This review page is supported in part by the sponsors whose ad banners are displayed below

For logistics reasons I used only the BW40MKII legs which supported an Ayon Audio Spirit III amplifier. It so happened that the legs sat just above the BBS mounts. The spikes should first be glued to the amplifier and then precisely insert into the pad holes but I didn't manage despite dozens of attempts during a single session (the amplifier weighs 31kg!).

Records used during this review: A Day at Jazz Spot 'Basie'. Selected by Shoji "Swifty" Sugawara, Stereo Sound Reference Record SSRR6-7, SACD/CD (2011); Dominic Miller, Fourth Wall, Q-rious Music QRM 108-2, CD (2006); Daft Punk, Random Access Memories, Columbia Records/Sony Music Japan SICP-3817, CD (2013); Nirvana, In Utero, Geffen GED 24536, CD (1993); Danielsson, Dell, Landgren, Salzau Music On The Water, ACT Music ACT 9445-2, CD (2006); Frank Sinatra, Sinatra Sings Gershwin, Columbia/Legacy/Sony Music Entertainment 507878 2, CD (2003); The Modern Jazz Quartet, Pyramid, Atlantic Records/Warner Music Japan WPCR-25125, “Atlantic 60th”, CD (1960/2006); Johann Sebastian Bach, St. John Passion, BWV 245, Smithsonian Chamber Players and Chorus, Kenneth Slowik, Smithsonian Collection Of Recordings ND 0381, 2 x CD (1990).

The effect of the Rogoz Audio system on the sound was easy to identify and define. Changes brought about by the platform were clear and very positive. Their character has a clearly set direction but perception thereof might not be equally welcome in all systems. After placing the amplifier on the platform with the BW40MKII interfaces beneath the Ayon footers, everything became more abundant. It was a truly interesting experience. Listen to the component on a classic rack shelf, then on this system where the platform and footers work together. This would persuade any doubter (or more precisely, someone with inadequate knowledge) that products reducing vibrations really do change the sound of supported devices. The difference is big, a zero-one kind of difference.

What improved in particular was the sonic energy. Perhaps that's why I had an impression of abundance which involved high and low frequencies, mass and space. The sound grew and became more refined. The changes were not as fundamental or far-reaching however as with more expensive platforms from top producers Finite Elemente or HRS I reviewed in the same issue. Here sonic modification was shallower. There was no doubt that if you want absolute high-end effects you must pay far more. If you have a mid-level or basic system, your money will be well spent here.