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Hi-Fi racks - still a thing

I would say that I am a committed believer in HiFi racks as essential in relation to getting the most tuneful and musical performance out of one's system. Currently I have a Swedish rack called Harmonihyllan which would be 'Harmony shelf' translated into English. In order to get the most tuneful performance out of my system (LP12/Linn Exakt) I rigorously use the Tune method. Although I don't currently own any of his gear, it is the Swedish HiFi maker Fredrik Lejonklou who has inspired me most in becoming a committed user of this method for testing 'what is better' tune-wise in A-B comparisons. Interestingly, Lejonklou uses this method in selecting every single component in the phono stages/amps he manufactures. With regard to the Harmonihylla the method is crucial since the shelving unit needs itself to be 'tuned' (and periodically 're-tuned') once the unit is built. In view of what I have written so far, I hope it's clear that I view the act of listening as most crucial in determining the tunefulness and musicality of a systems performance. Something that Lejonklou claims is that the Tune method is the only method that can (and ought) be used when testing 'what is better' tune-wise in A-B comparisons. If you Google "lejonklou tune method" you'll find a document he has written in relation to this method. I have found this document indispensable. Using the Tune method I am able to discern significant improvements in the tunefulness and musicality of my system when using (and 'tuning') the Harmonihyllan. A subject that has been touched on in this thread, and one in which I am in absolute agreement with, is that 'everything counts' when it comes to getting the best performance out of one's system. I understand that some writers here have also sought to draw from quantitative scientific research methodologies in arguing for their positions in relation to what is most fundamental when it comes to determining whether or not HiFi racks make a difference or not. I have also thought a great deal about the (in my view) significant impact of the Harmonihylla on the tunefulness and musicality of my systems performance. I would tentatively suggest that a perspective called "agential realism" provides a alternative way forward in thinking about how the furniture can so significantly impact a system's tunefulness and musicality. Fundamentally such a perspective would point to the tunefulness and musicality of a system's performance being powerfully bound to the many relationships that exist between each material entity that makes up and surrounds a particular system. In such a view the multiple relationships within and between a HiFi system and its surroundings (including the furniture the system sits upon) ARE important for the music that is created. Note here that in this view it is not solely the HiFi system that creates the music, but every material entity surrounding it as well! Such an idea is consistent I believe with how Lejonklou selects components to his products and how the developer of Harmonihyllan has developed his HiFi rack over more than 20 years - They have sought the material relationships that are most musical and tuneful. Whilst I find this view quite convincing, I am at the same time aware that it breaks significantly with the traditional view of HiFi performance as fundamentally related to preserving a signal and protecting it from distortion/degradation. This is because in an agential realist view, the music is viewed as coming into existence through specific material relationships. That is, the signal is CONTINUALLY RE-BECOMING in the context of specific material relations.
 
Has anyone actually heard glass making a component sound, well, glassy? Or is this just a good old audiophile fable? We're talking at least 6mm toughened glass here, not glass as thin as a wine glass...

Sorry to reach back into the thread, but yes, good point. There is a kind of synaesthesia where people assume that a physical characteristic of something will be how it sounds - like deep platters on decks, or sprung things sounding, well, "bouncy".

And it's not necessarily so.
 
It’s hard to un-bias oneself, and just one more reason to try disguising your source when doing repeated A/B comparisons for someone. Leave the LP running and flip to the CD when no one can see…
 
well I used to have the Rega Planar 3 with RB300 arm and replaced it with a Roksan Xerxes with the same arm and was able to compare the two as I kept the Rega for a time. The difference was shocking, the sound of the Rega was so pinched
And why did you put that down to the platter material?
 
I would say that I am a committed believer in HiFi racks as essential in relation to getting the most tuneful and musical performance out of one's system. Currently I have a Swedish rack called Harmonihyllan which would be 'Harmony shelf' translated into English. In order to get the most tuneful performance out of my system (LP12/Linn Exakt) I rigorously use the Tune method. Although I don't currently own any of his gear, it is the Swedish HiFi maker Fredrik Lejonklou who has inspired me most in becoming a committed user of this method for testing 'what is better' tune-wise in A-B comparisons. Interestingly, Lejonklou uses this method in selecting every single component in the phono stages/amps he manufactures. With regard to the Harmonihylla the method is crucial since the shelving unit needs itself to be 'tuned' (and periodically 're-tuned') once the unit is built. In view of what I have written so far, I hope it's clear that I view the act of listening as most crucial in determining the tunefulness and musicality of a systems performance. Something that Lejonklou claims is that the Tune method is the only method that can (and ought) be used when testing 'what is better' tune-wise in A-B comparisons. If you Google "lejonklou tune method" you'll find a document he has written in relation to this method. I have found this document indispensable. Using the Tune method I am able to discern significant improvements in the tunefulness and musicality of my system when using (and 'tuning') the Harmonihyllan. A subject that has been touched on in this thread, and one in which I am in absolute agreement with, is that 'everything counts' when it comes to getting the best performance out of one's system. I understand that some writers here have also sought to draw from quantitative scientific research methodologies in arguing for their positions in relation to what is most fundamental when it comes to determining whether or not HiFi racks make a difference or not. I have also thought a great deal about the (in my view) significant impact of the Harmonihylla on the tunefulness and musicality of my systems performance. I would tentatively suggest that a perspective called "agential realism" provides a alternative way forward in thinking about how the furniture can so significantly impact a system's tunefulness and musicality. Fundamentally such a perspective would point to the tunefulness and musicality of a system's performance being powerfully bound to the many relationships that exist between each material entity that makes up and surrounds a particular system. In such a view the multiple relationships within and between a HiFi system and its surroundings (including the furniture the system sits upon) ARE important for the music that is created. Note here that in this view it is not solely the HiFi system that creates the music, but every material entity surrounding it as well! Such an idea is consistent I believe with how Lejonklou selects components to his products and how the developer of Harmonihyllan has developed his HiFi rack over more than 20 years - They have sought the material relationships that are most musical and tuneful. Whilst I find this view quite convincing, I am at the same time aware that it breaks significantly with the traditional view of HiFi performance as fundamentally related to preserving a signal and protecting it from distortion/degradation. This is because in an agential realist view, the music is viewed as coming into existence through specific material relationships. That is, the signal is CONTINUALLY RE-BECOMING in the context of specific material relations.
That’s quite a paragraph.

I shall look into your Harmoniwotsit and Lejonthingie shortly. Thanks
 
I would say that I am a committed believer in HiFi racks as essential in relation to getting the most tuneful and musical performance out of one's system. ......e. This is because in an agential realist view, the music is viewed as coming into existence through specific material relationships. That is, the signal is CONTINUALLY RE-BECOMING in the context of specific material relations.
Wow. Welcome stranger. Now if there is one thing this forum has been missing it's significant representation of a feminist technoscientific perspective.
 
Hi @PaulJC - I’ll confess that I really don’t know Lejonklou at all, so can I check that I have understood the general message?

if I am reading you correctly, the message here is that what we hear is affected by: -
(A) the hifi boxes used
(B) other things in the room directly affecting sound
(C) other things in the room that may not directly affect sound but do affect our response to what we hear.

I also think you are putting hifi stands firmly in category (B) there, while C also suggesting that for listening ( not buying new hifi boxes) it does not matter whether an effect comes from A, B, C or a mixture thereof.

If I have completely misunderstood, please forgive me.

Thanks,

Nick
 
I’ve read the thread with interest and I can’t offer any science to the discussion. But I have been through the routine of specific racks and normal furniture. Broadly my journey has been Target metal racks and TT stand in the 90’s then some IKEA type furniture which was all mounted and then to my version of Naim fraim. Which I’m still using. (Some of you may remember the build on here well over ten years ago now-wow).
Unless I had to change to something domestically acceptable I would always go with specific HiFi racks. I definitely perceive an improvement. Just recently I moved the LP12 in the main system to a ply wall shelf I designed and made. It was resting on the ‘not Fraim’ frame. Whilst the overall sound didn’t change, it had a marked effect on the soundstage and separation of instruments.

everything is a compromise I suppose and we all have a different way of evaluating what is acceptable.

cheers. nitrous
 
Thanks @nitrous - stand by for possible ungenerous comments from people who Know (without needing any more info) that you cannot possibly have heard any real differences etc. For the rest of us, your last line looks dead right, though you could say 'everything is a compromise and we all have a different way of evaluating'.
 
My Quadraspire SVT rack with Bronze upgrade and Qplus Reference and Qplus Advanced supports are defiantly a thing .
The upgrades I have made in the area of component support over the last two plus years have been some of the most important upgrades I have made , such that I consider my rack the foundation of my Hi fi system and as important as any single component , improvements in pace ,timbre ( an under rated attribute ) flow and general musicality have all been noted .
I must also make a shout-out for the Musicworks Reflex Lite mains block ( the base got better ! ) and Naim Powerline Lites ( no relation to each other ) mains cables . Accusation of which also resulted in a big SQ win that convinced me to get my electrician in to convert my dedicated mains spur to a Hi Fi only ring with Russ Andrews Ultra sockets resulting in a modest but worthwhile reduction in low-level mush and the now familiar improvements in understanding the subtle nuances of a musical performance .
The above is not Foo , it's real, it's targetable if not measurable .
 
And why did you put that down to the platter material?
I think I’d be more likely to put it down to the fact that the Rega was about a third of the price - and the Xerxes was one of the best high-end decks of it’s day. There were so many design differences between the two decks that to ascribe differences in sound to one feature can’t be done. I suppose it could be if a 12mm float glass platter was fitted to a Xerxes and the difference in arm height accounted for. If anyone’s ever done that, I’m guessing it would only ever have been Touraj.
 
I've got a 5 shelf 3 pillar Soundstyle rack that I've used for years in a second system that I had many a fun hour 'experimenting ' with various shelf materials, support grommets etc back in the day( that I no longer need and open to offers..)
FWIW My LP12 definitely sounded best on its wall shelf.
The one concrete improvement (rather than merely different) I did come to was having the gear all tidily racked together removed a visual annoyance that did impact listening sessions- I found I could relax and in doing so hear more, enjoy more.
If you feel you need a fancy support shelf then get one as you won't enjoy your system as much till you do.
 
Hi @PaulJC - I’ll confess that I really don’t know Lejonklou at all, so can I check that I have understood the general message?

if I am reading you correctly, the message here is that what we hear is affected by: -
(A) the hifi boxes used
(B) other things in the room directly affecting sound
(C) other things in the room that may not directly affect sound but do affect our response to what we hear.

I also think you are putting hifi stands firmly in category (B) there, while C also suggesting that for listening ( not buying new hifi boxes) it does not matter whether an effect comes from A, B, C or a mixture thereof.

If I have completely misunderstood, please forgive me.

Thanks,

Nick
D: What you expect t hear
E: What you want to hear
F: The mood you're in.
 


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