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  1. #1
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    Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Critical Mass Systems
    Center Stage2 “LS” Series Loudspeaker Foot

    Introduction

    (Press Release)

    I’m thrilled to introduce the Center Stage2 “LS” Series loudspeaker foot, a breakthrough loudspeaker resonance mitigation system that is the culmination of several years of experimentation and developed from our groundbreaking Center Stage2 footer technology. I can say with high confidence that no matter how good your system is, the Center Stage2 “LS” Series loudspeaker foot will add a new dimension to your listening experience. In systems already using Center Stage2, the addition of Center Stage2 “LS” Series feet nets a remarkable improvement. Center Stage2 can make any system sound better top to bottom and the addition of Center Stage2 “LS” Series loudspeaker feet can be breathtaking. The better the system, the better the results.
    There were several objectives behind the development of the Center Stage2 “LS”. Firstly, we wanted to develop a novel approach to solving the problem of degradation from excess energy build up caused by vibration in loudspeaker cabinets. Consider that loudspeakers are designed to vibrate. Think of the staggering amount of time and effort loudspeaker manufacturers dedicate to cabinet design and resonance control. They go into ultra-fine detail to explain any and all advancements and deservedly so. The problem is omnipresent. The solution is challenging.
    Also, there are issues to address related to weight, volume, driver array, leveling and spike/cup design. Developing a cutting-edge loudspeaker foot was a unique challenge. In the Center Stage2 LS 1.5, pictured below, the approximate equivalent of 5 Center Stage2 1.5 feet were cloned, streamlined and adapted in various ways into one loudspeaker foot.
    Presently, 3 Center Stage2 “LS” Series feet are planned: Center Stage2 LS 1.5, Center Stage2 LS 1.0 and Center Stage2 LS 0.8. Each loudspeaker foot in the series is based on its Center Stage2 namesake with respect to design and performance.
    Secondly, we wanted the Center Stage2 “LS” Series loudspeaker feet to bring a more consistent level of improvement to the least expensive systems and the most expensive systems. To accomplish this, we developed the height adjustable spike cup. The massive lower “saucer” is indeed an adjustable spike cup. Spinning the spike cup clockwise raises the loudspeaker, counter-clockwise turns lower the loudspeaker. The thickness and mass of the spike cup help it to act as the floor under your loudspeaker. With a more consistent floor, we can deliver more consistent performance.
    Thirdly, we wanted to make sure Center Stage2 “LS” Series loudspeaker feet were beneficial across the audible spectrum rather than effective in a limited range of frequencies. The first audio foot to bring consistent high-end performance across the audible spectrum was Center Stage2. We adapted this topology into the Center Stage2 “LS” Series loudspeaker foot design, and we can guarantee unmatched performance compared to any other loudspeaker foot. In fact, for those who already use CS2 in their system and can add the “LS” Series under their loudspeakers, we promise a level of performance beyond your imagination.
    Finally, and most important, we wanted to develop a product that brought methodologies found in our most expensive products to the audio community. In the case of Center Stage2 “LS” Series loudspeaker feet we adopted a “cost is no object approach” from our OLYMPUS support system. This is the very same approach we used with Center Stage2.
    We are thrilled with the Center Stage2 “LS” Series loudspeaker feet and we hope you can use them in your system. You will not be disappointed.

    What Makes the Center Stage2 “LS” Series Loudspeaker Foot Novel and Better?

    We started with the Center Stage2 and redesigned it to address issues common to loudspeakers. Pictured below are 2 photos of the Center Stage2 LS1.5 loudspeaker foot positioned next to a Center Stage2 1.5 foot, fully contracted in the top photo and fully extended in the lower.
    Obviously, the Center Stage2 LS1.5 is not your average loudspeaker spike. It appears that the foot is a “cylinder in a saucer”. This is definitely not the case. Inside the cylinder is a “spike” anchored into a spike cup. The entire lower structure including the silver base on down is a massive spike cup. The spike cup serves several purposes.



    Pictured above: Center Stage2 LS 1.5 next to a Center Stage2 1.5 contracted and extended. Cylinder diameter: 3” (76mm), spike cup diameter: 5” (127mm), contracted: 3.1” (79mm), extended: 3.8” (97mm). Center Stage2 LS 1.0 (not shown) cylinder diameter: 2.375” (60mm), spike cup diameter: 4” (102mm) contracted: 2.7” (69mm), extended: 3.4” (86mm),

    Firstly, the lower massive spike cup raises and lowers the foot under load. Spinning the spike cup clockwise raises the loudspeaker whereas turning the spike cup counter-clockwise lowers the loudspeaker. There is roughly 0.75” (19mm) of adjustment available. The turning ratio is 10 to 1, lowering the torque required to raise and lower the loudspeaker. Additionally, 1 full turn of the spike cup moves the loudspeaker only 0.0769” (2mm) allowing heavy speakers to be adjusted more easily. You will also notice that the lower spike cup is raised at the outside edge and knurled to allow easier gripping and rotation. The curved upward edge also allows ease of movement across carpets to facilitate easier loudspeaker positioning and toe adjustments.
    A safeguard is engineered into the foot which prevents the internal mechanism from over-extending and detaching from the spike cup under load. There is also a visible “stop” line near the top of the silver portion of the spike cup to warn you that the end of the adjustment range is close at hand.
    Under load, the black outer shell (looks like a cylinder) separates from the internal structure of the foot. Therefore, vibration cannot pass upwards through the foot via the outer shell. We do this so floor vibration passing upward through the spike cup is forced into the foot through predetermined channels where more of it can be reduced. The outer shell is designed to pull resonance out of the loudspeaker. The outer shell reduces entropy. In better words, the outer shell design and the inner shell design work hand in glove with the objectives of the manufacturer to produce vanishingly low distortion and ruler flat frequency response. Identical to the objectives of Center Stage2, the objective of the Center Stage2 “LS” Series loudspeaker foot is to help reveal the tremendous engineering in your loudspeakers.
    Like Center Stage2, the “LS” Series loudspeaker foot hinged on choosing and sequencing materials that possess the perfect combination of damping, elastic modulus and thin rod speed to lock in the desired effect. The invention of the “LS” Series loudspeaker foot required the selection of the right materials; the correct sequencing of the materials; the correct proportioning of the materials; and finally, the addition of the correct amount and type of damping in exactly the right locations as the last step in the process. Our approach is not a mystery or anything abstract, but rather, solid engineering using material science.

    How Do Center Stage2 “LS” Series Loudspeaker Feet Work?

    It might be more appropriate to view the Center Stage2 “LS” as a catalyst in a complex energy reaction that occurs inside your loudspeakers and outside between your loudspeakers and your listening space. The amount of kinetic and vibration energy is substantial and the sonic consequences can be large if these energies are unregulated and undamped. Center Stage2 “LS” is a catalyst designed to change the prevailing state of equilibrium in that energy reaction and to permanently hold it in a reduced or damped state. Center Stage2 “LS” is different and better because it uses novel applications in material science to achieve its isolation and damping benefits. Your loudspeakers will immerse you in a sonic environment that has been described as a unified acoustic field.


    The Total Immersion Effect (Knocking Down the 4th Wall)

    The Total immersion effect can be described as a highly articulated acoustic sound field that extends out from the loudspeakers and wraps around the listener. Another way to say it is, the listener becomes immersed in the recorded acoustic.
    In a “normal” listening room, you see an image in space and you hear a musical event occur at that location. With the Total Immersion Effect, you experience something on the order of a 4k hi-rez 3D surround-event. At times, you see the image in space, you hear and see the musical event occur inside the image, and then you hear, see and feel the sensory event spread out around you from the soundstage. You become immersed in the sound field.
    Knocking down the 4th “wall” that separates the listener from the musicians at the front plane of the loudspeakers requires the electromechanical balance inside the components to reach an ultrafine point of equilibrium and to hold that equilibrium point across 20,000+ Hz in a fluctuating energy field so that the components and loudspeakers can remain stable enough to create the Immersion Effect with consistency in the listening space.

    What to Expect During Settling

    While no audiophile enjoys the settling process, it is unfortunately true that the initial change to loudspeaker equilibrium caused by Center Stage2 “LS” feet can cause the sound to degrade and require a settle-in period of 7-10 days to achieve maximum benefit. Center Stage2 “LS” feet are designed to reduce entropy and the transfer of kinetic vibrational energy into the loudspeaker from the floor. Again, think of Center Stage2 “LS” feet as a catalyst in an energy reaction that occurs in, on and around the loudspeaker transducers and the loudspeaker cabinet. Reducing cabinet resonances and floor induced vibration will logically create a new settling process.
    Because Center Stage2 “LS” will dramatically change the operational equilibrium of your loudspeakers, you should expect your system to sound less than optimal at the outset. This is not unlike the effects one can experience when breaking in any high quality piece of audio gear. Your soundstage will then begin to reconstruct itself by gently tipping upward and downward as it establishes a new and better equilibrium point. Once achieved, the sonic benefits including a noticeable improvement in sound-staging, articulation of instruments, and lower noise floor will be obvious. It is extremely important to let the system play for 10 days before assuming it has reached equilibrium. Playing a system 24/7 is not necessary, but the more playing time the better.

    Your end of the Bargain, or Making the Experience Better

    Center Stage2 “LS” is good for beginners and advanced listeners, so long as you exercise extreme patience during the settling period. Sonic fluctuations you may experience during the settling period will subside as time passes. Here’s what you need:
    1. Components crafted by a known and reliable manufacturer. Your components do not need to be among the “most expensive” or the purported “best” in the world. You will experience excellent results with low cost components. A host of components were used to design Center Stage2, some of them very low cost. This was done to assure consistency of performance. It is certainly true, however, that the better your components, the better your results.
    2. Neutral wiring crafted by a known and reliable manufacturer. Some wiring is a “tone control”. Tone control wiring is not necessary. The more invisible your wire, the less it makes its presence known in your system, the better your results.
    3. Stable rack(s) and/or stand(s). Home furnishings are fine. Center Stage2 was vetted on various flat wooden surfaces with Janka ratings of 1200 and higher equating to an elastic modulus of 4 GPa or greater. This means that virtually any flat surface will net tremendous results. Having said this, the better the surface with respect to its associated and/or inherent technological properties, the better the results. The results on CMS racks is superlative.
    4. Proper loudspeaker set up. This is essential.
    5. When you add Center Stage2 and or Center Stage2 “LS” to your system, pull every tweak out. Center Stage2 will take about 7 to 10 days to settle. Be slow, careful and cautious about adding any other device(s) back into your system. Adding Center Stage2 under more of your components is the only means to realizing the full “Total Immersion Effect” so highly valued in high end audio.

    $1200 per foot without adapters
    $1250 per foot with adapters



    Sent from my iPhone using Tapatalk Pro
    My Systems: http://www.audioshark.org/showthread...481#post158481

    "We can hear everything we measure, but we can't measure everything we hear. Let your ears be your guide."

    Dealer for: Aqua Hi-Fi, Audio Research, Aurender, AudioQuest Cables & Power Products, Avantgarde Acoustics, Avid HiFi, Ayre Acoustics, Berkeley Audio Design, Boulder Amplifiers, Bowers & Wilkins (B&W), Bryston, Chord, EMM Labs, Esoteric, Estelon Loudspeakers, FirstWatt, Focal Headphones, Furutech, Fyne Audio Loudspeakers, GigaFoil, Gryphon Audio, Harbeth Loudspeakers, Hegel, HiFi Man, ISO Acoustics, Keces Power Supplies, Kuzma Turntables, Lumin, Luxman, Magico Loudspeakers, MBL Speakers & Electronics, MSB Technologies, MySonicLabs Phono Cartridges, Naim Audio, Ortofon, Pass Labs, Quadraspire, Shunyata Research, SimAudio, Stein Music Products, Stenheim Loudspeakers, Stillpoints, T+A Electronics, VAC, Vicoustics, Viva Audio, Vivid Audio Loudspeakers, VPI Industries, WireWorld Cables.

    https://suncoastaudio.com/
    Phone: 941-932-0282
    Facebook: https://www.facebook.com/Suncoast-Au...1105178279194/

  2. #2

    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Hello, Joe Lavrencik here, Critical Mass Systems. I wanted to thank Mike and Steve for allowing me to post on Audio Sharks and What’s Best Forum about a new product I developed.

    Those of you who have read about or tried Center Stage2 will have a leg up on new readers because you’ll likely see many references to Center Stage2 in this thread. The news is that Critical Mass Systems has a new series of loudspeaker feet we’re introducing. Rather than initially sending the feet to a handful of reviewers, I decided to engage what I consider to be an objective group of beta-testers who would feel open about sharing what they experienced with the feet under the loudspeakers in their systems.

    I asked Mike Bovaird of Suncoast Audio to test the new feet because he had access to the Magico M Series loudspeakers. He tested the feet on the M2. This was important to me because the M Series are excellent products. The M2 is an aluminum-based offering and relatively small compared to some of the others in the test set. Also, Magico offers its own foot, the MPod, which is very well-known. I’ve had the pleasure of working with many Magico loudspeakers over the years and they are excellent. I have the very highest respect for Alon Wolf, Yair Tammam and Peter MacKay.

    I thought it important to go head-to-head with the best performing foot I could find to see how our top-of-the-line loudspeaker foot, the Center Stage2 LS 1.5 stacked up. Those of you who know Mike, know he’s a no-bullshit guy who tells it like it is. This is important to everyone and especially me. The worst thing a designer can have in beta-testers are people who say something is good when it isn’t. Mike doesn’t mess around.

    I asked Steve Williams to test the Center Stage2 LS 1.5 under his Wilson Alexandria X2 loudspeakers because they were heavy, big, ported, ultra-sensitive to change and made from a phenol-based cabinet material. The complexity of the driver array is mind boggling with respect to footer design making this loudspeaker perfect for a performance test. A total of 4 feet went under each of his speakers. Steve is hyper-sensitive to changes in his system and he, like the other beta testers, would never say anything good about something that did not advance the sound of his system. True, Steve sells CS2 feet as does Mike, but adding unproven loudspeaker feet to a system as finely tuned as his was definitely a real test of performance and value.

    Along those same lines, I enlisted Damon Von Schweikert and Leif Swanson of Von Schweikert Audio to test the Center Stage2 LS 1.5 in their production facility on their VR-55. This loudspeaker has been around for a long time with well-known performance characteristics. It has a larger volume cabinet than the Magico M2 and is made from different materials. The VR-55 has a ported wood-based cabinet whereas the M2 is a sealed metal-based cabinet. Also, the VR-55 has a different weight and afforded the opportunity to test 4 feet directly under the component versus the 3 feet used with Magico’s more “disconnected” tripod base.

    I have worked with VSA in many shows around the USA and they make a great product. Our working relationship made the evaluation process easy to arrange, but that’s where friendship stops. Business is business. There is no way a well-known loudspeaker manufacturer like VSA would say anything good about a product that diminished the engineering of their own product in their own test room.

    The beta-testers were carefully chosen because of their status as brutally frank people in this industry and because the loudspeakers they had available ran the gamut of materials and configurations generally found in the industry.

    Thanks! Joe

  3. #3
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    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Hi Joe and welcome to Audioshark!


    Sent from my iPhone using Tapatalk Pro
    My Systems: http://www.audioshark.org/showthread...481#post158481

    "We can hear everything we measure, but we can't measure everything we hear. Let your ears be your guide."

    Dealer for: Aqua Hi-Fi, Audio Research, Aurender, AudioQuest Cables & Power Products, Avantgarde Acoustics, Avid HiFi, Ayre Acoustics, Berkeley Audio Design, Boulder Amplifiers, Bowers & Wilkins (B&W), Bryston, Chord, EMM Labs, Esoteric, Estelon Loudspeakers, FirstWatt, Focal Headphones, Furutech, Fyne Audio Loudspeakers, GigaFoil, Gryphon Audio, Harbeth Loudspeakers, Hegel, HiFi Man, ISO Acoustics, Keces Power Supplies, Kuzma Turntables, Lumin, Luxman, Magico Loudspeakers, MBL Speakers & Electronics, MSB Technologies, MySonicLabs Phono Cartridges, Naim Audio, Ortofon, Pass Labs, Quadraspire, Shunyata Research, SimAudio, Stein Music Products, Stenheim Loudspeakers, Stillpoints, T+A Electronics, VAC, Vicoustics, Viva Audio, Vivid Audio Loudspeakers, VPI Industries, WireWorld Cables.

    https://suncoastaudio.com/
    Phone: 941-932-0282
    Facebook: https://www.facebook.com/Suncoast-Au...1105178279194/

  4. #4
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    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Hi Joe. Looks like you've been hard at work. Have you tried these with planars, e.g. Magnepans?

    Still enjoying my 11 sets of CS2s....

  5. #5

    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Very interesting development. Look forward to learning more about these and listening impressions.

  6. #6

    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Quote Originally Posted by Barry View Post
    Hi Joe. Looks like you've been hard at work. Have you tried these with planars, e.g. Magnepans?

    Still enjoying my 11 sets of CS2s....
    Hi Barry

    Thank you so much for investing in CS2. I always say, I think the entire series of CS2 products are my best work.

    Thank you for this question. Before you prompted me to look at the Maggie site, I would have said, no. But, I do think it's possible. LS like other CS2 products MUST touch the bottom of the component to work best. But working with Mike's M2s (external tripod footer array) proved that the LS feet also work just as well if there is a direct connection between the feet, the speaker supports and the speaker.

    In the case of the M Series, the metal used for their tripod support is aluminum. Having said this, the Maggies also have a metal support connected directly to their panels. So, we need to know how wide those metal supports are. The CS2 LS 1.5 has a diameter of 3" and we want their entire surface covered by the Maggie supports. If yes, we could make that work. If no, we're developing 2 other feet for the LS Series that are not as wide. We may have a winner with one of those.

    The one thing I can say for sure based on my experience and the feedback of the folks in the beta testing group is that an entire system on CS2 feet performs beyond anyone's expectation.

    If you don't mind, I'd appreciate knowing the width of your Maggie supports. This would be a good thing for me to know.

    Thanks again

    Joe
    Critical Mass Systems

  7. #7

    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Quote Originally Posted by gshelley View Post
    Very interesting development. Look forward to learning more about these and listening impressions.
    Looking forward to any and all questions. I come in peace..........

    Joe

    Critical Mass Systems

  8. #8
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    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Quote Originally Posted by CMS View Post
    ...whereas the M2 is a sealed metal-based cabinet.
    Really?
    Speakers: Magico M3, Q3, ACC, S-SUB | Electronics: Esoteric Grandioso | Amplification: Halcro |
    Analog cables: Crystal Cable | Digital cables: Shunyata Sigma
    Most recent acquisition: YG Acoustics Rack 1.4

  9. #9
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    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Quote Originally Posted by CMS View Post
    ...the Maggies also have a metal support connected directly to their panels. So, we need to know how wide those metal supports are. The CS2 LS 1.5 has a diameter of 3" and we want their entire surface covered by the Maggie supports. If yes, we could make that work. If no, we're developing 2 other feet for the LS Series that are not as wide. We may have a winner with one of those.

    If you don't mind, I'd appreciate knowing the width of your Maggie supports. This would be a good thing for me to know.
    I do not use the stock stands, but the ones that are offered by Mye Sound. These are probably the aftermarket ones used by most Magnepan owners. The bottom frame the speakers are attached to use 2" W x 1" H rectangular steel tubing and weigh 30 lbs for a 3 series speaker. I've attached a picture that shows how they are mounted. Also, you can just barely see (one in the front foreground) that there are 4 brass cone spikes threaded into the bottom of the frame at each corner.
    Attached Images Attached Images

  10. #10
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    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Isoacoustic may be an alternative.
    IsoAcoustics | Sound quality by design
    Set-up 7.2.6
    Amp: Mark Levinson 533, 2- Parasound 52+
    Video: JVC 990, Panasonic DB9000, StudioTek 130
    Processor: Marantz 8805
    Speakers: Wilson Alexia, Wilson Mezzo, 4 Wilson Watch, 6 Dynaudio 600 in-ceiling
    Subs: 2 JL F113
    Power: Torus Wam 100
    Wires: Transparent Reference for the front three, the rest Audio Quest FLX/DB 16/4 In wall speaker cable
    Other: Primacoustic -Max trap and Full trap, Vicoustic -Wavewood and Cinema rounds. IsoAcoustic GAIA 1

  11. #11
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    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    I may or may not get the CS2 "LS" loudspeaker feet; but based on my experience with the Center Stage 2s under components, I would never consider anything else. They are amazingly good.

    Joe, have you tried these under turntables? My TW Acustic weighs 50kg.

  12. #12
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    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    any picture of speakers with these underknees? they look very tall.
    are they suposed to be used extended or up to preference?
    samsung soundbar & subs

  13. #13
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    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Can't see myself replacing my Mpods with these. But I do own 12 x CS2.
    Speakers: Magico M3, Q3, ACC, S-SUB | Electronics: Esoteric Grandioso | Amplification: Halcro |
    Analog cables: Crystal Cable | Digital cables: Shunyata Sigma
    Most recent acquisition: YG Acoustics Rack 1.4

  14. #14

    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Quote Originally Posted by CMS View Post
    Hello, Joe Lavrencik here, Critical Mass Systems. I wanted to thank Mike and Steve for allowing me to post on Audio Sharks and What’s Best Forum about a new product I developed.

    Those of you who have read about or tried Center Stage2 will have a leg up on new readers because you’ll likely see many references to Center Stage2 in this thread. The news is that Critical Mass Systems has a new series of loudspeaker feet we’re introducing. Rather than initially sending the feet to a handful of reviewers, I decided to engage what I consider to be an objective group of beta-testers who would feel open about sharing what they experienced with the feet under the loudspeakers in their systems.

    I asked Mike Bovaird of Suncoast Audio to test the new feet because he had access to the Magico M Series loudspeakers. He tested the feet on the M2. This was important to me because the M Series are excellent products. The M2 is an aluminum-based offering and relatively small compared to some of the others in the test set. Also, Magico offers its own foot, the MPod, which is very well-known. I’ve had the pleasure of working with many Magico loudspeakers over the years and they are excellent. I have the very highest respect for Alon Wolf, Yair Tammam and Peter MacKay.

    I thought it important to go head-to-head with the best performing foot I could find to see how our top-of-the-line loudspeaker foot, the Center Stage2 LS 1.5 stacked up. Those of you who know Mike, know he’s a no-bullshit guy who tells it like it is. This is important to everyone and especially me. The worst thing a designer can have in beta-testers are people who say something is good when it isn’t. Mike doesn’t mess around.

    I asked Steve Williams to test the Center Stage2 LS 1.5 under his Wilson Alexandria X2 loudspeakers because they were heavy, big, ported, ultra-sensitive to change and made from a phenol-based cabinet material. The complexity of the driver array is mind boggling with respect to footer design making this loudspeaker perfect for a performance test. A total of 4 feet went under each of his speakers. Steve is hyper-sensitive to changes in his system and he, like the other beta testers, would never say anything good about something that did not advance the sound of his system. True, Steve sells CS2 feet as does Mike, but adding unproven loudspeaker feet to a system as finely tuned as his was definitely a real test of performance and value.

    Along those same lines, I enlisted Damon Von Schweikert and Leif Swanson of Von Schweikert Audio to test the Center Stage2 LS 1.5 in their production facility on their VR-55. This loudspeaker has been around for a long time with well-known performance characteristics. It has a larger volume cabinet than the Magico M2 and is made from different materials. The VR-55 has a ported wood-based cabinet whereas the M2 is a sealed metal-based cabinet. Also, the VR-55 has a different weight and afforded the opportunity to test 4 feet directly under the component versus the 3 feet used with Magico’s more “disconnected” tripod base.

    I have worked with VSA in many shows around the USA and they make a great product. Our working relationship made the evaluation process easy to arrange, but that’s where friendship stops. Business is business. There is no way a well-known loudspeaker manufacturer like VSA would say anything good about a product that diminished the engineering of their own product in their own test room.

    The beta-testers were carefully chosen because of their status as brutally frank people in this industry and because the loudspeakers they had available ran the gamut of materials and configurations generally found in the industry.

    Thanks! Joe
    Hi Joe,
    Have you characterized the CS2 using Design of Experiments? Personally, I'd like to see how the control factors (the various footers, footer designs, and footer setting or adjustments) mediate the transfer function. Also, in reading your lengthy description, I didn't see any description of exactly what the functional response is, and how it is measured with to how you know what direction to go in with respect to the product design/fuctions.

    Also, how do the control factors mitigate system noise factors with respect to system or footer performance? I didn't see a description of what is being measured as the functional response(s) and characterization and influence of any interactions between the control factors and the functional response(s).

    By way of example, here is a DOE I performed to integrated my REL sub to my 2-channel mains to optimal real-time in-room response.



    Happy to discuss this with you off-line if you like.

  15. #15
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    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    puma, you shouldnt question the 4th wall konockdown
    samsung soundbar & subs

  16. #16

    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Quote Originally Posted by u-sound View Post
    puma, you shouldnt question the 4th wall konockdown
    I'm just trying to understand the transformation that is going on with these footers. Consistent with my studies into examining other vibration damping solutions that I've posted about.

    A Design of Experiments, aka DOE, is an incredibly powerful tool for engineering a product because it tells what (control) factors drive the reponse you care about, how much each factor influences the response, if there are any interactions between the control factors and the response(s). It also lets you do experiments to determine where to set the control factors to mitigate the impact of noise factors (factors that take the functional response off-target, or add to variance, or both) as well as to where to set the control factors to provide an optimal response. You can even do a surface-response analysis with DOE.

    I'm always surprised how many audio products manufacturers and acoustics engineers (the guys who come in and do acoustical treatments for a room) do not use DOE during R&D, or...even know about it. Its an incredibly powerful method of analysis for product design.

    When I showed it to Stirling Trayle, though...he was all over it.

  17. #17
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    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    i always enjoy your sophisicated way with a scientific approach.
    however, we could do a group-buy of 1 peace and cut it to look inside.
    samsung soundbar & subs

  18. #18

    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Barry

    I would say the 0.8 foot will be the way to go in this application. The design will be better suited to the width of the support system.

    Thank you for the question!

    Joe

  19. #19

    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Quote Originally Posted by Barry View Post
    I may or may not get the CS2 "LS" loudspeaker feet; but based on my experience with the Center Stage 2s under components, I would never consider anything else. They are amazingly good.

    Joe, have you tried these under turntables? My TW Acustic weighs 50kg.
    Hi Barry

    The Center Stage2 LS 1.5 would not be appropriate for turntables. We designed this one for loudspeakers only. Under electronics and such their damping properties are decidedly too powerful. We'll do something different for turntables this year.

    Thank you for the question!

    All the Best

    Joe

  20. #20

    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Quote Originally Posted by u-sound View Post
    any picture of speakers with these underknees? they look very tall.
    are they suposed to be used extended or up to preference?
    Hi u-sound

    They are 3.25" tall and are height adjustable. This means you can set your loudspeakers in the X, Y and Z axis on the fly by simply turning the spike cups individually clock-wise or counter-clockwise as you listen. You can toe or rake your loudspeakers to attain the optimal musical performance in your room at your preferred listening position. We think this is a great benefit.

    Thank you for the question,

    Joe

  21. #21

    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Quote Originally Posted by brodricj View Post
    Can't see myself replacing my Mpods with these. But I do own 12 x CS2.
    brodricj

    Mpods are a great product, but I love a challenge! If you still have your M3 speakers, I'll give you a 100% money back guarantee, if you try these. I think you would hear something quite extraordinary with these under your M. And you can feel free to post your experience right here, good, bad or indifferent.

    Think about it!

    All the Best

    Joe

  22. #22

    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Hi Puma Cat

    Your DOE post is very interesting. I mean no disrespect, but I can't post the intricate details of the design process with respect to failures and successes without telling you exactly what works, what doesn't and why. This is proprietary. But, I will say that elastic modulus, thin rod speed and the type and placement of damping materials are the keys.

    Thank you for posting

    Joe

  23. #23
    Senior Member
    Join Date
    Mar 2014
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    279

    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Hi Joe,

    I read on another forum that you have a patent on the design. Can you share the Patent # with us?

  24. #24

    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Quote Originally Posted by LVB View Post
    Hi Joe,

    I read on another forum that you have a patent on the design. Can you share the Patent # with us?
    Hi LVB

    You can be sure there was no intentional misinformation provided on that site. The person who made the comment meant well. I pulled the filing awhile back because I decided to keep the technology proprietary. I am sure I did not mention this to him. My bad.

    The physics I work with are known, but the invention is novel, and its effect when applied correctly is a quantum leap forward in music reproduction. The objective of all the Center Stage2 products is to help components perform closer to their design potential. The engineering so generously poured into modern components is brilliant and hearing what components can do when systemic interferences are greatly reduced is breathtaking. Keeping the technology in house allows me to ensure that products introduced into the public domain meet the highest standards. I feel we have enough cheapened half-measures out there doing damage to expensive systems. I prefer not to be an enabler for more of them. Revealing the technology through a patent would throw the door open to just that, I fear.

    Thank you for bringing this up.

    All the Best,

    Joe

  25. #25

    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Quote Originally Posted by CMS View Post
    Hi Puma Cat

    Your DOE post is very interesting. I mean no disrespect, but I can't post the intricate details of the design process with respect to failures and successes without telling you exactly what works, what doesn't and why. This is proprietary. But, I will say that elastic modulus, thin rod speed and the type and placement of damping materials are the keys.

    Thank you for posting

    Joe
    Thank you, Joe.

    BTW, it's refreshing to see someone use the term "damping" correctly. "Dampening" is to make something moist.

  26. #26

    Re: Critical Mass Systems Center Stage2 “LS” Series Loudspeaker Foot

    Quote Originally Posted by Puma Cat View Post
    Thank you, Joe.

    BTW, it's refreshing to see someone use the term "damping" correctly. "Dampening" is to make something moist.
    Blind squirrelle........akorn. :-) Don't worry, I'll screw something up sooner or later.

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