When I recently called
Stillpoints’ Bruce Jacobs to inquire about trying some of his Ultra isolation feet, he asked,
“Are these for review or for personal audition? Because you’re not going to want to take them out once you hear them.” At the time I was amused by his remark. But after inserting them into my
Wilson XLF loudspeakers, where they replaced the stock spikes, and underneath several pieces of equipment, including the computer controller for the Continuum Caliburn turntable, I quickly came to realize that he had a point.
Thanks to the valiant help of John Quick and Peter McGrath, I was able to execute the installation of the Stillpoints pretty rapidly. We did it one piece at a time.
The changes were not subtle. I heard the same things that TAS editor Robert Harley reported hearing in his review in issue 218 of the Stillpoints
—greater clarity, more midbass punch, blacker backgrounds, and improved spatial relationships.
Fine transients, as Robert noted, sounded more lifelike because of a
reduction in “transient blurring,” something that I would ascribe to the ability of the Stillpoints Ultra’s
ability to lower, and not by a small margin, the noise floor. Both vinyl and
digital playback were considerably improved. The overall impression is one of greater silkiness and refinement.