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What's in the package: 4 graphite bases. Graphite is relatively new on the audiophile scene. It is extremely hard but with an atomic structure that allows it to dissipate energy very rapidly (refer to their website for substantiation). This model is not merely graphite but an exotic German-sourced copper-infused graphite chosen to further enhance and fine tune those characteristics. The top of the base has a hollowed-out recess.

Into that fits a sub chassis composed of German stainless steel and a DuPont elastomer ring. This allows a further stage of isolation due to materials and compliance. This is topped with a grooved stainless plate containing a concave recess on top. Into that fits a G20 class top grade ceramic ball which mounts into the recess. And that is finally crowned with a damped stainless steel cone terminated in a concave recess which sits on the ceramic ball.

What's the potential? A cascade approach to controlling resonance, incorporating the advantages of a bearing-based design, a compliant elastomer approach and the mass and dissipation characteristics of the copper-infused graphite; all in a user-friendly small package. That's a lot of ambition and technology under a very small hood.


Does it deliver on its potential? In a word, yes. I began with the expectation that my first day would be spent fine tuning, positioning and tweaking in preparation for serious listening. I wound up graduating to the first listening session instead. The product performed well with just rudimentary setup. A promising sign. Weizhi Precision recommends a few days of run-in time for optimal performance, presumably for the elastomer to settle.
A few of the recordings used to evaluate the Weizhi Precision Gold Glory.
Cut 1 "Tra la Fiamme" from Händel: The Italian Years [Dorian DOR-90147]. Subtle interplay. Hall acoustic. Unforced wide dynamic range on the Julianne Baird's vocal.
Cut 2 "Woods Rocks and Mountains" from The English Lute Song [DOR-90109] also with Julianne Baird. Again, simple material but the soaring vocals have tremendous dynamics and illuminate the hall with sympathetic reverberation.
Cut 12f "Closing Credits" from James Horner's Glory [Virgin Records CDV3087]. The Boys Choir of Harlem is sometimes foreground, sometimes background in the mix. There are points where the vocal rides with the identical orchestral notes but at a much lower level. That information can easily get lost in the mix but is clear by virtue of the preservation of their unique subtle differences in dynamic texture.
Cut 9 "The Might of Rome" from the soundtrack of Gladiator [Decca 289 467 094-2]. An example of isolation capabilities. Sustained bass note in subwoofer territory, heavy drum transients plus both full orchestra and choir. It challenges the ability to preserve fine cues.
Cut 14 "Habanera Fantasia" from This is K2 HD Sound [FIM K2 HD 078]. Hall acoustic. Bell transient reverberation and decay. Castanets. Distinctive sharp attack with the character of wooden body. If the timbre and leading edge are handled wrong you'll lose the wood.
Cut 11 "Christmas Carol" from Star of Wonder [ Reference recording RR-21CD]. Large choir. Dynamic subtlety. Interplay across the stage between the various members. Hall acoustic.
Cut 7 "Concert for Oboe and Streicher in d-moll" by Alessandro Marcello from Highlights CD4 Collegium Aureum [Stereoplay 697 002]. A single-point stereo microphone recording. Also includes a diagram of the angles and distances each instrument was in relation to the microphone. Perfect for evaluating reproduction of instrument placement.

Under the CD player: The changes were immediate and obvious. A lowering of the dynamic noise floor. Low-level information was better preserved, resulting in significantly wider dynamic range. Why is this important? It is difficult for a playback system to reproduce dynamic gradation at the soft end of the scale at acoustically realistic volume levels. If a system has to portray low-level information at louder than natural volume settings, it is inaccurate and guilty of compression. With the Weizhi footers, extremely subtle dynamic cues and inflections were maintained correctly even where the material had an extreme range of complex dynamic contrast. This indicates superior control of internal component resonance and excellent isolation.

Timbre was neutral. The product appeared to contribute neither additive nor subtractive colorations. The result was a balance closer to a master tape. This is generally a sign that distortion is being reduced.