{"id":35759,"date":"2023-08-29T12:36:17","date_gmt":"2023-08-29T10:36:17","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=35759"},"modified":"2023-08-29T12:36:17","modified_gmt":"2023-08-29T10:36:17","slug":"harmonic-resolution-systems-hrs-exr-audio-stand","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/accessories-reviews\/racks-stands-feet-reviews\/harmonic-resolution-systems-hrs-exr-audio-stand\/","title":{"rendered":"Harmonic Resolution Systems (HRS) EXR Audio Stand"},"content":{"rendered":"

Review sample supplied by Reference Sounds<\/a><\/p>\n

Retail Prices in the Netherlands (incl 21% VAT):<\/strong><\/h4>\n

The EXR Stand System is fully modular and available in many variants, including custom sizes. Below are a few examples with default size panels (17×19 inch or 19×21 inch):
\nEXR stand 1 level – 3.179 euro
\nEXR stand 2 levels – 5.449 euro
\nEXR stand 3 levels – 7.779 euro
\nEXR extra struts to increase the height or add a level – 139 euro per piece
\nEXR is compatible with E1X, R3X, S3, and M3X2 Isolation Bases – from 2.569 euro<\/h4>\n

Chassis Noise Reduction (Component Footers):
\nNimbus (soft polymer\/soft polymer) – 209 euro per footer
\nHelix (hard polymer\/aluminum) – 219 euro per footer
\nVortex (hard polymer\/stainless steel) – 569 euro per footer<\/h4>\n

Damping Plates:
\nDPX-05545 (5.5\u2033 x 4.5\u2033) – 309 euro
\nDPX-09545 (9.5″ x 4.5″) – 459 euro
\nDPX-14545 (14,5″ x 4,5″) – 569 euro<\/h4>\n

HRS<\/h3>\n

Based in New York USA and led by Chief Engineer Michael Latvis, Harmonic Resolution Systems is comprised of a team of skilled engineers and technicians with decades of experience in the design, development, and production of isolation systems, custom materials, and precision mechanical systems. Mr. Latvis has over forty years of engineering and product development experience with a specialty in vibration, noise, and control systems and he has six issued patents related to shock, vibration isolation, and high-performance audio products.<\/p>\n

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HRS employs a range of technologies to achieve their unique level of performance. This includes the development of proprietary composite laminates and custom HRS materials which are developed by skilled chemists and engineers who are experts in creating structural materials with unique properties. These materials are developed based on decades of experience, product testing, and the guidance of a panel of listening experts.\u00a0 This approach allows HRS to custom engineer the products and adjust the material performance based on real-world experience.<\/p>\n

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HRS uses advanced 3D CAD design software and state-of-the-art FEA analytical tools to design and verify the fit, weight, strength, and performance of each HRS product. At the start of every new development, the engineers look at the frequency response and critical performance criteria in a computer simulation and only then start manufacturing the first prototype product. That product is then put through a very rigorous listening test protocol that is the final deciding factor for every HRS product.<\/p>\n

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HRS lets the engineering principles and extensive listening test protocol guide them to the ideal solution for each component type and system location to achieve the best result. Central in all designs is that they must be adjustable so that the HRS system can adapt to system and component changes.<\/p>\n

Heavy or Lightweight, Decoupling or Draining<\/h3>\n

There are only a few basic methods that are used when it comes to building audio support systems. Over the years, I’ve obtained great results with very light racks as well as with very heavy racks and with decoupling as well as coupling, and as a result, I can’t proclaim any one system as ideal.\u00a0I may have my personal favorites, but really, the trick is in the system-matching. Ideally, the support, cables, accessories, electronics, the room, and speakers are all tuned such that they are supportive of one another.<\/p>\n

HRS very clearly does not do lightweight, quite the contrary! All their products feel super-solid and are very heavy in a bid to provide a high-resistance path for harmful resonances. Further, HRS provides a range of coupling footers that either couple\/drain or decouple\/isolate, just as the component requires. Of course, there is no such thing as true<\/em> isolation or decoupling, that would require some kind of magic. But what can most definitely be done is to calculate harmful resonance frequencies and then specifically combat these in a rack or footer design. And that’s precisely the art that HRS has perfected.<\/p>\n

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EXR Audio Stand System<\/h3>\n

So far, HRS has been known primarily for its superlative rack solutions at equally superlative prices, often used with cost-no-object audio systems. But for the past five years, Michael Latvis and his engineering team have worked on the EXR system to get the performance and modularity on the desired level while also offering a 30% cost reduction over the model it replaced. As a result, the EXR Stand System is the brand’s most cost-effective system to date. <\/span><\/p>\n

This new system is very cleverly constructed in a simple yet fully modular manner. The configuration can be expanded, revised, or upgraded at any time, which preserves value. Importantly, unlike the other HRS Audio Stands, the EXR plinths used in the structure of the audio stand system can support the component directly.<\/span><\/p>\n

In order to explain the EXR system, it’s easiest if we take a small detour and look at the HRS Isolation Bases. These come into play with the higher-tier Audio Stand Systems but they can also be used standalone for those occasions where users wish to retain their current furniture. HRS Isolation Bases are specially formulated platforms with an energy-dissipating core and device-matched footers that decouple or drain \u2013 whichever’s best for the device.<\/p>\n

The EXR system is built around an E1X Isolation Base comprised of custom-pressed resin fabric composite top and bottom plates in a proprietary HRS constrained-layer dampening system. The Base is then equipped with four solid aluminum EXR Frame Mounts. These frame mounts connect directly underneath the Isolation Base via an integrated cork-like isolator and they are equipped with an adjustable spike at the bottom for stable placement and optimal mechanical coupling with a minimal contact surface.<\/p>\n

The individual Bases are coupled via 4 uprights\/vertical pillars (HRS calls them Struts) with an asymmetrical design to create an extremely rigid rack system that can easily be adapted to the number of components to be placed. According to the manufacturer, this 4-leg vertical support mechanism increases frame stiffness and overall performance, compared to traditional 3 or 4-leg designs. Asymmetrical<\/em> in this case refers to the 4 struts all being offset from the center of their aluminum supports as well as from one another, resulting in opposing forces canceling out within the support surface.<\/p>\n

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The most visible result from this is that the left and right pillars are not in the same front-to-aft positions but the right-hand side pillar is shifted back by 2.5 cm. With my OCD and innate desire for symmetry, I feel that this is visually not ideal, but as it helps sonically while keeping the price down, this is still a smart solution. The struts are available in a range of heights and thanks to the design’s modularity, extra Struts and extra Isolation Bases can be added at any time to accommodate more audio components.<\/p>\n

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Modularity<\/h3>\n

The system’s modularity means that you can start with a single-level stand, then buy additional struts in a range of heights, add one or more additional resin panels, and extend the rack for 6, 7, or potentially even more components.<\/p>\n

With HRS, the model number refers directly to the platform size in inches. The Isolation Bases of the EXR stand are available in 2 sizes. The EXR-1921 with a size of 21″ \/ 53.3 cm wide and 19″ \/ 48.3 cm deep and the EXR-1719 with a width of 19″ \/ 48.3 cm and a depth of 17″ \/ 43.2 cm. Especially for smaller audio components or, for example, a Headphone Amp, HRS has the EXR-9.5 with a size of 24 cm wide and 38 cm deep. Custom sizes are also possible.<\/p>\n

Standard component height spacing (strut length) can be specified at 6″ \/ 15.2 cm, 8″ \/ 20.3 cm, 10″ \/ 25.4 cm, or 12″ \/ 30.5 cm. with custom component height spacing at 14\u2033, 16\u2033, and 18\u2033 at an additional cost. Note that these sizes indicate the effective space in between the Isolation Bases including protrusions to indicate the net available component space.<\/p>\n

As an example, you could start by placing a power amp or integrated amp on a single EXR-1921-1V or EXR-1719-1V which consists of the Frame Mounts with spikes, the Isolation Base, and the finishing caps for the top of the Frame Mounts. To be able to place 3 audio components, you could go for an EXR-3V version. The single platform has a suggested retail price of \u20ac 3,179 and a 3-way rack for 3 components has a suggested retail price of \u20ac7,779.<\/p>\n

A standalone Isolation Base to use on top of a standard piece of furniture is available from \u20ac 2,049. All HRS Rack Systems and Isolation Bases are available in silver and black. Note that on the silver version, the left and right sides, as well as the back of the plinth, are a black finish.<\/p>\n

Upgradability<\/h3>\n

Upgrading from a single-level rack to a two-component version or a multi-component version is very easy. As a matter of fact, I was supplied with two single EXR-2121-1V platforms along with 4 struts so that we could assemble an EXR-2121-2V. Reference Sounds’ Nick Spier performed the procedure in my presence and I can confirm that the construction really is as clever as it is simple.<\/p>\n

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While the EXR’s integral Isolation Bases support the component directly, the system can be further upgraded by adding an extra Isolation Base (E1X, R3X, S3, and the top-of-the-line M3X2) onto the rack’s integral Bases, using a range of footers that can always be changed again at a later date, to perfectly match the component on top.<\/p>\n

Finally, the system can even be converted from an EXR Audio Stand to a full-spec SXR, SXR Signature, or SXRC system in the future, while preserving the majority of the original system purchase price.<\/p>\n

Next: Chassis Noise Reduction<\/p>\n

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Chassis Noise Reduction<\/h3>\n

Before we dive into the review of the EXR rack, I need to take a little detour to explain the two other elements that complement the HRS system: Chassic Noise Reduction and Damping Plates.<\/p>\n

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What HRS refers to as Chassis Noise Reduction is essentially a range of Footers (Nimbus, Helix, and Vortex) and Damping Plates (in various sizes and two thicknesses) to be used respectively under and on top of audio components. The products can work with other racks (when the support surfaces have similar properties as the HRS Isolation Bases) but they are made specifically to be used with HRS stands. The Chassis Noise Reduction products are designed to reduce the noise levels on the bottom of the audio component chassis as well as reduce the component\u2019s top chassis noise level. HRS recommends using 3, 4, or 5 footers per audio component, depending on its surface area.<\/p>\n

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Nimbus System<\/h3>\n

The Nimbus System is a broadband noise-reduction design, intended to work ideally with the HRS Isolation Base and Damping Plates. The Nimbus products reduce air-borne vibration by eliminating bottom panel resonance, while the Damping Plates work to control top panel resonance and the HRS Isolation Bases or Rack System significantly reduce the harmful effects of structure-borne vibration.<\/p>\n

The Nimbus unit is manufactured from billet-machined aircraft aluminum and proprietary HRS polymers that feel soft to the touch and are a little sticky. There are two primary components to the Nimbus system: the all-polymer Nimbus Coupler that sits on both ends of the sandwich and an anodized aluminum Nimbus Spacer that sits in between. The combined specific amount of mass, stiffness, and damping from these components reduces chassis resonance problems and transforms residual chassis energy into heat.<\/p>\n

Nimbus is placed directly on the shelf to support the audio component, with one of the all-polymer couplers in contact with the surface of the shelf, and another in direct contact with the bottom chassis of the component, thereby bypassing the existing component feet.<\/p>\n

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Nimbus is available as separate elements consisting of a spacer and two couplers or a complete bonded assembly. The NA in the product type stands for Nimbus Assembly which means that it is a bonded version of the Nimbus Coupler and Nimbus Spacer whereas the separate components carry the NS moniker where I imagine the S stands for “separate”. Each version is available in three heights. Just as with the Rack System, the model number incorporates the size, in this case, the height. For instance, the NA-150 that I was provided has a 1.5″ height, which is 3.8 cm. HRS makes no recommendations as to the number of Nimbus footers to use but I assume 4 will be the default.<\/p>\n

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Helix System<\/h3>\n

The Helix System is designed to reduce the negative impact of air and structure-borne vibration on the audio or video component’s performance. The Helix’s materials are not specified but appear to be a hard and non-sticky polymer underside encased in an aluminum top section. Helix is specifically designed for use with components that have stiffer (plate and billet) metal chassis construction and yields targeted performance improvements when used in conjunction with the HRS Isolation Bases.<\/p>\n

The HRS Helix was designed specifically for use with HRS Isolation Bases. Using the HRS Helix in conjunction with another shelf that does not have the same capabilities as the HRS Isolation Bases can limit the performance benefits achieved by the Helix. As with the Nimbus, the Helix can be used in combination with HRS Damping Plates. While the Helix significantly reduces bottom chassis noise, the Damping Plates will work to reduce top chassis noise in the component.<\/p>\n

The Helix is produced in a very low-profile design, completely invisible under most components, so it is ideal when you wish to maintain the original look of the component. This product is available only in a single variant but thanks to its adjustable Stainless Steel centerpiece it will fit a wide range of audio components. As with the other HRS products, the model number incorporates the size, in this case, the height. The HLX-090 has a .90″ ~ 1.1″ height, which is 2.3 ~ 2.9 cm. Depending on the size of the audio component, 3, 4, or 5 Helix footers can be used.<\/p>\n

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Vortex System<\/h3>\n

The Vortex System is designed specifically to obtain maximum performance from audio components designed with a stiffer chassis construction. A stiffer chassis is one that is constructed from plate or billet metal parts rather than a standard sheet metal construction. The Vortex is designed to be placed in direct contact with the component’s chassis, not under existing component feet, with the point in direct contact with the HRS Isolation Base and the large diameter in direct contact with the component chassis.<\/p>\n

The Vortex is comprised of a Stainless steel topside and a custom hard polymer-like material underside. The custom material interface within the Vortex steel outer case is developed by HRS specifically for the Vortex primary interface and is optimized to push the limits of resolution and dynamics without brightness, fatigue, or high-frequency noise. The Vortex also contains a second custom internal element that dissipates the chassis energy as it passes through the Vortex\u2019s non-magnetic stainless steel housing along a specific length path allowing the internal parasitic element time to deplete the energy and prevent it from returning to the system.<\/p>\n

The Vortex system is available in two versions, the V-150 standard version with a fixed height of 1.5″ (3.8 cm), and the adjustable V-150A which allows a subtle height adjustment for precise leveling calibration purposes. Depending on the size of the audio component, 3 (all fixed), 4 (1 adjustable), or 5 (2 adjustable) Vortex footers can be used.<\/p>\n

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Damping Plates<\/h3>\n

Damping Plates are used on top of audio components to reduce chassis noise. They are precision manufactured from billet-machined aircraft aluminum and proprietary HRS polymers. A very specific amount of mass, stiffness, and damping from these products eliminates chassis resonance problems and transforms residual chassis energy into heat.<\/p>\n

As with other HRS products, the product type indicates the size. For instance, DPX-05545 indicates a Damping Plate with a size of 5,5 x 4,5″. The Damping Plates are available in three sizes and two thicknesses. The thicker variant is 1.3″ (3.3 cm) while the thinner variant is 0.7″ (1.8 cm).<\/p>\n

For this review, I was supplied with all three available sizes of the thicker variant: DPX-05545 (14 x 11.4 x 3.3 cm), DPX-09545 (24.1 x 11.4 x 3.3 cm), and DPX-14545 (36,8 x 11,4 x 3,3 cm).<\/p>\n

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HRS SXR rack with CH Precision P1 Phono Stage. Thanks to the cavity in the rack’s supporting structure, a thick HRS Damping Plate fits perfectly. In situations where there is less vertical space, the thinner Damping Plates will be ideal.<\/em><\/p>\n

Next: EXR Rack Assembly<\/p>\n

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Rack Assembly<\/h3>\n

And now, let’s dive into my HRS EXR experiences, starting with the assembly of the Audio Stand as Reference Sounds’ Nick Spier turns an EXR-2121-1V (a single-panel amp stand) into an EXR-2121-2V (a dual-panel rack).<\/p>\n

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In the above picture, Nick has just removed the short struts from the Amp Stand and is inserting 12″ struts so that another panel can be added.<\/p>\n

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There is a soft polymer ring between each side of the struts and the frame mounts.<\/p>\n

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Locking Washer Nuts (to secure the panels), Point Footer Screws (used for single-panel Amp Stands), Washer Nuts (to secure the Point Footers), and Point Footers.<\/p>\n

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When the 4 struts are in place and each is fitted with a polymer ring, the next panel can go on top.<\/p>\n

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The three elements are shown in order of application, right to left: first, the Locking Nut, then the Washer Nut, and then the Point Footer.<\/p>\n

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The Panel Locking Nut is screwed down until it contacts the polymer ring, then given another 1\/4 to 1\/2 turn using the supplied custom nylon wrench.<\/p>\n

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Then, the Washer Nut is screwed on top until it loosely contacts the Locking Nut, and used later for securing the Point Footer.<\/p>\n

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After that, the Point Footers are screwed on just until they contact the washers. It is advised not to torque the washers or Point Footers tightly.<\/p>\n

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Next: Review Context and Listening<\/p>\n

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Review Context<\/h3>\n

The HRS rack, footers, and Damping Plates were listened to in the main system<\/a> that consists of the CH Precision C1.2 DAC<\/a>, CH Precision L1<\/a> preamplifier and CH Precision A1.5<\/a> power amp, with Magico S1 MkII speakers. Digital sources include the Aqua La Diva M2<\/a> CD transport, Grimm MU1<\/a> and Antipodes K50<\/a> Music Servers both running Roon, and the Taiko Audio Extreme music server, running XDMS. Racks and platforms for comparison include the Artesania Exoteryc<\/a>, Artesania Aire Platform<\/a>, and Artesania KSH2 Krion shelves.<\/a><\/p>\n

I started my listening session with the Aqua La Diva M2 CD transport as the first test subject. The La Diva M2 normally sits on an Artesania Aire platform with the optional Carbon Linear Arms and a KSH2 shelf on top. The CD transport’s compliant feet are bypassed using StillPoints Ultra SS V2. As can be read in my latest assessment of the La Diva M2<\/a>, this solution provided the most incisive, expressive, and lively rendition.<\/p>\n

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Listening<\/h3>\n

Upon first listening to the La Diva M2 on the EXR rack, while still using StillPoints, I recalled Michael speaking of calmness and quiet as striking factors of the HRS products. But that’s not what was most striking about the rack’s performance for me. Rather, I found the EXR rack to sound remarkably<\/em> solid, articulate, precisely chiseled, energetic, incisive, lively, and expressive. Of course, any impression depends on your starting point, and where you are coming from. In my case, coming from the Artesania Exoteryc rack, the sound was already delicate, refined, and far from rough or restless, meaning that this sonic aspect did not stand out. Well, not at first, at least. But I will get to this further down.<\/p>\n

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By comparison, the Aire\/KSH2 combo provides an airier and more free-flowing, arguably more organic presentation. But the Artesania racks have never been champions of incisiveness, punch, or all-out dynamic impact. You could say they are gentleman-like, nuanced and introspective while refraining from being offensive. I’ve always accepted this as an aspect that I could live with, given that other racks had deficiencies in other areas that bothered me much more. Ultimately, other racks never delivered an overall structurally better performance. But what I was hearing from the HRS EXR had me really excited and I wondered, could this rack truly be universally<\/em> better?<\/p>\n

On the HRS rack, the Aqua player now certainly had a drive, propulsion, and dynamic impact that I had not heard it produce before. The sound was beautifully grounded and full-bodied but not colored in any way and neither was it thick or boomy, not even in the slightest. However, still on the StillPoints, I did feel that the sound was now perhaps a little too tight and arguably a little dry and this prompted me to try the HRS Footer products.<\/p>\n

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Vortex Footers<\/h3>\n

Highly motivated by such a great start, I now wanted to shoot straight for the top. So, I went directly for the top-tier Vortex Footers (569 euros each) and positioned them underneath the Diva M2 instead of the StillPoints. These Footers may cost a dear penny, but oh my, they made a very profound difference!<\/p>\n

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Going from StillPoints to Vortex Footers adds a subtle measure of smoothness and is not so much more detailed or more transparent but it is musically so much more meaningful, and immediately more engaging on an emotional level. Bass is fuller, tonality is more saturated, and the music breathes more freely. It’s a strange sensation for a person like myself who is quite preoccupied with transient behavior to find that vocals and instruments alike actually sound more realistic with footers that are not necessarily as hyper-detailed as some others. Somehow, it now does not matter. The bass lines underpin the music entirely freely and the notes are still as easy to follow, but now there is a more human<\/em> aspect to it. The bass was now a little less incisive but it was certainly no longer dry or overly tight and still fast and articulate. Oh, and the bass seems to go deeper too! Mind you, it’s definitely not thick or boomy and certainly no loudness-like effect, but the deepest bass notes are somehow allowed to develop more fully.<\/p>\n

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The new balance with Vortex Footers reminded me of the natural warmth and smoothness of the standard edition Exoteryc rack with its steel arms and neoprene dampers (sans optional Carbon arms and beechwood dampers) but now with greatly enhanced tightness, incisiveness, and propulsion. Of particular notice was the increase in soundstage size. The extra depth in particular was unbelievable and had to be heard to be believed. In addition to an increase in size, the instruments also took positions further to the back while vocals or center-staged main instruments stood beautifully rock-solid in front of the speakers. And this, combined with the enhanced flow made for an emotionally deeply engaging performance.<\/p>\n

Somehow, the HRS rack manages to sound pure and clean without overlaying any character onto the sound and with great solidity, dynamic impact, drive, and propulsion, without ever tipping over into a lean or analytical delivery. Specifically, the HRS rack reveals every bit as much information as the best racks I have heard while improving on them as well as refraining from introducing any new deficiencies. How about that?<\/p>\n

To be fair, the Exoteryc combo injects the music with even more fluidity and air, leading to a floatier and more ethereal delivery that is even dreamier and more delicate. The HRS rack on the other hand is decidedly earthy and concrete and, when used without HRS footers, very honest, which I value very highly, but comparatively drier and more sober. But arguably its strongest asset, and what really pulls me across the line, is that the HRS rack remains pure and clean and does not add any character of its own. So many racks add a certain coloration to the sound and so many others remove aspects of the sound. But not the HRS EXR!<\/p>\n

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Helix Footers<\/h3>\n

Having started with HRS’ very best Vortex Footers, I just realized I’d painted myself right into a corner. Now, there’s nowhere to go but down, or is there? The Helix footers are very flat, but they can still be used with the Aqua player thanks to their center spike that can be unscrewed quite a bit. Of course, their narrow profile is actually the point of this model’s HRS footers, to be almost invisible underneath an audio component. At 219 euros each, the Helix demands only a third of the cost of a Vortex but it provides a good portion of what the Vortex Footers do, mixed with a very relaxed lushness and a good dose of smoothness. The Helix footers are not as fast and articulate as the StillPoints and not as supremely well-balanced, lively, and expressive as the Vortex footers, but they do not take away any resolution and provide a beguilingly liquid sound.<\/p>\n

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Nimbus Footers<\/h3>\n

The third and last HRS Footer option is the Nimbus. Upon first inspection and feeling their very compliant top and bottom sides that in softness and stickiness reminded me of Sorbothane or the Aqua components’ own feet, I could not prevent a mental picture from forming in my head of thick and undefined sound. But as it turned out, the Nimbus footers do not sound at all rubbery, thick, or fat, but actually very well-balanced, with the La Diva M2 arguably more so than the Helix. They do sound calmer, with apparent lower pacing, less propulsion, and less spritely transient behavior than with the Vortex footers, but they have a great flow which makes them “musical”, and emotionally appealing. And just as with the Helix footers, there is no reduction in resolution and no chance of dryness.<\/p>\n

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As I continued my experiments using other audio components, I found that I always had a preference for the Vortex footers. But when it comes to the Helix and Nimbus, the most successful marriage really depends on the component that is used. To my surprise, and contrary to my initial instinct, I generally preferred the Nimbus over the Helix.<\/p>\n

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For completeness, I also tried the Finite Elemente Cerapucs<\/a>, which pulled the sound toward very solid and chunky. It was certainly very ballsy but lacking finesse and air, quite the opposite of the StillPoints, really. I would definitely recommend the StillPoints over the Cerapucs in this combination but neither footers were comparable to the Vortex footers.<\/p>\n

Next: Continued Listening using other Audio Components<\/p>\n

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Continued Listening using other Audio Components<\/h3>\n

What’s so great about HRS’ modular approach is that the choice is ultimately left to the end user. No matter if you buy just a set of footers, an isolation platform, or an entire rack, you are always free to select the footer of your choice meaning that you can perfect the balance for every audio component individually.<\/p>\n

As my tests progressed, I involved ever more components. First, the Grimm MU1 music server. Below is how I normally use it: on top of an Artesania KSH2 Krion shelf that sits on the Exoteryc rack’s Linear Arms of an Artesania Aire platform, similar to how I normally use the Aqua La Diva M2 player. Because the Grimm does not sound quite as natural as the Aqua player, lately I’ve been using Artesania Beechwood discs to subtly enhance its timbre.<\/p>\n

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The MU1 is a small and lightweight unit that has no moving parts inside. Yet, when placed on the EXR rack, it responded in exactly the same way as the Aqua CD transport. And once again, I found the ideal balance with it on three relatively huge Vortex footers.<\/p>\n

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Again, the Vortex footers massively<\/em> increase the soundstage depth, and believe it or not, just as with the La Diva M2 transport, they also enhance the clarity of the deepest bass notes. Oh, and it also produces the emotionally most involving presentation. The large discs may seem like overkill under such a tiny box but the combination sounds absolutely great!<\/p>\n

With the Grimm, the Nimbus is better balanced than Helix and sounds really quite nice! But for me, the reduction in propulsion and liveliness compared to using the Grimm with its own feet is not worth the increase in calmness, transparency, and serenity. Of course, that will be a very personal matter.<\/p>\n

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What also works remarkably well with the Grimm, on the Artesania Krion Shelf as well as on the HRS EXR rack, are Ansuz Darkz<\/a> footers, in this case, the Stainless Steel S2T footers provide a wonderfully solid, spritely, direct, and focused sound.<\/p>\n

But wait, the Aqua and Grimm are lightweight units. Would the result be different with very heavy audio equipment? To answer that question, I asked a friend to help me lift the 42kg-heavy Taiko Audio Extreme Music Server onto the HRS rack. Built out of very thick aluminum panels and with lots of internal bracing, this is an enclosure that hardly rings and certainly does not flex.<\/p>\n

Before explaining the sonic impact, I should mention there is a difference in the starting point with the Taiko server. Unlike the Grimm and the Aqua for which I use KSH2 Krion shelves on top of the Exoteryc rack’s Linear Arms, the Taiko Extreme sits directly on the beechwood discs of the Carbon Fiber Linear Arms of the Exoteryc rack, just like the CH Precision Components.<\/p>\n

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After the move to the HRS rack, surprisingly, the Extreme does not sound all that different initially. The midbass and lower midrange are again more solid and expressive with the HRS rack which adds more of a “live” sense to vocals and better propels them out from the mix, but the overall difference is subtler than with the Aqua and Grimm. This adds to my longer-standing suspicion that the Exoteryc rack works better with heavier components than very lightweight components. Meanwhile, the EXR rack seems to work with any component weight.<\/p>\n

Adding Vortex footers, however, makes a world of difference. Now, the Taiko Extreme Server sounds significantly better on the HRS rack, altogether sounding more alive, expressive, and realistic. And again, with the same high resolution, and without sacrificing even an ounce of smoothness or flow. The sound is just as natural but more neutral, precise, and linear. I have to confess that I did not think this was possible. As mentioned, so far, audio racks have always been something of a compromise, weighing certain aspects versus others, forcing the user to choose the balance of virtues that best matches the system and personal preferences. But not this time, apparently!<\/p>\n

I also tried the Helix footers with the Extreme and that led to a sweeter, rounder, and more relaxed sound that is not as articulate and expressive as with the Vortex Footers, or when using the server on its own aluminum\/tankwood footers, for that matter. Since I heard the same effect with the lightweight Aqua and Grimm units, one could conclude that my preference for the Vortex footers is more a matter of taste than one of component synergy. But of course, YMMV (your mileage may vary), in other words, please, and by all means, try it for yourself.<\/p>\n

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Finally, I turned to the Antipodes Oladra music server. With its extremely thick and heavy casework, one might expect it to be less susceptible to what it is placed on. But I also thought the same of the Taiko server and pretty much the inverse turned out to be the case. The Oladra’s top section is milled from a solid block of aluminum but its bottom plate, onto which the motherboards are built, is standard thickness aluminum or steel plate, likely the latter. The Oladra’s own footers are no afterthought but a proprietary sandwich of two different metals with a thick polymer between them, seemingly<\/em> not unlike the Helix and Vortex construction. I must confess to wondering if the HRS footers would still prove to have as much influence here as they did before.<\/p>\n

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But sure enough, there was a difference, and it was not small! I wish no disrespect for the beautiful Oladra footers but apparently, the Vortex Footers either do a better job or simply work more synergistically with the HRS base. While both footers seem to employ a similar structure, combining hard and soft materials, it sounds as though the Oladra footers isolate and decouple more than the Vortex Footers. The HRS footers provide a tighter, faster, crisper, more articulate, and more lively and expressive sound, whilst retaining the server’s alluring liquidity and flow. The server’s own footers, on the other hand, further accentuate the smoothness, richness, and flow which could be an entirely valid alternate route to take if so desired.<\/p>\n

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I also tried the CH Precision C1.2 DAC and L1 preamp on the EXR rack, but for some reason, no matter what footers I tried, I could not achieve the same synergy as with placement directly on the Carbon Linear Arms of the Artesania rack. The CH components are inherently very neutral and linear, and with the Exoteryc rack, I have obtained a great balance between sobriety, neutrality, delicacy, fluidity, and air. On the EXR, the sound moves more to the dense and ponderous side, removing a measure of finesse and flow in the process.<\/p>\n

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Apparently, there is a special interaction between the CH Precision components and the Carbon and Beechwood coupling on the Artesania Exoteryc rack. Given earlier experience trying other platforms with the CH Power amp, I now suspect the CH Components’ own footers provide a balance that is too far from what I find to be ideal in my system. But even so, I could not achieve an ideal balance with any of the HRS Footers. Perhaps, with the addition of an HRS R3X or S3 Isolation Base and matched SF2 footers, I might be in for another surprise!<\/p>\n

Using Footers Upside Down<\/h3>\n

Just for completeness (actually by mistake, but don’t tell anyone) I also tried the Vortex footers upside-down. While this makes them easier to position, it is important to note that you do lose a portion of the sound quality! Upside down, they sound smoother and fuller (which in some cases might not be a downside) but the other side around (the right side, with the point down) leads to a decidedly tighter, nimbler, faster, and more expressive sound.<\/p>\n

Next: More Experiments and Adjustments<\/p>\n

<\/p>\n

HRS Footers with Artesania<\/h3>\n

Now, I wondered, how would the HRS Vortex footers work on top of the Artesania KSH2 Krion shelf? Would we be able to transfer some of their sonic qualities to another brand rack? Well yes, indeed we are, as it turns out! On top of the Artesania shelf, there’s the by now immediately recognizable effect, in part comparable to the effect the footer has on an HRS rack. The Vortex brings fuller bass, deeper tonal saturation, and broader soundstaging whilst retaining focus. In a direct comparison, the Vortex footers make the StillPoints sound comparatively lean although the latter do sound more articulate and expressive. I’m not sure if the match is ideal, however, as the overall balance also leans over a little to the overly relaxed side.<\/p>\n

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I used stainless steel discs to avoid damaging the Krion panel<\/em><\/p>\n

It’s entirely possible that the Krion shelf or the Artesania rack itself do not mate ideally with the Vortex’s design. Still, interestingly, while the StillPoints are most articulate, the Vortex footers once again seem to make the bass go deeper. Note that it’s not just a solidifying or thickening but an actual more robust behavior at the deepest frequencies.<\/p>\n

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I also tried the Helix and the Nimbus footers on the Artesania rack and the results were in line with my earlier experiments using the HRS EXR rack.<\/em><\/p>\n

Ultimately, what is obtained this way is a hybrid sound with more body and substance but not entirely the solidity or dynamic impact of the full HRS solution. So, while I certainly encourage trying HRS footers with other brand racks or platforms, the Vortex on Artesania, or the Nimbus or Helix, for that matter, is not equal to a full HRS solution.<\/p>\n

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Top level versus bottom level<\/h3>\n

In comparing the EXR’s top level to its bottom level, I found differences, but compared to many other racks, they turn out rather small. Basically, the top level sounds a little airier, more expansive, and free-breathing while the bottom level sounds a little more controlled. We’re definitely not talking about extremes and unless directly comparing, the difference is not worth obsessing over. I would certainly be happy to use either position for review assessments.<\/p>\n

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The EXR Point Footers on top of Artesania ISBAWB 100 Floor Discs with Nylon inserts<\/em><\/p>\n

EXR Rack Point Footer Adjustment<\/h3>\n

After moving the EXR rack to a different position next to one of the heavily loaded Artesania racks, one of its Point footers needed readjustment due to the laminate floor compressing the underlayment and bulging just a little more. After readjusting the Point footers and tightening the washer nuts for good measure, I discovered that this had a rather large influence on the sound.<\/p>\n

Just as that penny dropped, I recalled having read about it in the instruction manual where it says “Do not torque the washers or Points tightly”. I guess this also goes for the tightening nuts.<\/p>\n

With the Point Footers screwed all the way up and the washer nuts tightened, the sound was very noticeably tighter and more controlled. But because the rack has plenty of tightness and control of its own, I feel it sounds more balanced, more spacious, and more atmospheric when the footers or washer nuts have been only gently tightened, or even not tightened at all. The latter is to be preferred if the objective is to obtain the airiest, most enveloping soundstage experience. Of course, as with my footer preference, YMMV, but it is good to be aware of this.<\/p>\n

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Floor Discs<\/h3>\n

Before I proceed to the HRS Damping Plates, I need to discuss one more final variable. Optionally, HRS can provide Floor Protection Discs but these were not included along with my review sample. The rack’s Point footers are rounded and not very sharp so I don’t think they will very easily damage the floor. But even though my floor already features plenty of dents and holes, I’d rather not create any more.<\/p>\n

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Besides preventing damage to the floor, I felt it best to treat the HRS rack the same as the Artesania racks by using the same Floor Discs underneath. The same, in this case, refers to the Artesania ISBAWB 100 Floor Discs<\/a> which are supplied with Exoteryc racks along with three different inserts of which I use the Nylon insert under all Exoteryc and Aire racks. This is how the EXR rack has been judged so far.<\/p>\n

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Earlier experience has shown that Floor Discs, as unimposing as they may appear, can have a significant influence on the sound, so I felt it important to also listen to the EXR rack using two other discs.<\/p>\n

Searching my inventory, I found two kinds of basic Discs. First, flat black discs of undisclosed metal that were originally delivered along with a Finite Elemente Spider rack, and second, smaller yet taller Stainless Steel discs that were originally delivered along with a SolidSteel rack. Of the two, I suspect the flat black discs may be closest to the discs that HRS supplies.<\/p>\n

\"\"<\/p>\n

Going from the large Artesania Discs with nylon inserts to the small flat black discs had an immediate effect on the sound, certainly not as profound as the influence of the rack itself, but definitely audible. Compared to the Artesania discs, the flat black discs provided leaner, tighter, and purer, more direct if arguably soberer sound.<\/p>\n

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Going from the flat black discs to the taller Stainless Steel discs provided a more impactful bass and a fuller lower midrange whilst retaining the purity. The Artesania discs, by comparison, provide a more relaxed, fluid, and refined sound but with less robustness and bass drive. Given that the results are all good and equally valid, and system synergy will dictate what’s ultimately ideal, I cannot really decide on a single best solution. But in light of the sonic differences, iI will say it is definitely worth experimenting with to see what works best in any given situation.<\/p>\n

Next: HRS Damping Plates and Conclusion<\/p>\n

<\/p>\n

Damping Plates<\/h3>\n

\"\"<\/p>\n

As I applied the mid-size Damping Plates to the La Diva M2 CD drive, all of a sudden, Michael’s earlier remarks of calmness and quiet made sense. With the Damping Plate on top of the left side of the player’s chassis, the CD spinner did indeed sound calmer and more composed. The sense of urgency and vitality was slightly reduced but not the level of detail. In fact, I felt that the transparency had increased.<\/p>\n

\"\"<\/p>\n

I also tried the smallest of the Damping Plates on top of the player’s sliding lid. Surprisingly, while this had a similar effect, it was smaller than the effect on top of the player’s chassis. On the whole, I must say I preferred the more lightfooted and expressive sound of the player sans Damping Plate, even if it was less clean and composed. I’ll admit to having expected this outcome as my system in general does not seem to work ideally when any kind of damping is applied which is why you don’t see any Artesania dampers on my components. But before jumping to a final conclusion based on experience with a single audio component, I felt that further experimentation was necessary.<\/p>\n

\"\"<\/p>\n

More for the sake of completeness honestly rather than really expecting much, I placed the largest of the Damping Plates on top of the Antipodes Oladra Server, positioned front to back. You see, the Oladra’s casing is horizontally subtly curvy which makes the Damping Plates float at the extremes if placed left to right.<\/p>\n

To my astonishment, this made an unexpectedly large difference, and a very positive one, too! The presentation is again calmer and less boisterous but not overly so and now with a very clearly cleaner upper midrange and treble. It’s as if the Damping Plate removes detrimental resonances to create more room for nuances in the upper mid and treble. Actually, this is probably exactly what happens, but now, it also sounds that way! There’s now undeniably higher resolution in the midrange and treble leading to a higher level of distinction of all the subtle sounds that are in the mix. Before, the sound was arguably bolder or punchier but more lumped together and more brash. Now, I definitely preferred the sound with the Damping Plate on top.<\/p>\n

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Having obtained such a good result, I wondered what would happen if I added more Damping Plates to the Oladra’s top. As it turned out, having all three Damping Plates in place works just as well as using only the larger of the three. It’s not better, but also not overdamped, as I was expecting.<\/p>\n

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Going to the other end of the scale and using just the smaller one instead of the larger one does lead to a slightly crispier and more lively sound, which I prefer. So, it appears there is an optimum which can be found empirically, by just trying it out. I’m sure the precise position of the Damping Plate would also matter but I did not go that far because it will be different for every component anyway.<\/p>\n

And now for something that I really did not expect. As part of the Artesania racks I also have Artesania dampers that are supposed to be used on top of audio components, just like the HRS Damping Plates. But as mentioned, I’ve never had much success with this in my system. After the surprisingly positive impact of the HRS Damping Plate on top of the Oladra, I wondered how an Artesania damper would perform comparatively. I figured that they would do similar things, although I had mild reservations due to the different interface material that is used. Whereas the HRS Damping Plate has a very compliant and slightly sticky polymer, the Artesania damper has a Neoprene layer which is considerably more solid.<\/p>\n

As I swapped the dampers, I felt my jaw drop as I exclaimed Whaaat? Really? Immediately, I replaced the HRS Damping Plate only for my observation to be reinforced. Interestingly, both dampers really do indeed dampen the component. I verified this by rapping the Oladra’s top side with my knuckles first without a damper and then with either the HRS or the Artesania damper. In spite of its thick and hefty enclosure, the Oladra server rings when rapped and both dampers kill the resonance seemingly<\/em> equally effectively, making the knocks sound duller, shorter, and quieter.<\/p>\n

But the real difference is in the effect on the music. With the Artesania damper, there’s a quieting of boom and a calmer sound, which in itself is a good result. But with the HRS Damping Plate, we get the same result, as well as a significant increase in transparency, clarity, and resolution. I repeated the experiment twice because I still could not believe it. But sure enough, the described differences are real.<\/p>\n

So, what does the Oladra sound like undamped, I hear you ask? Well, “untreated”, the server sounds a little more exuberant and impactful but also rougher, less revealing, less well-resolved, and arguably a little “shoutier”. To be fair, it still sounds really good without any treatment, but it’s significantly enhanced by using the HRS Damping Plate.<\/p>\n

I have to hand it to HRS: this exercise was enormously illustrative of just how effective their methods are. It also underlines the importance of a systemic approach: starting with the Audio Stand System, using the Vortex footers, and topping it off, quite literally, with a Damping Plate. As always in audio, it remains important to keep an open mind and simply investigate all variables, even those that may seem unimportant or superfluous.<\/p>\n

Conclusion<\/h2>\n

As I have come to understand and accept at some point during my many years in audio, there is no one-stop solution. The best way to optimize a system is by zooming in to the component level and applying measures as needed. The beauty of the HRS system is that this is precisely what it allows to do whilst still keeping things very simple.\u00a0This systematic and modular approach, the purposeful yet stylish appearance, and the sheer solidity, precision, and expression that the rack injects into the music whilst remaining utterly neutral and transparent combine into an irresistible combination.<\/p>\n

A big surprise was to find that an HRS Damping Plate is not just applicable for audio components with thin chassis, but it can actually work enormously effectively with very thick, solid, and heavy chassis.<\/p>\n

Sure, even though the EXR Audio Stand is HRS’ most economical solution, it’s not pocket change. But compared to the serious alternatives out there, they do offer very good value for money. In fact, I was so impressed by the performance that I decided to order two 3-level EXR Audio Stands to function as my new reference racks.<\/p>\n

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External Links<\/h3>\n

www.referencesounds.nl<\/a>
\nHRS website<\/a><\/p>\n

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