With no scale in our digs and only a ship weight of 106lbs published, it would take digging to divine the XA30.8's net weight to properly hook footer compliance. As it turned out, I didn't need that figure to see that the amp was too heavy for just four Vega. Where one speaker floated nicely on a quartet to leave plenty of their tops showing and respond with mechanical motion, the Pass brutally squashed a quad to the max. That killed all float suspension to just waste money. I'd need more footers. But had I killed the first set by overloading it?

Not. Removing the devices from under the Pass showed them to be perfectly unharmed. So I'd not lost my right to practice reviewing just yet. Close call. Clearly these were tough customers. Respect. Whilst the second quartet was enroute, I looked for ops on my desktop. The nearfield doesn't warrant high levels. The 5.25" sidefiring woofers of the Boenicke W5se don't mine the bottom octave. Given such relative absence of high-amplitude mechanical disturbances, I frankly expected - well, nothing. But my ears bollixed up any cuddling with cynicism. Elevating the reasonably heavy Job 225's rubber footers off the tempered Ikea glass via three Vega footers, the two front units slightly raised to make up for the rear one sitting on the computer monitor stand, I was surprised by higher resolving power of low-level data. This particularly benefited soundstage depth and contrast.

As you can see, I've got the small solid-wood Swiss monitors on stilts to hover above the table top without direct contact. They're parked in a quite wide steeply toed-in spacing. This follows Joachim Gerhard's original Audio Physiks scheme particularly because there's no nearby front wall. This creates a quasi immersive sound bubble. It puts me more into the action than a conventional over-there perspective way behind the boxes. There's still surprising depth despite the visual mind fuck of the screen barrier. I'm simply closer to feeling part of the recorded ambiance. And it was in this domain of partial envelopment, more specific stage mapping and more acute contrast of sound vs. silence that the Korean footers did their cleaning work. Percussive sounds were teased out more crisply from their surroundings. Clock a first goal for team Vega.

With the second set on hand, I moved three footers beneath Simon Lee's Eximus DP1. With my Vega loaners being of the six-layer string design, the DAC/pre's weight was far too light, hence the fully connected suspension far too stiff. I did listen to it but noticed no audible upshot at all. It's when I unhooked the top four loop layers to leave only two in play that I hit pay dirt. Not only did a single finger strike now cause a mechanical response, I also had audible justification. The effect was the same as it had been for the amp, just rather less pronounced.

It was time to move into the main system and float my Aptica speakers as I'd always done for my prior Boenicke Audio B10 with their SwingBases.