Agreed absolutely.
When things go far astray into âyou canât believe your earsâ territory itâs usually a long trek. I wouldnât hold your breath. Although itâs been covered so many times before that thereâs not really anything else to say.
As Iâve pointed out before, the same will apply to everyone. If you donât hear differences between cables or racks or whatever then how do you know that you arenât just imagining that there arenât any when there really are? Or do you think that youâre immune to these sorts of influences and that only people who can hear differences are affected by them?
I still have my stage 4 Mana with original glass. The foil damping pads are the same stuff used in cars. Like a heavy slightly elastic rubber mat with a foil top.
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Thanks @blacksheep . I was told via email that the original glass was just ordinary standard glass but the one he now uses is toughened safety glass. This did concern me as I would have thought the glass type would be critical to the performance. I do vaguely recall reading something at the time about the glass deliberately being chosen for itâs sound and that the damping pads and their positioning was indeed critical to performance. All this is easier of course if you already own the original Mana and then itâs just a case of getting the glass and damping pads to match it.
He did suggest this to me and said he could supply a diagram showing how they should be postioned. I seem to recall that this was absolutely critical to performance. It does occur to me that standard, ie. not toughened safety glass, is actually quite dangerous used in this application. Again though I believe it was said to be critical to performance so presumably the safety glass he now supplies wonât be as good.
Hi Pete
I tried Naim glass etc cups and balls but got fed up with the faff.
Fraim is indeed safety glass too.
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Sounds like a quote from Doctor Who!
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Not so sure it was absolutely critical to performance. More like tuning the stand in much the same way you do a Fraim. In some ways the Mana tables were as complex as setting up an LP12. If you did something wrong youâd hear it.
And you really needed to know what you were doing. Hence a lot of bad press.
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When I owned Fraim in the past it did seem a big faff to get it all âjust soâ. Not something I would want to be bothered with now. I was attracted to the Mana but I obviously didnât understand quite what was involved in getting it to sound right. Now I do itâs put me right off it. So itâs plan B!
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Thanks for the info. Iâm truly glad and grateful that I found out about all this stuff before I ended up blowing around ÂŁ800. Iâm sure that Mana, like Fraim, can be superb, but itâs taking things in the wrong direction for me now. All I want is simplicity and an easy life!
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So far as Iâm aware tempered glass for this kind of application (that is, weight bearing) has been a regulatory requirement for about 30 years.
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Nothing to concern high fidelity
Your Quadraspire is simple and easy.
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No pain, no gain!
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Right decision,you need higherend gear to justify
the cost of Fraim etc.
I would however change from to Quadraspire to
Sound Organization or Audiotech or NorStone Bergen 2.
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no idea what you are trying to say here
âsafety critical voice is where the audio quality and clarity of what is being transmitted poses a high risk to life if it is misunderstood, not heard or corrupted. In our case even a single syllable corrupted or lost poses a significant risk.â
Itâs not concerning high fidelity audio.
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