The Sound Fusion CD Player Platform
Roy Harris
The
Sound Fusion CD platform is designed to minimize the effect of vibrations
produced by a component when it is use. The CD platform may be used with
any type of component—active or passive. The top of the platform
is made of solid acrylic, 3⁄4 “ thick, 18 “ wide and
14 “ deep. It rests upon 4 pair of 4 or 5 rib sound boosters. The
“sandwiched” sound boosters rest upon a wooden shelf, 1 1/8
“ thick,
18.5 “ wide and 7.75 inches deep. At the bottom of
the wooden shelf are threaded spikes which rest upon 4 vibe booster 1
damping cups. The price varies from $965, depending upon the finish of
the wood shelf. If you wish to place this device on an equipment rack
you will need 8 inches plus the height of the component as clearance between
shelves. The top of the rack would be the first choice for positioning
the platform.
The
Sound
Any comments
about the sound of the CD platform imply the statement “compared
to the CD player placed directly on a shelf”. It is obvious that
I chose not to repeat the above during the review. Arthur Fiedler’s
interpretation of Offenbach’s “Gaite Parisienne”, JVC
0224 is a remaster of an RCA recording, one of the Living Stereo Series.
The orchestra literally “bursts” in at the start of the track.
I noticed a slight loss of dynamic range. My attention was next directed
to the presence of the woodblock and triangle. Both instruments were positioned
somewhat deeper into the orchestra, creating the illusion of greater depth.
The sound of the triangle was slightly less focused or precise—less
etched, against a black background. I suspect a slight loss of treble
energy. Thus, a loss of clarity was paired with an increase in richness
and an enhancement of soundstage depth.
Holly
Cole, “Don’t Smoke in Bed”, Alert Z2 81020, is a typical
example of a close-miked female voice. On some stereo systems, this CD
can challenge one’s nervous system. In this case, sibilance was
barely noticeable and therefore not objectionable. The acoustic bass was
well balanced between the sound of its wood body and the articulation
of the notes. The wood body resonated a bit more indicative of a slight
shift toward the upper bass/lower midrange region.
The
next two selections were taken from the Opus 3 catalogue. The first, Opus
3 CD 7900, Test Record Number 1:Depth of Image, “Ole Miss”
is played by an acoustic jazz ensemble, including clarinet, trumpet, trombone
and rhythm section. Immediately, one notices a cymbal that is less sharp
in its presentation. Often, I have heard a pinched quality and thinness
in the upper register of the clarinet. With the CD platform in place,
the sound of the clarinet was spectrally balanced. The trumpet had less
bite and the trombone was very natural sounding. Test Record Number 4:Depth
of Image, Opus 3 CD 9200, features another jazz ensemble consisting of
vibraphone, organ, bass and drums. The sound of the vibraphone exhibited
a slight loss of treble harmonics, which gave the impression of a shift
toward the midrange/lower midrange region. There was no loss of detail
and depth when wood drumsticks struck the metallic edge of a snare drum.
The sound of the organ seemed a bit more distant and slightly veiled.
Shortly following the beginning of the organ solo, there is a cymbal crash.
In the past, I have observed a slightly steely quality and timbral inaccuracy
in the sound of the cymbal. Instead, there was more evidence of brass
than steel and a softening in the presentation. The booklet accompanying
this CD suggests that the sound of the cymbal “should be soft, open
and buoyant”. I heard a soft sound. The term “buoyant”
seems inapposite when applied to the description of a cymbal and the occurrence
of “soft” generally causes a slight loss of openness, which
was noted.
A
favorite reference CD in my collection is the “Alborado del Gracioso”
of Maurice Ravel, conducted by Ernest Ansermet, London 414046. The brief
clarinet solo was very deep into the rear of the orchestra. Two cymbal
crashes (small cymbal) sounded very natural, despite a slight attenuation
of treble frequencies. These cymbal crashes are also positioned deep into
the orchestra and there usually is a reduction in treble energy when the
sound a such an instrument travels a significant distance. Thus, the recording
is emulating what one would perceive at a concert hall, sitting near the
last row of the orchestra seats. Finally, the bassoon was rendered timbrally
realistic and, like the other two aforementioned instruments, positioned
towards the rear of the orchestra.
Conclusion
I believe the CD platform affected spectral balance and sound stage depth.
I noticed a consistent pattern of a reduction in treble energy and a bit
of extra presence in the upper bass/lower midrange region. I also observed
on some source material an enhancement of depth creating the impression
of a mid to rear hall presentation. The observed subtractive colorations
were slight and of a euphonic nature. Further, without knowledge of the
source, it is not possible to discern whether the changes created by the
CD platform increased or decreased the accuracy of the stereo system.
Associated
Components
Speakers: Magnepan
1.6
Preamp: Nobis Proteus
Amp: VTL Deluxe 120
CD Player: BAT VK D5
Interconnects: Solitone Model One, Sunny Cable Technology
Speaker Cable: Solitone Model One
AC Cords: DCCA Audio, Sunny Cable Technology, PS Audio
AC Treatment: PS Audio P 300, PS Audio Noise Harvesters, PS Audio Ultimate
Outlets, Promethean Line Conditioner, Tice Enhancer, Nirvana
Audio Isolation Transformer, Enacom filters, Change 6400 and
9600, Sunny Cable Technology “The Box”
Manufactured by Sound Fusion Inc.
1111 Flint Road, Unit 1, Downsview, Ontario, Canada M3J 3C7
Tel: 416-645-1726 Fax: 416-645-1727
