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After some reflection, what I took for modified tonal balance turned out to be something deeper – improved definition from purification. If anything in our system seems to be slightly suppressed and not fully clear, this platform sorts it out. That's its principal contribution. The shift of tonal balance isn't the only wrongly called change once we adapt and understand better. We are in for a similar mental overhaul when it comes to dynamics. First auditions suggested that the sound had calmed down a bit. Everything was clearer and more articulate but less impulsive. This elimination of nervousness and artificial tension/excitement however subtracted a sense of feeling sonically assaulted. The Gravity injected greater smoothness which expressed itself as greater calm. But that proved illusory too. In fact dynamics improved significantly. Previously overlooked connections rose to the fore and instruments seemed more present not by growing fuller but by clearing the space around them; by better articulated transients; and by clearer timbre identities.
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Conclusion. Whilst in Cracow, Ken Ishiguro, owner of Acoustic Revive, stated repeatedly that anti-vibration platforms should not change the sound of components sitting on them but only bring out the best from them by eliminating mechanically induced noise which better defines the presentation. And the Gravity does just that. It clears, defines, clarifies and reveals. It also adds a little of itself and we need to see whether that's consonant with our system. I referred to Mr. Ishiguro not capriciously. His RST-38H platform works in much the same way comprising two wooden surfaces with large amorphous silicon crystals between them. Divine Acoustics combines different materials but crystals play an important role too.
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I don’t know if I should really say it but this Polish platform is cheap as chips. It works and does so perfectly fine. It looks great too. It is fully based on an individual's thinking and its comprehensive thoughtful application in the mechanical domain. I liked all that very much. Congratulations! The platform is easy to use even though it consists of two separate segments. With the platform inside its support frame, it becomes a solid structure. The spikes are the only adjustable elements. Their receiving pucks are the one item I'd change to grow in diameter and mass and sport a more precisely centered receiving hole. But the Gravity is so inexpensive, this slight change can be made by the desirous user. We could even experiment with Finite Elemente CeraBalls in lieu of the provided spikes.
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During the review the platform was placed on the top plywood shelf of the Base VI rack. The component auditioned during the review was the Ayon Audio Spirit III integrated tube amplifier. The test was a multiple A/B/A comparison with A and B known. A was the sound of the amplifier sitting directly on the rack, B added the platform. For a cross examination I used the RST-38H platform from Acoustic Revive and the Pagode Edition from Finite Elemente. Music samples were one minute long.
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opinia @ highfidelity.pl
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