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At first sight the Gravity looks classic though there’s no denying its predatory stealthy vibe. Its sides are covered in eco leather, model name embossed in front. The sides are rigidly connected to the top surface which looks like artificial coral similar to Copulare. It's another patent however. The visible top layer supporting the actual component is described thus: "It's a combination of epoxy, acrylic and irregularly shaped fractured minerals. This layer structure requires a very complex application process and slow drying to prevent the formation of internal stresses since post curing the material exhibits shape-memory properties. The irregular layer structure perfectly damps resonances emitted from the supported component."

Close to the front edge there's a bubble level to assist in achieving perfectly horizontal placement. This support box is independent of the feet and moves freely in the vertical axis by about 1cm though it doesn't feel as though it contained springs. It's actually quite rigid in itself though mechanically discrete from the stanchions. As the materials explain,the lower deck is damped with an acrylic coating containing silica and cork mat. This provides the basis for three steel rods. Higher up selected gemstones are said to act as broad-band vibrational absorbers due to their crystal structure, hardness and diamond cut. Atop the gemstone layer rests the final work top of four different-density layers. Its standard dimensions are 44 x 38cm or 17 x 17" (custom sizes are possible) and its weight is 8kg.

Readers seeing this device placed upon a massive supposedly already resonance-optimized rack might wonder just how effective the latter could be if the Gravity still made a demonstrable difference.

Albums used during this review: A Day at Jazz Spot 'Basie'. Selected by Shoji "Swifty" Sugawara, Stereo Sound Reference Record SSRR6-7, SACD/CD (2011); Dominic Miller, Fourth Wall, Q-rious Music QRM 108-2, CD (2006); Daft Punk, Random Access Memories, Columbia Records/Sony Music Japan SICP-3817, CD (2013); Nirvana, In Utero, Geffen GED 24536, CD (1993); Danielsson, Dell, Landgren, Salzau Music On The Water, ACT Music ACT 9445-2, CD (2006); Frank Sinatra, Sinatra Sings Gershwin, Columbia/Legacy/Sony Music Entertainment 507878 2, CD (2003); The Modern Jazz Quartet, Pyramid, Atlantic Records/Warner Music Japan WPCR-25125, “Atlantic 60th”, CD (1960/2006); Johann Sebastian Bach, St. John Passion, BWV 245, Smithsonian Chamber Players and Chorus, Kenneth Slowik, Smithsonian Collection Of Recordings ND 0381, 2 x CD (1990).

In the treasure trove of audiophile truths passed from review to review, exhibition to exhibition and forum post to post, some are completely meaningless though harmless in their naivety. Some contain kernels or more of truth but there's no knowledge where these beliefs originated or what precisely their limits are. Some are wholly false to point in the wrong direction altogether. One of the most damaging articles of faith in the audiophile industry is the conviction that so-called accessories should change the sound to become active controls for tone, dynamics and such. This relationship is particularly emphasized for anti-vibration accessories.

I suspect—I don’t know for sure—that this outgrew the formerly common use of rubber-based materials and spring absorbers. While these methods may be useful in some applications provided resonances are calculated, they are not universal and are (or should be) related to a specific product and certain cases. We’re of course talking about the high-end and quality equipment. In budget systems rubber like the Vibrapod isolators can do wonders not because it corrects anything but because it eliminates the most troublesome problems.