News flash. Martial arts combatant knocked unconscious. Opponent swoops in to add two brutal hammer fists to the downed fighter's head. Ref rushes in to waive fight off. Handed a mic, the declared winner is asked whether his two extra blows were really necessary. "Super necessary" mocks the victorious pugilist. Now flip the script to our more civilized contest. Were the Wellfloat beneath the stands redundant because elsewhere structural vibrations had been savagely KO'd already? Not. Whilst perhaps not super necessary, they were superior to the stand's rubber-sleeved spikes. Next came the force-cancelling Dynaudio sub. That as well took only two Wellfloat to sit securely, original footers dangling inactive.

For entertainment value, I'll call that second addition super necessary because it wasn't a small difference. Hand me a Kool Aid already. I played the bassy "Elle" track from Smadj's Dual album then the lengthy "Pictures Form Inside" from the Vangelis Katsoulis album Pictures from Inside. What changed once speakers then sub floated on wire suspensions?

The speakers lost some lower midrange warmth/fuzz to display still greater clarity and image lock. Slipped beneath the sub, the entire bass range cleaned up to enunciate more succinctly. That had run-on benefits higher up. Also, subjective bass power lowered. It proved how I'd still had sufficient structural resonance gain in play whose cancellation registered clearly. The far costlier Japanese devices were more effective than the smaller Poles. To compensate for loss of resonant gain, I adjusted the sub's attenuator for non-resonant gain instead. I could dial in louder bass without floor blur. Particularly on the busier Katsoulis track with its quasi cinematic soundstage mapping and meandering solo e-bass with separate bass below it, I could hear deeper into the mix for an easier mental walkabout in the 3D illusion. Here's my most accurate if seemingly least impressive phrasing to describe six Wellfloat devices in action: they linearized textural bandwidth¹. What? Compare good open headphones to most speaker setups. You'll see that the latter invariably suffer thicker more resonant blurry bass textures which clearly change as frequencies ascend. By contrast, headphones are texturally more even because they lose the room's reverb and modal peaks. Listeners unfamiliar with room subtraction first notice lessened mass. Once their hearing recalibrates, they recognize the departed mass as a deleterious heavy coloration, warmth or darkness which caused imprecision and opacity. Bass distortion simply sounds louder. Especially beginners think louder better. To my ears the most natural least interfering systems express a textural continuity which doesn't really change as they descend from the treble into the midrange then bass. And that's the goal which floatation of my mini monitors then sub moved my sound toward. The general trend was no surprise. I'd heard it many times before. It's what isolation rather than coupling does. That I'd have audibly relevant improvement room left wasn't expected; on my secondary system with the 'small stuff' no less. Good grief. What would happen downstairs? There of course Wellfloat wouldn't benefit from the same suspended floor; and sub and speakers already had what I thought was very effective decoupling.

¹ To avoid confusion, this is separate from tonal balance. Now one can actually tune the preferred tonal balance without throwing off textural continuity. With a shelving filter like in my active xover, one can build in a linear rise of +3dB/20Hz starting at 80Hz for example that won't thicken up, just add gravitas. These virtual sliders for loudness and texture are different. That's not unlike how a classic BBC announcer's meticulous enunciation doesn't turn into a Scottish brogue when he gets more emphatic then returns to punctilious British when he speaks softly.

Downstairs became yet another day at the office of 'let's tweak the cynic'. A quad of Delta Extreme replaced four taller €270/ea. Carbide Audio footers. Those combine basic single-level ball bearings with a tall captive cylinder of industrial viscoelastic. As under the Dynaudio sub, there was no doubt. The Japanese wobble sandwich was still more effective at disrupting vibrational traffic between subwoofer and floor. That stripped out remaining micro blur which hugged bass beats like cotton does Q tips. It proved to be a reminder of how so often, we've stopped noticing a bad thing's remnants by getting used to them. It's only when they've lessened again—I'll refrain from saying, disappeared altogether—that we recognize their prior presence. Awareness by subtraction. Having set the Gradient Box's bass attenuator in accordance with the tonal balance of the Carbide footers in play, I once more noticed how losing left-over warmth which masqueraded temporal blur also lightened relative bass amplitude. That again welcomed more subwoofer level. A few clicks of extra acoustic gain could replace lost structural gain to restore my original tonal balance with superior timing. Now bass textures felt still more in line with the upper bandwidth. They'd let go of a finer layer of relative darkness aka heaviness. The lower registers felt even closer or more similar to the lightness, agility, clarity and easeful intelligibility of the vocal range. An obvious most welcome fringe benefit was superior 'whisper' performance. Being able to follow complex but faint bass patterns was still easier to do at surprisingly low levels. Think more fleet-footed more in-the-pocket bass of quicker reflexes so less overhang. By extension it means less resonant mud bleeds into the vocal band so that clears up as well.

'Joy' is the default display of the icOn Gradient Box smart active crossover unless one selects night mode to only show a small decimal point.

Thinking readers appreciate that if one does such successful structural isolation with passive full-range speakers, one won't have a convenient way to restore perceived weight loss. Bass will sound lighter aka more illuminated and quick but also lighter as in, less massive. Again, structural gain adds loudness slightly behind the beat. Eliminate or at least seriously attenuate structural gain to diminish the time blur but in trade give up extra if sloppy loudness. A subwoofer's separate level control can easily compensate. A passive speaker cannot. You'll need to do it in a digital EQ plug-in instead then insure that your speaker amp has the extra power required. Whilst a Delta Extreme trio would easily suffice beneath this sub, my remaining five loaners were one short to simultaneously well-float the Qualio Audio IQ speakers. Getting the sub off the ground was obviously levels more critical than the speakers. My active analog xover filters those at 80Hz/4th-order to play no bass at all. My next destination for the visiting Delta force would be this room's Artesanía rack. That took six Wellfloat. The sound|kaos sub was back on my Carbide footers, active crossover's level adjusted, speakers on their regular Hifistay multi-stage roller-ball isolators.