Wellfloat under turntable. The sound is more stable, contrast and dynamics range are much wider, the layers are richer. And it is more obvious at high volume.
For those who are using Wellfloat Delta, this platform requires no intro on what it is capable of doing.
I put it under JMF 3.7 universal transport and am handsomely rewarded with much more uncompressed dynamic surges and ambience.
For components with rotatory parts such as transport, turntable or moving parts such as transformers or fans, I believe this platform works perfectly to manage the mechanical vibrations. The verdict in using it under the Zanden 1200 signature phono in Divin lab was also unanimously positive which means tube vibration can also be managed well under this platform.
An absolute no brainer if one is bought in on lateral mechanical vibration mitigation is critical!
I've always wondered why huge horn drivers are being suspended from the ceiling of houses. This thread answers it. It reduces the interaction between the vibrating cabinet of the speakers with the floor. This vibration of the cabinet, albeit only a small fraction compared to the movement of the drivers, still produces negative effects to an effective musical delivery of the loudspeakers. Footers, spikes, absorptive material all work to negate these but to varying effects. They couple or decouple in the X,Y and Z planes. Hence some work better than others.
Then comes "WELLFLOAT Delta". I guess from the name, we would like to assume they work damn "well", it implements a "floating" pendular effect to the item its under and its triangular in shape. Now this pendular movement mimics the suspended features mentioned in the first line of my written thoughts. The problems associated with the floor are "deleted". Hence just producing lateral/horizontal mechanical vibration. If this has worked for buildings in Japan during earthquakes, then it's worth a shot.
Now the science made sense to me. Where first? The subwoofers were my first bet because I can remember the improved dynamic range brought about by the Rachs. I received my pack of Revopods and 4 WELLFLOAT Delta's soon after I bit the bullet.
Installing it was theoretically easy. Moving 100kg of a square shaped subwoofer in a tight space is a different matter altogether. BUT I must say it was worth it. I cannot agree more with what has been said by all my learned friends here about the positive effects that this combination has brought. In addition to all this, I feel that I have been given a few extra watts to my amplifier, a few extra meters to the dimensions of my room and another subwoofer. Everything through the dynamic range, which was improved by the subwoofers when I first got them has been refined even more.
I’ve been able to feed my insatiable appetite for this neurosensory hobby of ours. But now I need to complete my main course. The Brahms are calling…
I guess lateral/horizontal vibration is the lesser of all evils…
The custom cost no object WELLFLOAT Delta Extreme for the gigantic Goebel Divin Majestic at Divin Lab. Why did I make this decision? And how many people do I need to put 8 of them under the Divin Majestic? But I must do that.
Because without WELLFLOAT delta under any speakers, delivery of bass will NEVER be correct. Speed of bass is always compromised by mechanical distortions of the speakers. Without delta platform underneath speakers, there will be inadequate OPENNESS on all frequency (a musicality concept more than an audiophile concept).
Mechanical distortion is another area audiophile pays least attention to because they couldn’t see and touch it.
Many customers fed back over the past two months about the fact that they had never experienced the speedy responses of bass until deltas were installed.
The addition of the Wellfloat / Revopod combo has been an eye opener for me. Putting it on the Rach subwoofers was an experiment to see what it can do without committing to a full ensemble for the “loudspeaker system”.
The combo liberated the Rach by allowing it to enhance the dynamic range of the Brahms main speakers. As a gut reflex, this was amazing but after critical listening, I was questioning the clarity and transparency of tympani, percussive highs and attacks. No doubt, base extension improved dramatically but it was not definably layered and transparent. Through mathematical deduction, the Wellfloat / Revopod combo accentuated the overall quality or dynamic range of the Brahms by producing better and quality bass and subsonic bass. So I was hearing more of what the Brahms could produce or the lack off. I was hearing more of the negative effects of mechanical vibration. The Brahms weigh in at 300+kg and they stand on the Subbase footers. When being played loud, there is very little in the way of palpable vibration from the cabinet. This is most probably from its shear weight. Then there must be the floor coupling coming into play. This mismatch in floor decoupling of the subwoofers and main speakers was the most plausible reason for what I was hearing. And the solution was to correct the mismatch in floor coupling between the Rach and Brahms. I took the bait!
(The Rachs (subwoofers) and Brahms (Loudspeakers) sitting on the Wellfloat/Revopod combo.)
After receiving the Wellfloat / Revopod combo for the Brahms, I was eager to prove my hypothesis. The energy I got from the first minute was visceral. Clarity and transparency was given back in spades and more. The energy from Gerhard Taschner’s violin (1956) and the stroke of the bow on single string and 2 string synchronously was divine. It was not bigger. The differentiation between attacks, notes and instruments were refined. The synchrony between the vibrating strings and resonance of the box and wood was significantly open and free flowing.
Gerhard Taschner spielt (Odeon, 1956)
Listening to Ravel’s Bolero and Bizet’s Carmen Suite on a 1985 recording was no less fulfilling. The simplicity, build up of emotions and modulations in tone has elegantly been enhanced.
Karajan conducts Ravel's Bolero and Bizet's Carmen Suite No1 on Deutsche Grammophon (1985)
Last played was Schubert and Bridge by Rostropovich and Britten, recorded on Decca (UK). This was chosen to exemplify the differences on the recording techniques and equipment of the recording houses. Yet again I was truly amazed by the differences and importance of the curves for these recordings.
Rostropovich and Britten play Schubert and Bridge on Decca (UK)
I stopped there as I was on a musical high. The three LPs gave me so much information to digest. Thanks PT, as always!
Comments
For those who are using Wellfloat Delta, this platform requires no intro on what it is capable of doing.
I put it under JMF 3.7 universal transport and am handsomely rewarded with much more uncompressed dynamic surges and ambience.
For components with rotatory parts such as transport, turntable or moving parts such as transformers or fans, I believe this platform works perfectly to manage the mechanical vibrations. The verdict in using it under the Zanden 1200 signature phono in Divin lab was also unanimously positive which means tube vibration can also be managed well under this platform.
An absolute no brainer if one is bought in on lateral mechanical vibration mitigation is critical!
Marvel
I've always wondered why huge horn drivers are being suspended from the ceiling of houses. This thread answers it. It reduces the interaction between the vibrating cabinet of the speakers with the floor. This vibration of the cabinet, albeit only a small fraction compared to the movement of the drivers, still produces negative effects to an effective musical delivery of the loudspeakers. Footers, spikes, absorptive material all work to negate these but to varying effects. They couple or decouple in the X,Y and Z planes. Hence some work better than others.
Then comes "WELLFLOAT Delta". I guess from the name, we would like to assume they work damn "well", it implements a "floating" pendular effect to the item its under and its triangular in shape. Now this pendular movement mimics the suspended features mentioned in the first line of my written thoughts. The problems associated with the floor are "deleted". Hence just producing lateral/horizontal mechanical vibration. If this has worked for buildings in Japan during earthquakes, then it's worth a shot.
Now the science made sense to me. Where first? The subwoofers were my first bet because I can remember the improved dynamic range brought about by the Rachs. I received my pack of Revopods and 4 WELLFLOAT Delta's soon after I bit the bullet.
Installing it was theoretically easy. Moving 100kg of a square shaped subwoofer in a tight space is a different matter altogether. BUT I must say it was worth it. I cannot agree more with what has been said by all my learned friends here about the positive effects that this combination has brought. In addition to all this, I feel that I have been given a few extra watts to my amplifier, a few extra meters to the dimensions of my room and another subwoofer. Everything through the dynamic range, which was improved by the subwoofers when I first got them has been refined even more.
I’ve been able to feed my insatiable appetite for this neurosensory hobby of ours. But now I need to complete my main course. The Brahms are calling…
I guess lateral/horizontal vibration is the lesser of all evils…
Wellfloat special platform.
Speedlearner is trying on various positions before putting it finally under the Vertere Turntable.
Part 2.
The addition of the Wellfloat / Revopod combo has been an eye opener for me. Putting it on the Rach subwoofers was an experiment to see what it can do without committing to a full ensemble for the “loudspeaker system”.
The combo liberated the Rach by allowing it to enhance the dynamic range of the Brahms main speakers. As a gut reflex, this was amazing but after critical listening, I was questioning the clarity and transparency of tympani, percussive highs and attacks. No doubt, base extension improved dramatically but it was not definably layered and transparent. Through mathematical deduction, the Wellfloat / Revopod combo accentuated the overall quality or dynamic range of the Brahms by producing better and quality bass and subsonic bass. So I was hearing more of what the Brahms could produce or the lack off. I was hearing more of the negative effects of mechanical vibration. The Brahms weigh in at 300+kg and they stand on the Subbase footers. When being played loud, there is very little in the way of palpable vibration from the cabinet. This is most probably from its shear weight. Then there must be the floor coupling coming into play. This mismatch in floor decoupling of the subwoofers and main speakers was the most plausible reason for what I was hearing. And the solution was to correct the mismatch in floor coupling between the Rach and Brahms. I took the bait!
(The Rachs (subwoofers) and Brahms (Loudspeakers) sitting on the Wellfloat/Revopod combo.)
After receiving the Wellfloat / Revopod combo for the Brahms, I was eager to prove my hypothesis. The energy I got from the first minute was visceral. Clarity and transparency was given back in spades and more. The energy from Gerhard Taschner’s violin (1956) and the stroke of the bow on single string and 2 string synchronously was divine. It was not bigger. The differentiation between attacks, notes and instruments were refined. The synchrony between the vibrating strings and resonance of the box and wood was significantly open and free flowing.
Gerhard Taschner spielt (Odeon, 1956)
Listening to Ravel’s Bolero and Bizet’s Carmen Suite on a 1985 recording was no less fulfilling. The simplicity, build up of emotions and modulations in tone has elegantly been enhanced.
Karajan conducts Ravel's Bolero and Bizet's Carmen Suite No1 on Deutsche Grammophon (1985)
Last played was Schubert and Bridge by Rostropovich and Britten, recorded on Decca (UK). This was chosen to exemplify the differences on the recording techniques and equipment of the recording houses. Yet again I was truly amazed by the differences and importance of the curves for these recordings.
Rostropovich and Britten play Schubert and Bridge on Decca (UK)
I stopped there as I was on a musical high. The three LPs gave me so much information to digest. Thanks PT, as always!
Stay safe.
KFM
音場變得越來越深;
能量爆發自然而輕鬆;
離演唱會舞台更近了幾步...
一旦您在其他音頻組件上嘗試過該平台，我敢打賭您會保留它。 我仍用另一個Wellfloat platform來承托我的DAC設備。
Learner