by Cai Brockmann. Photos by Rolf Winter
This hi-fi stand combines a minimum of material with a maximum of quality. The motto being: what isn't there can't rattle, and what needs to be there is of top quality, if you please. And the Spider has also been optimised from a measuring engineering aspect, so any components placed on it enjoy the benefit.
The radiogram, that proud, occasionally adventurously designed item of
furniture from days gone by. A dream (or nightmare) in walnut, the jewel
in the comfortable middle-class sitting-room. The radiogram was the epitome
of all that was dear to the music-lover's heart: record player, radio,
perhaps even a tape deck, and always with an amplifier and speakers. But
then along came the individual components - and with them new, different
transgressions: glittering stereo towers from Japan, flashing in bizarre
contrast to chunky oak wall-units. Massive amplifiers, causing poorly
constructed wobbly shelving from the DIY store to tremble. Dubious "audio
cabinets" bought from bourgeois furniture shops, which are truly
the absolutely last thing an ambitious hi-fi system - particularly the
record deck - needs to achieve a better sound. And the aesthetes keep
on moaning as ever...
However I must confess that my own purchases for listening to music at
home - from the hi-fi components through instruments up to audio furniture
- have been made according to purely sound-based criteria. It is rare
to find any items that are a pleasure to the eye with classic timeless
lines, for example the Greenwall RIAA or the MusicMan Stingray Bass.
But it is especially this category of components that needs a cleverly
designed rack: the Spider from Finite Elemente is one of my absolute favourites
for the stylistic and sensible integration of the components and is much,
much more than just a piece of box furniture. On the contrary it is a
smart concept that - as with all really good ideas - is simple in principle,
but enormously versatile and immediately convincing in its practical application.
The Spider is not a heavyweight sideboard whopper like the LeMonstre,
which bears most of my equipment and carries its name justifiably, but
which needs a separate decoupled shelf for sensitive components.
The Spider is however also not a super-fragile, ultra-delicate lightweight
such as the Reson Domo, for example. This in turn pays for its top-quality
sound performance in that it tends to sway when accidentally touched.
Civil engineers, declared ultrasolid static design engineers and other
persons with a decided phobia of swaying structures occasionally take
far too many unnecessary precautions with the fragile Domo.
In contrast the Spider is both (trans)portable and enormously stable at
the same time, normally reaches the buyer in kit form and, after assembly,
can accommodate all of the hi-fi equipment that is usual without building
engineering approval being necessary. Up to around 100 kg per level should
therefore present no problem.
The modular design, extending dynamically outwards, is based on three
basic elements. A solid aluminium ring with an inner diameter of eight
centimetres and twelve outer serrations is not just the visual centrepiece.
Solid beechwood struts are tensioned between these serrations using hexagon
socket screws. Three standard lengths and the geometric arrangement of
the struts allow fine adjustment to a very wide range of component dimensions.
In addition, the aluminium ring and the wooden struts are available in
two thicknesses, 32 and 64 mm, which has an influence on the overall stability.
The base of the Spider, the lowest level, is always made using the double
thickness version.
The exact adapting of each level to the relevant component is taken care
of by R.C.I. elements (Resonance Controlling Interfaces), flexible plastic
pads, which can be slid to any position along the wooden struts - providing
sufficient opportunity to optimise the resonance dissipation of each component,
and at least to cleverly circumvent non-functioning component feet and
protruding base screws.
The outside edges for the wooden struts, available in natural beechwood
or in black, are formed by discreetly ribbed vertical uprights made of
aluminium, each 30 centimetres in length, which are plugged together and
firmly bolted not only with the wooden struts but also with internal connectors.
A pre-milled hole pattern with three centimetre spacing allows the adaptation
to the height of the relevant components. Bevelled rubber caps finish
off the uprights. Four spikes create the punctiform contact to the floor
and keep the whole stand balanced and wobble-free.
The fundamental perfection in the Spider's finishing lets you guess that
the masterminds from Finite Elemente have been through a hard school.
All of the surfaces and transition points are absolutely flawless, the
materials simply feel good to the touch, and the overall impression is
homogeneous and highly professional. In fact the career backgrounds of
Luis Fernandes and Bernd Brockhoff become apparent: Fernandes was formerly
head of production at Audio Physic, and Brockhoff is an engineer for light
alloys and is often involved with the biggest names in the automobile
industry. The professional appearance of the Spider is therefore not a
question of chance, but is the tangible result of structural design teamwork
- incidentally also with the involvement of the University of Dortmund,
whose measuring engineering expertise in the elimination of annoying resonances
has had a considerable influence on the stand's design.
The puristic Spider version best illustrates the name: The bottommost
level is also available on its own as an "Amp Stand" and does
indeed have the appearance of a technoid, 30 centimetre high spider, albeit
with only four legs. The positive effects on the sound quality of the
trusted components remain intact, even where - as is normally the case
- several levels are assembled together. Due to the relatively low energy
storage and the rigid structure the Spider reveals the sound qualities
of the components to their best advantage in a wonderfully unrestricted
way and does not apply its own sound stamp onto the reproduction. The
resulting sound is refreshingly neutral and is typified by a smooth, clearly
defined sleekness.
Incidentally:Only the misguided, who would also buy a Porsche Turbo with
a tow-bar, would spoil the well thought-out purism of the Spider design
by ordering the optionally available glass shelves.
image x-trakt:
The Spider from Finite Elemente is a modular, exquisitely finished component
stand in minimal techno-design, an ascetic all-rounder with well-trained
muscles, an all-purpose audiophile weapon for pronounced aesthetes - and
incidentally an affordable and noble furniture item, that can easily be
expanded to accommodate any hi-fi system. A great tip for both the eyes
and the ears! |
No such thing as "no can do":
Infinitely variable elastomer pads adapt
to suit the base of any component
Fixing and fine adjustment: The spikes
of the Spider are threaded and fixed into
the elegant, stable aluminium upright
image infos
Stand Finite Elemente Spider
| Special features: |
modular assembly
- no shelving
- adjustable elastomer
elements for decoupling |
| Dimensions (WxHxD): |
variable, from approx.
55/30/32 cm |
| Bearing capacity: |
- per level approx.
100 kg
- base level on its own 200 kg |
| Designs: |
- beechwood natural
- or anthracite lacquered
with aluminium |
| Warranty: |
- 24 months |
| Price: |
- base element 750
DM
- each other level from 475 DM
- width extension model
from 150 DM
- special designs on application |
|
