with Weak Links while preserving the integrity of the AC Power itself during the essential stages of Surge Protection and Line Conditioning have not as yet been addressed. In this post I want to discuss what is probably the most illusive form of Weak Links which are Resonances which can negatively influence the sound of the Music that our Audio equipment produces by robbing it of the greatest amount of potential in areas as divergent as the retrieval of detail to the characteristics of the Audio System's Bass Response. Addressing and eliminating these Invisible Weak Links can bring about improvements in sound quality that are quite profound in that they directly influence the quality of the AC Power.

These Invisible Weak Links are created through the agency of Microphonics which works very similar to how a microphone works in converting mechanical vibrations to electric signals. The principal of Microphonics which was first discovered in 1929 can negatively effect the components of our Audio Systems in that it converts mechanical vibrations into electrical noise which can negatively alter the quality of the Music we hear from the speakers. The wiring in our Audio Systems can also be degraded by Microphonics in the form of charged conductors where various materials in the wiring can become subject to static charges known as triboelectric charges that couple to the wiring in our Audio Systems.

I first became aware of the effects that Microphonics can have on Audio equipment back in 2002 from a Soundstage Magazine article written by Mike Vans Evers who is the designer and maker of the Line Conditioners that I use. Here are some of his opening remarks...

"All audio systems are the result of the following process: sound is turned into electricity which is then turned back into sound. In this process, there are three types of energy that flow: signal, power, and mechanical vibrations. The third energy type, mechanical vibrations, affects the first two, signal and power.

"Tuning" is the conscious and deliberate act of making these unavoidable mechanical vibrations affect our sound systems in a friendly way. The proper goal of tuning is to bring an audio system’s distribution of resonances, its "resonant response," into balance. When this balance is achieved, an audio system will provide a more musically neutral interface between musician and listener, and in so doing maximize the emotional connection between the two."

It took a couple of years for the concepts contained in the Mike VansEvers article "The Art & Science of Audio System Tuning" to set in with me, but by 2004 I was well on my way to confronting the Invisible Weak Links known as resonance not by eliminating them, but by tuning them.

My first post Here at Agoraquest concerning the results of the Resonance Tuning that I had done in my Audio System was in the 2006 Black Diamond Racing Pyramid Cones Thread where I shared the amazingly positive results that I got by applying Resonance Tuning to the components in my AC Power Delivery Network...



This is my VansEvers Model 12 Reference Line Conditioner which I purchased used for $65 back in 2003. It features programmable and highly effective proprietary Electrical Transient tuning and a Spirinol Oil capacitor. As it sat on the rubber feet that it came with it sounded better than any of the Line Conditioners that I had auditioned before I bought it, but when I put a set of 3 Mk3 Carbon Fiber BDR Cones between it and the MDF shelf that it was placed on I immediately heard an improvement in sound quality as a result of the elimination of the influence of Invisible Weak Links in the form of mechanical resonances that were negatively affecting the AC Power. Mike VansEvers' method of Tuning Mechanical Resonances is based upon not on trying to completely eliminate these Resonances as is the commonly used method, but rather to as he said "Tuning" is the conscious and deliberate act of making these unavoidable mechanical vibrations affect our sound systems in a friendly way".

The other piece of equipment in the AC Power Delivery Network that is very necessary is a Surge Protector. For the last 6 years I have used a Brick Wall Series Mode Surge Filter in my Audio System which features not only an Unlimited Amount of Surge Protection, but also EMI/RFI Filtering at 5 KHz, 100 KHz and 300 kHz. Most AC Filters for Audio equipment are above the Audio Band frequencies, but the Brick Wall filters 2 octaves lower into the Audio Band and contributes to its being the only Surge Protector that actually improves sound quality by actively filtering out the Invisible Weak Links in the AC Power that most other surge protectors allow to pass. The Brick Wall Series Mode Surge Filter uses
no sacrificial Metal Oxide Varistors in its circuitry which eliminates a myriad of Invisible Weak Links that exist in most Audio Systems...



I have the Brick Wall Filter which powers my Stereo System sitting on a slab of Granite that was custom cut for a Quicksilver Tube Monoblock Amp and makes it a great candidate for Resonance Tuning using BDR Cones because I've found them to work best on rigid surfaces whereas I have had good results using Sorbothane hemispheres on less stable surfaces where Decoupling the Resonances works better than would Rigid Coupling with the Carbon Fiber BDR Cones.



Sony has been aware of the the way that Resonances can negatively effect the performance and sound quality for over 30 years during the Esprit era as evidenced by this now rare set of Sony FW-90 Floating Magnet Sound Bases...



Sony has long known that Resonance Tuning not only works, but that Tuning these Invisible Weak Links is essential to obtaining the the highest levels of performance from the Audio equipment they make. From The Vintage Knob- "After nine years of use, the G chassis (G for Gibraltar) was discarded but replaced, effects-wise, by the much touted FB frame (Frame and Beam) which structures the chassis so that it remains completely rigid but non-resonant through careful arrangement and placement of the joining parts, different material densities and screws. This goes further with cast-iron and off-center feet to (tentatively) help to do away with remaining chassis resonances."

The audible results of dealing with these Invisible Weak Links will depend on the Resonance Profile of Audio equipment and how appropriately it is Resonance Tuned. The only way to find the ideal Tuning is through experimentation. I used several different kinds of Decoupling (Sorbothane and Vibrapods) and Rigid Coupling (Aluminum cones, Brass cones and BDR Cones) with my VansEvers Model 12 Reference Line Conditioner before I tried the BDR Carbon Fiber Cones which by experimentation worked much better than any of the other methods I had tried and raised its level of performance to such an unprecedented level that once all of the other components were also Resonance Tuned allowed the Audio System to give a Musical performance that was on a completely higher level than when it was being repressed and suppressed by Invisible Weak Links.





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