My first op for colour-matched accessorizing came via Armageddon from Serbia's SAEQ. Delivered in the matte gold trim option and sporting an uneven bottom of various stacked plates, the Vibra 30's generous height adjustment was the cat's meow and dog's bollocks. Can you visualize how those two might meet? Ouch. I won't insult your intelligence by claiming that in this HeadFi instance, flotation isolation did anything I could hear. It simply made for a rather lovely photo op for my bronze set and built in the necessary lift to clear the DAC's protruding rotary. For the silver quad I had another colour-matching gig in mind. With that being far from my first rodeo, there I already knew to expect audible benefits even if on the face of it, the scenario could strain credulity.
Why my ultra-resolution R2R DAC from Sonnet would respond to the extra massage of isolation footers when it already lives the dweeb's high life atop a Hifistay multi-stage vibration attenuation rack with ball-bearing interfaces beneath its shelves has always rattled my grey matter. Failing to capeesh the underlying mechanics just doesn't mean that my ears can't appreciate the micro-resolution benefits from this shiny quad of grotesquely oversized Carbide visco/ball-bearing hybrid pucks. True, they look like sledge hammers at a dry-wall picture-hanging party. Having a spare set and canvassing the crib for the most responsive interface simply ended me up here. The Vibra 30's instant betterment was two-fold. It was the right-sized tool for the job to look far better; and costs far less whilst being no less effective. Sometimes sonic parity is the perfect result when it comes with secondary benefits.
After two days of endless screwing around with sundry bolts under the watchful eye of Ganesha, protector of hifi addicts and other deviants, Sherlock had solved this case. In lieu of Carbide's Nano in the foreground, Vibra 30 upside down worked just as well but given this particular use, looked arguably better still because it didn't protrude beyond the stands' plinths. The height adjustment came in handy again for drunken floors that were apparently levelled by a pub-crawling builder. On cost though, the Texans manning their own machine shop put a serious squeeze on low-volume Swiss boutique manufacture. An octet of Nano for speaker flotation is yours for just €498. The sound|kaos Vibra 30 syringe injects a double dose. And in this application I couldn't assure you of a more colourful deeper aural trip. Your speakers will get a somewhat taller lift though than with the shorter Yanks. That informs tweeter alignment.
Beneath the main room's Qualio IQ 3-ways meanwhile, wearing invisible wire suspenders outperformed my customary Hifistay's ball bearings on image focus and separation to improve intelligibility of complex fare with its structural elements. The 240kg load rating of these Vibra 68 whose quad of loaners I doubled for the other channel with the quad borrowed from my sound|kos cardioid sub remained untapped. Unless speakers exceed 100kg, hanging with Vibra 30 is the far smarter play. My Cen.Grand DSD1'024 DAC turned out to be just as thankful for extra isolation as the upstairs Sonnet Pasithea. Good hifi housekeeping will want to address that current oversight in due course. Again, I plead the fifth on why upscale digital should be so sensitive to residual micro vibrations. In a well-tuned system, it simply shows up so can be catered to.
