will
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I am speaking in serious listening mode, but for the level of sound I am after, I can't get there without discerning how different things effect each other, and the overall sound. Within that, it is likely that what sounds subtle to one may sound more obvious to another, especially when different systems and rooms have such variation in how revealing they are. So it is all a little relative, but I hear different vibration reduction devices enough that some I don't like at all, and of those I do like, for refining component sound, it can really matter which one is under what component. Also, at times, how many, and where they are placed matters in meaningful ways for the best overall sound.
I can only guess as to exactly why, but as I recall, those isonodes under the Torii effected all recordings with a slowish and darkish quality. I think it was in certain frequency areas more than others, but enough so to cause dark/slow to be an overall feeling. They also resolved some areas better than others, but the uneven character of how they worked effected the whole of the presentation, imparting their peculiar signature across recordings.
I think Archie makes good points. I don't think I have tried a foot that sounded the same as another. Presumably the sound depends literally on how the feet themselves interact with the amp in combination with the environment of vibrations....room waves, floor/rack/shelve waves, transformers, tubes, wires, etc. And since the materials used and the design of the footer determine how it mitigates vibrations....and since each maker has particular tastes, theory and cost constraints, variations of sound from different feet are not surprising. It seems all the good feet are tuned to sound by someone. And gear for testing, room, levels of vibration and specific vibrations, etc, along with the personal preferences of the designer... all of this will effect the general sound character from the foot in relationship with a component.
Resonant vibrations apparently effect how the parts of a component cause the passing signal to sound. And likely certain vibration frequencies effect some parts more than others, while some parts are more natively vulnerable to vibration than others. Then, how the individual parts interact with the rest must matter, the signal being messed up earlier in the chain effecting the remainder of the signal and parts that follow.
Like Archie suggests, it sounds to me like different platforms/feet themselves are better or worse at the footer objectives of isolating, damping, and draining vibrations across the spectrum. If a footer can stop most vibrations, and not ones that are particularly offensive within a given component, this could throw off the whole signal balance in notable ways. Alternately, if certain vibrations are allowed through just a little, with marginal effect for a given component, the resulting subtle area of distortion may actually make the whole seem better. Or biased to be a little more revealing...or perhaps a bit smoother and more warm....on and on, variations in how good vibration reduction effects component sound can be useful as a tuning tool.
I suspect the speed at which various vibrations that are not fully mitigated pass through the foot has an effect also, and this would be influenced by materials and design as well.
Listening to the sound most vibration devices impart, oddly, the sound often makes sense to me based on the materials used...hard materials sounding tighter/faster, and softer sounding softer/slower. And combinations often seem the most successful. It appears that careful combinations of harder and softer, in concert with the just-right shape/design, can allow a higher level of increased resolution from a component across the spectrum, presumably removing the most vibration seamlessly and without signature.
Just brainstorming, but these things occur to me.
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