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為什麼不能單靠重量來對付諧震？

UnknownUnknown
為什麼不能單靠重量來對付諧震？

當一架高速火車在經過的瞬間，大家有否感覺到月台的地面也有震盪？又或者當飛機在天上飛過時，雖有高樓大廈保護的你，但仍然也會感到有些震盪? 其實地球每日二十四小時自轉也不停產生由諧震所產生的能量是現代儀器能量度到的，而且力度不算細。換句話說一年三百六十五日每分每秒也在製造諧震 (嚴重的可引起海嘯或地震)，只是大家看不見觸不到。若然重量真是可以解決諧震所產生的能量繹放，究境在地球上有什麼能比地球更重的東西去解決此問題？

這個問題看此簡單但其實是十分之複雜。所以無論幾重的音響器材也逃不過諧震的攻擊，發燒友通常用的方法是用本製或鐵做的板來改變諧震的頻率來調教出悅耳的音色，本架暖聲，鋼架光輝聲等其實是物料自身的諧震音頻，問題其實是依然存在。除非這些由諧震所產生的能量能轉化成其他能量(如轉化成熱能後於空氣中消失)，才有能把這頭無形兇獸制服。

待續………
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    發哥發哥
    好有趣，我同個仔都睇得明。
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    UnknownUnknown
    我從SRA的避震科學家Kevin身上學習了許多關於避震的學問。他對我說一輛豐田汽車的避震系統跟一輛小型巴士一定是不一樣的，試問我們可以把巴士用的避震系裝上豐田氣汽車裡嗎？當然是不可能。雖然兩部都是車，但結構和體重以及在路上的功能完全是不一樣的，所以避震系統也一定是有所不同。若把這個論點搬到去音響器材的避震問題上，結論好明顯就是不同的器材便須要不同的避震系統。

    這論點可能有點誇張，但我的理性分析不能否決此論點的邏輯。既然SRA能立論出解決難題的正確方向，但始終如何在實況去解決問題才是最重要。諧震可由空氣和地板傳送，繼而導致電子機械零件和其他在房間的物件也一同產生物理性的震盪來攻擎音樂訊號的。通常的辦法分開為兩大類：(1) COUPLING (2) DE-COUPLING

    第一類主要是放器材放上重和堅固的物料上來減少諧震。第二類是懸浮的概念，辟如AIR SUSPENSION (氣浮) 和 MAGNETIC FLOATING(磁浮) 等辦法來減少接觸面來防止諧震的傳送。兩個辦法可謂各有各長處，有時COUPLING可能對輕身的器材較為效，但若用上了DECOUPLING的辦法又可能有一種過份輕盈的感覺，如中低音的ATTACK變得太慢等問題，總言之就不是萬試萬靈。其中的主要原因就是不同器材是須要不得的避震系統。

    Kevin告訴我SRA的Ohio XL plus Square級的CUSTOM MADE防震系統是一同應用了DECOUPLING和COUPLING的辦法。第一層是應用了一個叫RAFT的支架系統 (COUPLING METHOD)。這個支架系統是要根據器材的總體重量，重量分佈 (有些器材可能是前重後輕又或是左輕右重等)，以及機身的物料等(由於不同物料有不同震頻)而度身製做的。最多可以有130個變數要考慮。

    在這個支架系統裡是佈滿了可隨熱能可高速改變其軟硬度 (darometer) 的CO-POLYMER。(在完全真空的情況下這些CO-POLYMER是會變成液體的)。它們的工作就是將諧震轉它成熱能，繼而將它消散。它們在RAFT SYSTEM內的的體積和化學結構就由已知將會放上Ohio的器材各項特徵而決定。但為何Kevin不用氣浮的辦法呢？他的答案好簡單，就是因為空氣已經負責了傳送音樂訊號的責任 (at 1200-1300 feet per second at 70 degrees F)。所以製造每一個Ohio XL是須要在一個氮氣 (Nitrogen) 的環境內製造。(是一個十分危險的製作過程。)

    最後Ohio XL plus square的外殼是由多達250種不同的Nanoparticle於真空高壓下所製成的混合體而成。在這個極度複雜的避震系統是一個真真正正從理論到實踐一絲不苟的高科技傑作。牛頓曾說：For every action there is an equal and opposite reaction. 應用在響的領域等於Every motion [vibration] generates a counter motion [vibration]。Kevin就是源著這方向而研裝出Ohio XL級的避震儀器。它不是調音工具，而是避震儀器。
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    PhilipSungPhilipSung
    PT, thank you for a very educational article. At least, we know what we are paying for. Good work always!
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    KenChiuKenChiu
    The last statement is interesting. I read through the whole piece. The ideas are tightly argued. The Ohio under my ongaku is amazing. I just don't know why. I guess this is the only vibration control "instrument" in the market, everything else has a strong element of sound tuning although they do tacle vibration problems.

    The analogy of switching suspension system from car to mini bus and vice versa is sound. I don't think there is any exaggeration in this point. It is just that we audiophiles have many empirical theories without theoretical support. This board work well in my case should work for you etc.... But in fact it is not, and then people start criticizing your components are not up to the standard, blah blah blah.....

    Good one
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    MarvelMarvel
    As a user, I am impresed by both the rack/platforms/reasonators produced by Franck of Acoustics System from France, it was made via countless 'ear test' and backed up by sonic physics. As well, the rack and platform by Kelvin of SRA takes a different approach but achieve a very very high standards in terms of vibration isolation and mitigation.

    I have heard before PT explaining the above to me verbally but never have I tried to 'digest it fully' and keep it in my mind...I respect the attitude of PT in learning whilst enjoying music and appreciate his sharing above in words so that I could read it again and again to make sure I fully understand it. Thaks.

    I visited Mr Zanden recently and he uses quite a few SRA underneath his Zanden gears. Back home, I am using a wooden platform underneath the Zanden transport and Neo speakers. I wil try the SRA underneath the transport and Wavac phono and try to make some comparison. This is certainly much more manageable than comparing Franck's rack and Craz rack....

    Studiogrey...are you getting the monoblocks? What Amp stand are you going to use to house these beasts?

    Marvel
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    studiogreystudiogrey
    Marvel Hing, the SRA stand is very desirable indeed.
    Now I only concern which color to order, black or white

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    MarvelMarvel
    Studiogrey,

    My amp stands are black but I have 2 white SRAs coming for the Zanden 2000P and Wavac phono. Black la...

    Marvel
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    JLam_ExoticsJLam_Exotics
    Studiogrey,

    When your HE833 v1.3 arrive, you will officially become the Chairman of Wavac Club Hong Kong.

    JLam Music Nation
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    JLam_ExoticsJLam_Exotics
    Studiogrey,

    PT told me your speaker positions are fixed and are closed to the rear wall. It sounds like you need a speakers that can be placed closed to the rear wall. The Cessaro Super Horn system is an ideal choice for you and your superb gears. This Horn is the choice of Mr.Zanden, PT, Marvel Bro and myself plus Mr.Wavac in Beijing.

    Go and listen. It will shock you.

    JLam Music Nation
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    studiogreystudiogrey
    JLam,我都知Cessaro係正嘢但
    1.號角外型我唔係太接受到,有壓迫感
    2.高敏感度speaker,我會學PT用300B來推.
    都係一步一步來 :)
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    studiogreystudiogrey
    Marvel Bro,I ordered black color la.
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    MarvelMarvel
    Studiogrey,

    When my SRC comes to sit underneath the Wavac phono, I will tell you if you need one...my gut feeling is you might want to try it on your Wavac preamp.

    Marvel
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    UnknownUnknown
    Studiogrey, the application of Ohio constantly puts me in awe. The heavy duty construction of Wavac's chassis should be more resistant to vibrations. After the Wavac 300B was atop the Ohio, the immediate change seems nothing. Well, because they are not designed to tackle a restricted frequency band but an all-out assualt on vibration on all frequencies. The glares/edges disappear but the speed of the leading edges remains, if not faster with more transient information. The soundstage develops from within instead of physical widening of the stage, albeit one'd stil feel the physical enlargement of the soundstage. But what is amazing to me is in fact inside the soundstage: you will listen more connections amongst the musical objects/performers. There are more continuities on everything. It is amazing to hear choirs or double leads vocals with so much layering (NOT discreet separation of musical objects.)

    Once the resonances are gone, one may feel lower mid bass bass energy is lessened because we are used to the resonances sound in this region as long as the booming is not severe or not there. In exchange, you will hear clearer pitch, tuneful bass notes with air.

    There will be no special treatment on any frequency. To enjoy the SRA, I always put it back on floor after 3 hours to make sure what is really going on. Hit the play button. I cannot stand 10 secs and have to move the equipment back on top of it.

    PT
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    SantamomoSantamomo
    Hi there PT, a very interesting topic indeed.

    "The glares/edges disappear but the speed of the leading edges remains, if not faster with more transient information." a quote from what you wrote; that maybe the greatest improvement from all sorts of supporting platform can achieve.
    A quick question here: Since the SRA is to be tailor-made according to weight distribution of different components, would it be possibly as effective to have, for example, transport + DAC + Pre stacking up as one piece atop of just one SRA platform? Or would it be sensitive to a degree that even a change in pile-up sequence will matter?


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    UnknownUnknown
    The answer is NO because the transport/dac/preamp are not designed as one piece by piling up in the first place.

    The answer to your 2nd question is YES even if the underlying platform is not SRA but any other kinds of platform.
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