Symposium Acoustics Ultra Platform

by John Marks

Stereophile Magazine Vol. 26 No. 3 (excerpts)

"...a few weeks ago my wife came home after working late, and while she and I were eating dinner, two rooms away our daughter was listening - not at all loudly - to Jennifer Warnes' Famous Blue Raincoat. My wife cocked her head and observed, "I've never heard that particular [vocal] swoop quite so clearly."

I chortled triumphantly. "While you were at work, a new isolation platform arrived for the [Marantz SA-14] SACD player, and I set it up."
"Oh just shut up," she explained.

My wife loves music but has a low tolerance level for audio tweakery and very expensive gear...I value her reactions in large part because she has absolutely no emotioal investment in a tweak's working or not. As important, just because something sounds different, she's not willing to give it the benefit of the doubt and assume that it sounds "better." Cases in point include the SACD of Glenn Gould's Goldberg Variations ("Is there something wrong with the system?") and a cryogenic-process experiment on an Arturo Delmoni CD ("It sounds like he's playing a viola in the fifth position").

...So her hearing from two rooms away the enhancement in resolving power and lowering of noise floor that I believed I heard after setting up Symposium Acoustics' Ultra isolation platform was quite gratifying.

...Despite clear evidence to the contrary, some people still maintain that factors such as vibration control cannot affect digital playback. Apart from the evidence of the ears of people who can hear, the science is indisputable: The Compact Disc is an analog medium that recovers by analog means data that are later treated as though they represent digital data. Just as the case with an LP turntable, attention to vibration control will yield sonic dividends."

Symposium Acoustics

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