Harmonic Resolution Systems (HRS) Additional Base Experiments
Listening
Hearing the Oladra directly on the EXR Base, I wondered, what could the extra Base possibly bring? Well, a lot, as it turned out.
With the E1 in place, the difference is far from subtle. Vocals appear closer and more isolated in the mix while the entire stage feels deeper and more spacious. The bass is weightier and fuller, while flowing more naturally, and not in a fat manner. Meanwhile, there is an increased sense of calm, but the pacing has not suffered, as evidenced by my foot, which is still tapping, and the dynamic behavior remains fully intact. If anything, the sound sans extra Base, is slightly crisper and more immediate, but also flatter and more mechanical. Clearly, the addition of the second Base has a lot going for it.
Now, I wanted to see how the Base itself behaves when bypassing its Broadband Isolation Footers. So, I inserted StillPoints Ultra SS V2 on top of a Stainless Steel discs, to provide enough height to make the Base’s own footers float freely.
I must say, the StillPoints also work very nicely. They always have a tight and direct sound, and here, too, they seem to counterbalance the Base’s fuller nature, providing a leaner balance with a stricter, less fluid and free-breathing, yet more direct and analytical delivery. With the Oladra, both solutions sound good, and it comes down to personal preference.
When using Roon, I prefer the Grimm MU1 for its crisper and leaner balance, which complements Roon’s thicker and more saturated sound well. At 4.5 kg, the Grimm MU1 is below the recommended minimum weight for the E1 Base’s footers. Nevertheless, because I wanted to perform additional tests with the E1 Base and a range of other couplers to hear how they affect the Grimm, I went ahead and tried it anyway.
When positioned on the EXR Audio Stand via Ansuz T2 Darkz, as I normally use it, the MU1 sounds crisp, fast, and articulate. Arguably, it can also be perceived as a little dry, but as I already found during the initial HRS review, this can easily be remedied by using one of the available HRS Chassis Noise Reduction footers.
With the E1 Base in place, the match with the lightweight MU1 may be theoretically suboptimal, but the resulting sound was surprisingly good. With the additional base, the server sounds considerably more liquid, airier, and with much lusher and deeper soundstaging. The sound becomes less staccato, but not slow, and dynamics are unaffected. However, in turn for increased fluidity and flow, the transients are less crisp, and the overall presentation, while dreamier and spatially more enveloping, feels slightly less direct.
Although the StillPoints SS V2 worked very well with the Oladra, the match was less than ideal with the Grimm. It is possible that this is the result of the non-ideal weight-to-damping ratio, but, given the almost opposing sound signatures of the two servers, we may just as well be hearing a less successful marriage. In any case, the StillPoints provide a leaner balance but it does not become as crisp as with the MU1 directly on the EXR’s Base. Furthermore, the sound feels over-controlled, static, and bombastic, and is nowhere near as lush and spacious as when using the E1 Base’s integral footers. Indeed, upon removing the StillPoints and returning to the Base’s own footers, the sound regains its balance, with a free-flowing and unrestrained performance that is much preferred, even if it is not quite as articulate as when direct on EXR.
With the StillPoints rendered non-ideal, I set off to combine materials to see if I could find a more musical alternative. When using Artesania Beechwood discs, Stainless Steel discs (to obtain enough height), and Finite Elemente Ceraballs, the sound becomes a little less crisp, but considerably more musical and engaging than with the StillPoints. Nevertheless, it remains a little lumpy and bombastic, and it’s not nearly as good as when using the E1 Base’s integral footers.
For my final experiment, in trying to eradicate the lumpiness, I used two Artesania Neoprene discs and the Ceraballs. This provided another improvement and actually results in a nice balance. It’s slightly tighter than the E1 Base’s integral footers (although still a little lumpier), and almost as fluid and free-breathing.
Still, when I finally return to the E1 Base’s own footers, this is still most free-breathing and liquid, and, bottom line, the most pleasant to listen to.
So, well done HRS, for providing precisely the ideal solution!
The HRS “Sound Signature”
Following these experiments, it’s safe to say that the E1 Base adds body and substance in the same way the EXR rack does, making for a fuller, more saturated, and more grounded sound than when using a Finite Elemente Spider or Artesania Exoteryc rack. Ultimately, all racks and platforms have a certain impact on the sound. Whether the HRS racks and platforms unlock facets that were obscured or leanified by other racks, or add them to the mix, the bottom line is that a rack or platform’s sonic signature remains an aspect to consider in the context of the system in which they will be used. In my opinion, the goal should be to retain as much energy as possible while preventing or counteracting harmful resonances and achieving the best overall balance.
Further Upgradability
If the benefits of adding an E1 Base leave you wanting more, the EXR system can even be converted to a full-spec SXR, SXR Signature, or SXRC system in the future, while preserving the majority of the original system purchase price.
External Links
www.referencesounds.nl
HRS website
