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HIFIPLUS 11.2004:
Firm foundations
By Roy Gregory
Equipment racks from finite elemente, Voodoo Isolation, Arcici, Hutter and Clearlight
Audio
finite elemente Pagode HD-03 Master Reference rackReviewed as recently as Issue 27, I’ll skate over the intricacies
of the HD-03. A spiked, hardwood frame supports extruded aluminium uprights,
tied together by lateral, hardwood struts near their tops. These uprights
support the shelf units by means of horizontally threaded cones that are
wound out to meet dimples drilled into the aluminium surfaces. Once secured
(and they do go incredibly tight) these are locked in place with jimmy
bars and threaded collars. It’s a fiddly system until you get used
to it, but more than any other I’ve used, it guarantees useable
adjustment of spacing with extreme rigidity.
The frames that support the shelves are constructed from solid hardwood,
with extensive bracing that also contains the specially designed parasitic
resonators used to tune each shelf. These are factory set across a range
of differential values and whilst in theory they could be changed I’ve
certainly never felt the need. The actual support surfaces are fairly
small (515mm by 465mm) compared to the rack’s substantial 700mm
by 550mm footprint, indicative of the substantial structure. The shelves
are supported on small, adjustable spikes that engage cups sunk into the
frames' bracing. The rack is difficult to move single-handed, and once
leveled on its four spikes is essentially locked in place. However, you
can substitute finite's superb Cera-Base feet for the spikes, which both
sounds and looks better. More on that next time, for now I’ll concentrate
on the standard set-up.
Essentially a set of modules that can be factory configured to create
a number different racks, finite elemente offer the HD series with a choice
of the 600mm wide shelf units supplied for review, 750mm ones, or even
1120mm if you must (add an extra 100mm to allow for the uprights when
calculating total width). The uprights are available in 600mm and 850mm
heights. There is also a special, heavy-duty top level available to support
turntables or equipment weighing up to 150Kg, while two different sizes
of single layer amp stands are offered. Standard finish is maple in natural
or black, but special finishes are also available to order, assuming that
you are prepared to both pay for them and wait for delivery.
Listening to Furniture!
Having spent considerable time with all of these racks, both individually
and in the context of these direct comparisons, it came as no surprise
that all of them offer a significantly better performance than the SoundStyle
control. What was more surprising was the breadth of the gap. Where the
and glass construct sounded forced, edgy, exaggerated and uneven, every
rack in the test group sounded significantly better balanced, with more
natural, detailed and expressive presentation, greater bandwidth and far
better soundstaging. But the killer difference was in the sense of flow
and rhythmic subtlety, the binding element that ties the instruments together.
The pacing of music was far more natural, the sense of ensemble greater,
the contrasts between instruments within the same piece far more obvious.
It’s an effect I’ve come to take for granted, so long have
I been using superior isolation. It was quite a shock to have the benefit
removed and realise just how hollow, false and contrived the system sounded
as a result. The first and most obvious conclusion is that any of these
racks is worth the price in pure performance terms. As to how they sound
(and they do sound quite distinctive, one to another), well, that's another
matter...
The Suspended Designs
The Voodoo and the Arcici, perhaps not surprisingly, sounded more similar
than they did different. Characterized by their easy, unforced and remarkably
even presentation, they really allow recordings to breath and the music
to speak for itself. There are no nasty energy spikes to pep or drive
the bass, and tempi are particularly varied and expressive rather than
one paced and metronomic. That's not to say they lack rhythmic involvement;
indeed, quite the opposite. What they do is open whole vistas of rhythmic
sophistication that escape less effective stands where the energy spectrum
of the structure imposes itself on the energy spectrum of the music.
However, there are differences between them, and these too, I suspect,
reflect the materials used. The Arcici offers superior transparency, separation
and low-level detail. While neither can be described as dynamically challenged,
the Arcici shows better discrimination of low-level dynamics and the inner
harmonic texture of notes. In contrast, the Voodoo offers a slightly more
rounded view of events, but one that shows a sweeter, richer tone and
wider, more natural range of instrumental colours. In contrast, the Arcici
sounds lean, a little pinched and at times, even slightly This combined
with a slightly shut-in top-end which smoothes and rounds aggressive sounds,
makes for a slightly velvety quality that often affects Perspex turntables.
Musically the implications are that the Voodoo tells you what is being
played, while the Arcici majors on how it's being played. For example,
Piatigorsky’s bowing is far more apparent, the shape and accent
of individual notes far clearer on the Arcici. The overall shape of phrases
and the structure and weight of the work as a whole is more apparent on
the Voodoo. Those seeking inner detail and focus will favour the Arcici:
those who prefer a more natural perspective and tonal palette will opt
for the Voodoo. However, bear in mind that these distinctions are made
within the broader qualities that link these designs. As different as
they are, the still exhibit a distinctive 'suspended' thumbprint.
The Rigid Designs
The Clearlight Aspect rack is the lightest and simplest of the group and
in many ways this is reflected in the uncluttered clarity of its sound.
It’s extremely even, top to bottom, with a leanish balance and tight,
neat presentation. Tonal range is good, albeit not in the class of the
suspended Voodoo, but this aids the excellent focus and separation. Delineation
of depth is fair rather than outstanding, and dimensionality again doesn't
match the suspended designs, images being a little flat and 2D in comparison.
However, that covers the downsides. The upsides are that this rack adds
very little of itself to proceedings, allowing superb dynamic discrimination
and pitch definition. Pace is quick and driven, giving music plenty of
life and energy, a stark contrast to the fluidity of the Voodoo, but valid
in its own right and preferredby many a listener. The ability to let you
hear into a performance whilst retaining the overall sense and structure
is rare, and beautifully balanced in the Clearlight. The price you pay
is the slight leanness and the diminished sense of spatial separation,
both of which rob music of some of its scale and power, a small price
to pay for the intelligibility and perfect proportion of its perspective.
The Hutter is the big-boned and muscular brother to the Aspect's delicacy
and lightness of touch. Richer and tonally more sophisticated, the RackTime
has a wonderful sense of natural weight and presence, underpinned by a
subtle mid-prominence. Separation and detail suffer in the name of substance
and keeping that sense of body where and when it should be. The result
is a smooth and engaging sound that tracks the shape and structure of
the musical performance as a whole rather than the separate dynamic strands.
Pace and timing are more relaxed and fluid than the Aspect, a presentation
that works well with the power and colour of the RackTime. Big and bold,
it carries the dramatic sweep and scale of a performance with emotive
grace and purpose.
The finite elemente tuned solution
Sonically at least, the finite elemente rack holds the middle ground,
its sophisticated tuning system seemingly offering the mechanical isolation
of the suspended racks combined with the sure-footed steadiness of the
rigid designs. Tonal colours are rich and natural, timing subtle and persuasive,
but it's the dynamics that are the key to the stand's performance and
which tie the other elements, impressive as they are, together. The delineation
of micro-dynamic detail allows the stand to hold firm control of the different
strands in the music without ever seeming to do so. Thus, it can be delicate
and spacious as well as rich, swelling and powerful, all without changing
gear, simply by virtue of its control over energy levels and density.
The spiked base provides a firm foundation that's reflected in the stability
of the expansive soundstage, while the tuning prevents unwanted spikes
or imprecision in the pitch and pacing of bass lines. Orchestral bass
in particular, floats and breathes very nearly as well as the suspended
racks but offers a firmer foundation than either, with more explosive
power when required. Timps and bass drum are particularly impressive,
with volume, pitch and texture rather than a simple booming thud.
An interim conclusion - of sorts...
While we can dwell on the precise sonic qualities of these various racks,
the real lesson is in their collective superiority over the common-or-garden
steel offerings. Second, and just as important, is the degree and nature
of the differences between these racks. I was surprised to discover just
how wide the performance gaps were. Okay, so we’ve all done ABA
listening with a couple of different designs, but it's not until you get
half a dozen in the same place that the extent and musical subtlety -
of the differences really becomes apparent. The differences between the
various racks are just as big, and in their own way, just as important,
as the differences between the cables we've just been listening to.
Varying dramatically in price, these designs under-line both the fact
that you don't need to spend a fortune to achieve superior performance,
and that you can go one better if you do. Simplicity is a virtue but so
too is well founded engineering, the finite elemente HD-03 making a compelling
case for its sophisticated approach, and standing as a compelling benchmark
for the next round of contenders. |
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