Whilst I didn't play the harp but clarinet, I still love to harp on the subject of equipment supports. Like power delivery, it only appears to be a low-order concern. True, cinder blocks or wine crates will certainly hold up your gear. But that's not just a visual compromise. Proper resonance control is an unsexy topic which regardless pays big dividends once heeded. For a mini primer on the Artesania Audio Exotyeric way, take a look at the next photos. You see upright pillars on spikes, then round discs with invisible pads on the floor. You see top and bottom cross members which connect the uprights. That's the outer frame or exoskeleton. You also note three white cylinders—there's a total of six—which stand off the uprights via thick welded short posts. It's from these that the inner cage hangs via six down-pointing spikes which rest in receivers inside the cylinders.

Next we see the triple-layer turntable platform on Neoprene pads and a steel frame which rests on four spikes atop the filled metal uprights. We also see an Esoteric C-03 preamp atop four Neoprene-topped white footers which themselves rest on needle bearings which bolt into movable cross members of the inner cage.

Now we see a thinner triple-layer glass shelf which itself is supported just like the Esoteric. Placed upside down, there are four more white footers with Neoprene pads atop the glass to act as receivers for the COS Engineering D1's very pointy footers. The glass meanwhile allows me to position this DAC/preamp diagonally so its IR eye faces the listening seat. Now I can also see its volume display of tiny white LEDS. If I did without the shelf as I do for the other components, this diagonal positioning wouldn't be possible.

To reiterate, like any properly engineered performance rack rather than piece of furniture, the Artesania Audio Exoteryc rack creates a number of mechanical barriers to prevent migration of resonances in either direction - up from the floor into the equipment; and from one component up or down into the next. No matter what equipment you own today, tomorrow or 10 years from now, it will always sound its best and like itself. It won't be changed by interactions with external mechanical energies. 'Like itself' simply means, in mechanical isolation. Of course airborne energies are generated by your loudspeakers (the louder and bassier you play them, the more in-room air pressure they bathe your components in). Those remain unfiltered. To eliminate them would require equipment vaults or housing all the gear in another room; snaking speaker cables through a wall or floor; and nasty WiFi to command playback selections and volume. For most, that'd be rather too extreme. But hey, for many even the basic notion that what hifi equipment sits in or on is too extreme already. So grit your teeth and bugger on.

That just any glass—or glass alone—maketh not for the most ideal hifi support is shown next with my Ikea office desk. Three silicon-ring suspended flotation footers called Vega from South Korea's HifiStay isolate the Goldmund/Job 225 stereo amp. They make a demonstrable improvement in soundstage depth, image specificity and general contrast ratio, i.e. better low-level resolution. How would the Spanish amp stands improve over my wood furniture?

Would the glass and Krion platforms 'sound' different - or one be superior to the other?