HRS Company Intro

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Company!Introduction!

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Harmonic Resolution Systems
2495 Main Street Suite 227
Buffalo, NY 14214

KEY CONTACT LIST

Sales Advisor:
Brad O’Toole
207-229-6563
[email protected]

Inside Sales:
Emily McArdle
716-873-1437
[email protected]

Technical Support:
Mike Latvis
716-818-0277
[email protected]

Marketing:
Becca Kocent
716-873-1437
[email protected]

______________________________________________________________________________________

Phone: 716-873-1437 Fax 716-873-1434

E-Mail: [email protected] Website: www.avisolation.com

Table of Contents

1.  Company History and Background
2.  Company and Product Information
3.  Marketing and Advertising Information
4.  Sample of Recent Review
5.  Product Literature
6.  Price List
7.  Order Instruction Guide

Company History and Background

VXR-1921-2T2T2-S (Silver) featured in Munich German Dealer Show Room

Company History and Background

Mission Statement
Our goal at Harmonic Resolution Systems, Inc. is to manufacture the finest audio
products in the world and deliver to the customer(s) the highest performance, build
quality, service, and support possible. With the teamwork of our dedicated staff, we
will strive to achieve the highest level of excellence in our products and services.
Our company will constantly improve manufacturing process and capability,
product design, sales literature, sales approach, marketing and our retail and
distribution agent relationships.

Pair of Custom Burgundy Anodized
VXR-1921-2V

Company History and Background

Management Skill

Mr. Michael Latvis grew up in New Hampshire and played trumpet starting in
elementary school. He has always had a love for music and audio systems and
started building audio systems and collecting music in his early teens. He designed
and built his first turntable isolation system in high school around 1977 prior to any
formal engineering education. Mr. Latvis has a Bachelor’s Degree in Engineering
from Rochester Institute of Technology in Rochester, NY and has completed many
graduate level courses in Engineering, Statistics, and Engineering Management. Mr.
Latvis has also completed thousands of hours in additional professional training
with primary focus on CAD/CAE software, FEA analytical techniques, Geometric
Dimensioning and Tolerancing, Manufacturing Process, and Statistics. Mr. Latvis
has 37 years experience in design, development and manufacturing of products
related to the following industries.

1. Nuclear Power Systems Inspection
2. Helicopter Rotor Bearing, Engine, and

Transmission Vibration Isolation Systems
3. Servo Valve and Fuel Control Systems
4. Interior Noise Reduction and Vibration

Isolation Systems for Commercial Aviation
5. Army and Navy Weapon Systems Shock and

Vibration Isolation Products
6. Industrial Computers and Electronics

Vibration Isolation Systems
7. High End Audio Isolation Systems and

Resonance Control Products
8. Audio Speaker Driver Design



Mr. and Mrs Latvis Receiving Product of the
Year Award 2016 for RXR Audio Stand

Company History and Background

Management Skill Continued
Mr. Latvis has held a number of key positions during his professional career including
Design, Engineering, Senior Engineering, Engineering Management, and Business
Development Management. These positions were held with industry leading control
systems and vibration isolation systems companies. He has four issued patents related
to shock, vibration isolation, and audio products and currently has two more patents
pending. He has published and presented a number of papers related to vibration and
noise control products in various industries.
Mr. Latvis founded Harmonic Resolution Systems (HRS) in 1999 to focus on the
development of reference level products specifically for high-end audio and video
equipment market. Today, HRS is a recognized industry leader for reference level
audio stands, isolation systems, and audio resonance control products. Mr. Latvis is
currently President, Owner, and Chief Engineer of Harmonic Resolution Systems Inc.



R3X and S3 Isolation Base Production Area

Company History and Background

Production Facility
HRS operates a professional manufacturing company in Western New York. All products
are manufactured in the United States. HRS’ industry leading performance is derived from
decades of engineering experience with audio, defense and aerospace systems. Each
product is manufactured by skilled craftsmen using superior techniques, exotic finishes
and proprietary materials. We have a dedicated group of production planners, inside sales
and office staff that work as a team to provide superior customer service. HRS runs our
business on an inventory pull system in addition to a forward looking forecast model. This
enables HRS to have all the standard products in stock so they can ship to the customer
within a few days to a few weeks after receipt of order depending on backlog and size of
order. We also are well known for building custom systems with special finishes or system
configurations. The custom systems are built to order and the lead-time depends on the
scope of the project, but are typically completed in about eight weeks after receipt of order.

RXR Audio Stand Production Cell

Company History and Background

Website
HRS has been designing and building reference level audio stands and isolation
bases for the past two decades. We have a complete product line that is focused
on offering our customer industry leading performance, excellent features, refined
style, modularity, and exceptional build quality. Our website contains a great deal
of information about our product line including:
www.Avisolation.com
•  Electronic versions of our printed literature
•  Electronic versions of our printed product manuals for each product
•  Contact information for our dealers and distributors
•  Links to our social media sites and direct mail listing


Custom Five Wide SXR With Bridge for Center Channel Speaker (US Customer Home)

Company and Product Information

Pair of Custom Burgundy Anodized
VXR-1921-2V

Company and Product Information

A Low Noise Floor Is Fundamental

A low noise floor is fundamental to great system performance. Over the past two
decades, HRS has built a complete line of high performance noise reduction products
represented by the finest dealers and distributors in the world. Each HRS product is
developed based on thirty-five years of technical experience, input from our listening
panel of engineers and musicians, then built by a team of expert craftsmen. Over thirty
industry leading audio companies use HRS audio stands at major events and to develop
new products. HRS has created one hundred sixty detailed process and quality control
procedures to ensure quality. All HRS products are manufactured in the United States
using superior techniques, exotic finishes and proprietary materials. HRS is dedicated to
producing the finest audio products in the world.

Company and Product Information

A Low Noise Floor Is Fundamental
HRS is comprised of a team of highly skilled engineers and technicians with many
decades of experience in design, development and production of isolation systems, custom
materials and precision mechanical systems. Our engineers hold a number of patents, have
presented technical papers, and have developed hundreds of products for audio, aerospace
and defense products related to mechanical structures, control systems, and shock and
vibration isolation systems.
At HRS, we look at the frequency response and critical performance criteria in a computer
long before we manufacture the first prototype product. It is then put through our rigorous
listening test protocol that is the final authority for every HRS product.

Silver Anodized SXR-1719-3T3 Featured in German Dealer Showroom

Company and Product Information

List of OEMs Using HRS Products for Major Trade Show and Factory Systems

Aesthetix* Joseph Audio*
AMG JPS Labs
Audio Research* McIntosh*
Avalon Acoustics*
Ayre Acoustics* MOFI
Bel-Canto Design* Musical Surroundings *
Boulder NAGRA
Brinkmann Audio* Rockport Technologies*
BSG Technologies* Roy Halee
Constellation Audio Shunyata Research*
D’Agostino
dCS* TAD Pioneer
Doshi Audio* Talon Audio
Elrod Power Technics
Harman International* Transparent Audio*
Jeff Rowland* Vandersteen Audio*
VTL*

*Indi cates company uses HRS at factory or company show rooms

Professional Audio Reviewers
(HRS Products in Long Term Use by Professional Reviewers)

Michael Fremer, Stereophile
Roy Gregory, The Audio Beat
Peter Roth, SoundStage!
Dennis Davis, The Audio Beat
Danny Kaey, Positive Feedback
Rebecca Chin, Audiotechnique
…and many more

Company and Product Information

Dealer and Distributor Focused
HRS products are only sold through our dealer and distributor network. HRS does
not sell any of its products through direct mail catalog or websites. We believe
strongly that the best systems are still built by industry professionals with many
years of experience working directly with the manufacturer for technical support on
product application and performance. HRS products are exclusively sold by the
finest United States Dealers (55 dealers) and International Distributors (34
countries).

RXR Audio Stand Natural Maple Finish

Company and Product Information

HRS Product Line Philosophy
HRS has developed a complete tool kit that allows our customers to build high
performance audio system(s) at different price points and to achieve unique levels
of system performance at each level. This approach is based on fundamental
science, experience, experimentation and confirmed with extensive listening tests.
The HRS approach includes many different technologies used at the correct
location in the system to significantly reduce the energy seen by the circuit. This
dramatically reduces the destruction that energy is doing to the signal quality. You
will find within HRS products the use of mass, grounding, constrained layer
damping, stiffness, frictional damping, isolation, decoupled mass damping, chokes
and energy reflective elements. It is a comprehensive approach that is adjustable at
specific locations in the systems to accommodate different components or
environmental requirements.



RXR-3V in Black Finish

Company and Product Information

HRS Product Line Philosophy

Our company follows the HRS value rule that targets providing exceptional
performance at 20% of the price of the component it is protecting. Our customers
have confirmed repeatedly that HRS delivers excellent performance value that
exceeds the proportional cost. Because high performance audio and video equipment
come in many different price points, the HRS product line follows suit given our
target price ratio. This is why there are three different price points of HRS Isolation
Bases and five different levels of HRS Audio Stand systems. It is a matrix approach
where any base can be deployed at any component location in any HRS frame.
Essentially you have infinite system price variability from our least expensive
product up to our reference.

The product line also includes custom footers that are designed for different chassis
construction. The Nimbus System was designed for sheet metal chassis and the HRS
Vortex was designed for metal plate and billet chassis construction that is becoming
more popular with higher priced components. The HRS approach allows you to
select isolation or grounding at each shelf location, select what footer (if any) that
will provide optimum bottom chassis noise reduction, and then decide what level of
top panel chassis damping (HRS Damping Plates) is optimal. Using the HRS tool
kit, the customer and system architect can make selections based on component
type, component construction and of course listening to the system for final
confirmation of the optimal solution.

HRS products have a wide range of adjustment built into them by design. This
provides the customer with the best long-term value. HRS Isolation Bases can be
converted from full broadband isolation to a constrained layer grounded design.
Should a component weight change dramatically, the HRS Isolation Base can be re-
optimized within minutes at the customer’s house for the new load requirement.
HRS Audio Stand systems can be expanded, reconfigured, and adjusted at any time
the system changes. HRS follows a strict code of performance, quality, and value
that makes every attempt to give the customer a cost effective solution as the system
changes.

Company and Product Information

Custom M3X Isolation Bases for Amplifiers

Company and Product Information

HRS SXR Audio Stand at CES 2016 (Voted Best of Show by many reviewers)
HRS VXR-1921-4T4 (Burgundy Finish)

Company and Product Information

Tiered SXR Audio Stand
Triple Wide MXR featured at Transparent Audio Show Room

Company and Product Information

HRS Recent Awards and Industry Recognition

At HRS, we strive every day for the highest standard, quality and performance.
It is always an honor when you receive industry recognition, and HRS is happy to
show you just a glimpse of some of our success.

this industry over the years…

•  Every year HRS attends many trade shows around the United States and world. Over
the span of the past six years, HRS has been voted Best of Show by The Audio Beat
and or The Absolute Sound too many times to list, including the 5 Best of Show
Rooms at CES 2017 alone!

(Rocky Mountain Audio Fest, CES, High End Munich, THE Show at Newport, AXPONA etc.)




•  HRS RXR Audio Stand named 2017 Rocky Mountain International High Press
Award winner for Racks and Supports a second time!

•  HRS RXR/R-Shelf Equipment Support System named Product of the Year 2016 by
The Audio Beat

•  HRS M3X Isolation Base named 2016 Rocky Mountain International High Press

Award winner for Racks and Supportsyear in a row!


•  HRS MXR Audio Stand received award for Overall Performance by Super AV hifi
magazine in 2014

•  HRS SXR Audio Stand, S1 Isolation Base, Damping Plate and Nimbus System were
all named Product of the Year by Ultra Audio in 2009

•  Featured in Recommended Components issues of Stereophile Magazine 2011-2018

Company and Product Information

HRS Customer Comments

M3X Isolation Base MXR Audio Stand Analog Disk
“Using the HRS Analog Disk
“I recently got my M3X
for my mono blocks. As “Clarity, micro dynamics and was the best result…I will be
much as I was expecting a dynamic contrasts; space using it on every play from now

mighty fine product, between instruments; the on.”
nothing had prepared me
pace of the music-all these -RM
for what I received.
Stunning workmanship… fundamental elements have M3X Isolation Base
just superior isolation.” greatly improved. Your MXR
System is an accomplishment “The M3X Isolation Base
-Will in the service of music and I under the turntable has
elevated vinyl to another
congratulate you!” dimension.”
-Claes -RH

Company and Product Information

HRS Customer Comments

Nimbus Products

MXR Audio Stand “I CAN’T BELIEVE how SXRC Audio Stand
much better the DAC sounds
“After further listening, “I listened to music after
all I can say is WOW! I with the top completely you left and was amazed
just cannot believe the covered in them.”
sonic difference. I will -CD at the improvements
over what I thought
at some later point M3X Isolation Base sounded pretty good.
describe what I hear. I Every aspect of the
first am trying to figure “I purchased a brand new M3X listening experience was
out how to pry my jaw Isolation Base. It has now been
improved.”
up from the floor!” under my Oracle Premiere -Alan
-Bob turntable for a few months; its
hard to imagine how I ever lived

without it.”
-TS

HRS SXR and SXRC Stand Display China Distributor Presentation Hong Kong 2017

Company and Product Information

HRS Customer CVomXmReAntusdio Stand with M3X Isolation Base

VXR Audio Stand with M3X Isolation Bases

“My impressions of the new VXR after just one week of listening- I am hearing
detail in recordings that I have not heard before. I have tried at least three different
and extremely high end phono stages and despite their obvious qualities, not one of
them offered the changes that this VXR system brought to my system. The base is
deeper and more accurate. The overall energy is greater. The system is "louder" set

at the same level as prior to install. The backgrounds are dead quiet. Overall
resolution and detail are a magnitude better. Overall, these racks are astounding.

Oh and they look awesome in the room. Thank you. Worth every penny and
more...”
-CF
California

Company and Product Information

HRS Reviewer’s Quotes RXR Audio Stand SXR Audio Stand

Isolation Base/Nimbus/ "Look at the engineering, “Adding the HRS SXR
Damping Plates the complexity, quality and improved my system’s focus
sophistication of the design and low level resolution, and
“The results of our listening test and materials involved, but lowered its level of background
were instantaneous and a above the completeness of
the thinking and solution on noise. Consumers, and
veritable ear opener. In addition manufacturers who, despite the
to added body and improved offer and the conclusion trouble and expense, schlep the
becomes self-evident: yes, it
imaging and focus, we all noted heavy MXR racks to hi fi
improved handling of really is real HRS, and in shows, had told me to expect a
real terms, in musical terms, greater sense of overall system
dynamics, and a significant coherence and solidity. Even so,
improvement in low-level it is inexpensive.” what I heard from the SXR was
information and inner detail. -Roy Gregory far more profound than anything
With Harmonic Resolution The Audio Beat I’d anticipated. I am buying a
Systems, nothing seems to have Harmonic Resolution Systems
been left to chance, as they
functioned well beyond our SXR rack.”
-Michael Fremer
expectations.” Best Audio Products Guide
-Marc Mickelson
Stereophile
Soundstage

Marketing and Advertising Information

We are readily available to assist you with your marketing endeavors. Our extensive
library of hundreds of high resolution product photographs and vectored logos is at
your disposal. Also available to you are our existing advertisements and banner
files in Adobe Illustrator format. Please contact the HRS Marketing Department
with requests for these supplemental marketing materials at any time.

HRS Current Marketing Campaigns:
•  Full page advertisements in Stereophile and The Absolute Sound. We advertise

a minimum six issues per year with each publication. (Please see full page
advertisements attached)
•  Company events, dealer events, new product announcements and tradeshow
announcements updated on company Facebook page
www.facebook.com/HarmonicResolutionSystems/
•  Monthly email marketing materials sent to dealers, distributors and customers
regarding products, packaging, technical information and company event
updates. (Please find example of email marketing example attached)
•  Online advertisements with The Audio Beat.









VXR amp Stand

a Low Noise Floor Is Fundamental

Reference level amplifier stands custom built for every amplifier in the World

Pictured: Custom VXR Amp Stand designed for the Dan D’Agostino Master
Audio Systems’ Relentless Monoblock Amplifier (22.5” w x 32.5” d and 570 lbs)

n Custom reference level design is specifically set by our n VXR Amplifier Stands can be configured with HRS
HRS engineering staff for each amplifier model to achieve broadband isolation stage, narrowband isolation stage,
maximum performance. or grounded elements to optimize performance
for different types of components and environments.
n HRS exclusive patented VXR modular architecture
provides a wide range of frame widths and n Available in both vertical and horizontal configurations
depths allowing a custom fit for any amplifier size. when more than one amplifier is being used in the
system. Any existing single wide amp stand can also
n Produced in high quality black, silver or custom anodized be expanded after initial purchase to vertical and
finish per our stringent HRS anodize process. horizontal configurations.

n Frame is level adjustable to produce even n Like other HRS products, any VXR Amplifier Stand can
contact pressure with the floor at each location. be rebuilt at any time to be re-optimized for a different
component model, thus offering lifetime enjoyment.

A low noise floor is fundamental to great system performance. Over the
past TWO decades, HRS has built a complete line of high performance
noise reduction products represented by the finest dealers and
distributors in the world. Each HRS product is based on THIRTY-FIVE years
of technical experience, input from our listening panel of engineers and
musicians, then built by a team of expert craftsmen. Over THIRTY industry
leading audio companies use HRS audio stands to develop new products
and use at major events, winning numerous Best of Show awards. HRS
has created ONE HUNDRED SIXTY detailed process and quality control
procedures to ensure product quality. With this history as our foundation,
we introduce the HRS Reference Level VXR Amp Stand.

Visit AVisolation.com to learn more about HRS high performance audio products.
716.873.1437

Read Roy Gregory's

(The Audio Beat)

rave review of the
HRS RXR Audio Stand & R-Shelf!

"...a remarkable and remarkably cost-effective
performer..."

"The RXR frame is a brilliant performer, made all the
more impressive and relevant by the creation of the R-

Shelf to go with it. But it also offers the option to
incorporate the more sophisticated isolation options
from further up the range, in a targeted or even in a

general way."

-Roy Gregory
Audio Beat, December 28, 2016

"While it is remarkably
affordable for the

performance delivered and
the fundamental musical
foundation it provides for
your system, there's nothing
second-best about using the

RXR and R-Shelf. Its
performance stands head and

shoulders above more
affordable (and quite a few,
far more expensive) options."

"Soundstaging, instrumental focus and dimensionality were
all much more clearly defined, more coherent and more
natural."

"Look at the engineering,
the complexity, quality

and sophistication of the
design and materials

involved, but above the
completeness of the

thinking and solution on
offer and the conclusion

becomes self-evident:
yes, it really is real HRS,

and in real terms, in
musical terms, it is

inexpensive."

Check out Roy Gregory's entire review by visiting:

http://www.theaudiobeat.com/equipment/harmonic_resolution_systems_rxr_r_shelf.htm

Harmonic Resolution Systems
2495 Main Street
Suite 227
Buffalo, NY 14214
(716) 873-1437

[email protected]
www.AVisolation.com

Harmonic Resolution Systems

RXR/R-Shelf
Equipment-Support

System

by Roy Gregory, December 28, 2016
© www.theaudiobeat.com

S ometimes the first challenge of reviewing audio be?” Well, the answer is, “A lot more difficult than most
of us suppose -- starting with the assumption that the term
equipment lies in understanding the problem ‘support’ equates to ‘rack.’”
the component is designed to address before
assessing how well it succeeds. Generally speaking, The very nomenclature applied to equipment racks
we tend to assume that the role of the product is both and support components is itself misleading. Most
understood and well defined. Beyond describing how it manufacturers, dealers and consumers think in terms of
approaches that task, the task itself is clearly understood, (and use the terminology of) isolation. That’s certainly
be it the role of a CD player, amplifier or speaker. an important part of the story, but it’s far from the whole
But there are also situations in which the function of story. In isolating a component -- an amplifier or CD
the product is so widely misunderstood and wildly player for example -- most racks and platforms are seeking
misrepresented that it’s actually necessary to examine to protect it from structure-borne vibration, mechanical
or define that task itself. The subject of this review is a energy that can cause microphonic distortion and degrade
case in point. In order to appreciate just how different, sonic and musical performance. It’s a premise that, once
clever and effective the Harmonic Resolution Systems examined, is all too clearly flawed. In accepting that
(HRS) products really are, you first have to understand spurious mechanical energy can degrade the audio signal,
that the task of simply supporting an audio system is both it also ignores two important facts: first, that not all energy
a lot more complex and a lot more critical than popular is structure borne, with considerable airborne energy
wisdom assumes. also hitting the chassis of any component (at least any
component in the same room as your loudspeakers) as well
I can almost hear the mutterings of dissent tinged with as energy transmitted via the AC supply, and second, that
disbelief: “What? It’s just a rack. How difficult can its job

1

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the signal itself is carried by circuits inside the chassis, built years we have experienced products like the Stillpoints,
from components -- such as disc transports, power-supply Nordost’s Sort Kones and more recently the Neodio
caps and transformers -- that themselves generate significant Origine B1 that can transform the performance of audio
amounts of mechanical energy, energy that may be lower systems, simply by implementing effective mechanical
in magnitude than structural or airborne sources, but is co- grounding of the equipment chassis. Yet these are, in turn,
located with the signal itself. simply more efficient versions of much earlier products
like the original Mod Squad Tiptoes and Symposium
Herein lies the heart of the conceptual disconnect, the Rollerblocks. Taking the approach to its logical extreme
gap in our received wisdom. It’s not the equipment we has highlighted its value, but still we tend to ignore how it
need to isolate but the signal. Once you grasp that fact, fits into the wider scheme of things.
suddenly many things start to make sense: why locating
equipment in a different room to the loudspeakers makes Finally, there are the benefits of supporting and
such a difference -- as anybody who has tried it can attest. mechanically grounding AC-supply components. If you
It also explains why so many critical listening facilities think using grounding elements under equipment produces
keep everything except the speakers outside the room, thus impressive results, wait until you try them under AC-
minimizing the impact of airborne energy and eliminating distribution blocks and power supplies.
it as a variable. Of course, if it’s electronics that you are
listening to and the chassis design is part of the assessment, The fundamental musical benefit of each of these steps
then that might not be such a good thing. can be easily demonstrated -- yet at the same time results
can be variable, their relative value unpredictable.
There is also the effectiveness of mechanical grounds that Different equipment reacts differently to different support
bypass the soft feet so often fitted to equipment. In recent components, and once again received wisdom fails to

2

REPFRROODMUCE
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explain why. Isolating the fragile audio signal the “But it’s just a rack. How complicated can that

is clearly important to optimizing system om be?” Let’s take what looks like the simplest
performance, but to do so effectively requires audiobeat.c single component in the HRS system and see.

a systematic approach and a clearly defined The Nimbus coupler looks just like one of those

strategy -- both things that depend on a clear sorbothane equipment isolators that were popular

understanding of the mechanisms at work and the way ten or fifteen years ago -- except that just like everything

they affect both individual components and the system else in high-end audio, it got bigger. In fact, just like the

as a whole. In fact, in many ways our understanding HRS racks (and pretty much everything else the company

of the problem has been upside down for many years makes) there’s a lot more here than meets the eye.

and that in itself has prevented us fully comprehending

its nature. But once you start to think in terms of For starters, the Nimbus exists as a range of different

energy paths within the system, the sources of spurious assemblies, ranging from a single disc of a proprietary

mechanical energy and thus how best to deal with it, the polymer compound, to pairs of those discs separated by

solution starts to become clear. aluminum pucks of varying thicknesses. At first glance

it might seem as simple as providing a range of heights

With four significant sources of energy to deal with to suit different situations and to bypass the different-

(structure-borne, airborne, AC-generated and self- height feet fitted to various equipment. But note that one

generated) any successful isolation strategy needs to be effect of the different spacers is to maintain the diameter

able to deal effectively with all of them. The problem and thickness of the polymer discs. That’s because the

is that not only do the problems themselves vary in physical proportions of any polymer have a significant

relative importance depending on the situation -- for impact on its performance characteristics. The large

instance, whether the system is standing on a suspended load area and short stack height of the Nimbus polymer

or solid floor -- different equipment is more or less able element combined with its very-high-bulk modulus

to deal with them too. Typically, a lightweight, folded- make it very stiff in global compression and thus it adds

steel chassis will behave very differently under assault stiffness to a standard sheet-metal chassis, while the

from airborne and internally generated energy than a large contact area behaves as a constrained-layer-chassis

monolithic or slab construction, especially one involving noise-reduction element. It probably goes without

internal damping. Likewise, the different elements saying, but it is also mechanically stable and consistent

in different product types -- motors and mechanical in performance at temperatures up to 400 degrees

bearings in turntables or tape decks, the transports in CD Fahrenheit.

players, the different sizes and types of power supplies in

different products -- cause different problems and react The polymer provides the crucial interface, and it’s here

differently. that things start to get interesting. On the face of it, the

“soft” interface provided by the polymer will be a barrier

The type, placement and effectiveness of grounding and/ to energy collected by or trapped within the chassis

or damping components in this instance are going to vary -- just as using sorbothane isolators created a barrier to

enormously from one product to another -- and that’s energy reaching equipment from the supporting surface.

the key point. When it comes to equipment support and This goes against the notion of mechanically grounding

effective isolation of the audio signal, there is no one- the product being supported, providing an exit path for

size-fits-all solution. Instead, what’s needed is a range internal energy so that it can be passed to and dissipated

of responses that can be configured according to budget within the supporting structure. Except that, depending

and circumstance to deliver the best possible solution. Of on the physical proportions, the behavior of the polymer

course, if that’s also a solution that can be upgraded or that is used in the Nimbus is frequency-dependent,

adapted in the future as funds allow or the system evolves, “soft” at low and mid frequencies, for effective

so much the better. This modular, adaptable model and constrained-layer damping of chassis resonance, stiff

approach is exactly what the HRS components strive to at high frequencies to dissipate energy as heat. It’s a

supply, an equipment-support toolkit, from which you can carefully considered solution to the problems presented

pull the pieces that your system’s circumstances demand by a classic bent-metal chassis, where the Nimbus

-- and your wallet allows. acts to damp low-frequency chassis modes while also

3

REPFRROODMUCE
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providing an exit path for the higher frequencies the Vortex weighs a lot more than Nimbus. The

generated by components passing signals and om “puck” is a two-piece non-magnetic stainless-
airborne energy. The large diameter makes for audiobeat.c steel assembly that houses a patent-pending

a large contact patch that delivers both more- labyrinth designed to help dissipate high-

effective damping and more-efficient energy capture. frequency energy as heat. The polymer disc on

top, a material specific to the Vortex, is also noticeably

Sounds too good to be true, right? Well as Mike Latvis of harder. That’s because the Vortex is designed to work

HRS points out, water feels pretty soft when you wade with stiffer, plate-to-plate or monolithic-type chassis

through it; try hitting it at 300mph! It’s typical Latvis: clear, construction, structures that typically exhibit far

straightforward and obvious once you think about it. But higher resonance modes and which drain energy more

then you’d expect nothing less from a man whose CV efficiently. The stiffer polymer interface and heavier,

includes stints as a QA engineer for the nuclear industry dispersive structure make it more effective in this

and specialist in the vibration analysis of mission-critical scenario, a situation in which the Nimbus struggles to

aerospace components. Take the rotor head of the Black match the performance of something like the Nordost

Hawk helicopter. That’s one piece of advanced-composite TC Sort Kones. Flip a set of four Vortex polymer side

technology that could quite literally be shaken apart, down and you’ll discover that one is equipped with

unless it accommodates motions just where it needs to a threaded dome rather than the cone on the others.

and is damped just so. Analyzing that sort of problem Adjustable in situ using the supplied and very long prybar,

and developing the polymer damping compounds and this odd Vortex out allows you to retain the grounding

composite structures to deal with it are what Latvis does. benefits of four-point contact (or more if necessary) while

He’s an engineer’s engineer in an audio world where maintaining absolute stability of the supported chassis

evidence-based explanations of performance benefits tend -- no wobbles and no rattles. Of course, you could just

to be long on faith and short on science. But long before use three standard Vortex, but add the fourth and you’ll

he got to play with such man-sized toys and their equally quickly establish that three simply don’t sound as good.

man-sized problems, he played with trumpets and with This is exactly the sort of configurable, adaptable set of

audio systems, the root of an enduring fascination with “tools” that I outlined above.

music and its reproduction.

But to fully understand just how deeply that fascination
lies, it’s necessary to look at the Vortex, the other
HRS equipment foot. Just the fact that
it exists, a different answer
to a different
problem,
is telling
in itself.
Outwardly
similar to the
Nimbus, apart
from the cone
on the bottom,
it’s actually a
totally different
beast, built from
different materials
to do a different
job. Just pick
one up and you’ll
get the picture:

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You’ll also have noticed the Damping Plates the Faced with such a plethora of options there

(DPs) that are designed to sit on top of om really is only one place to start -- and that’s
components. Again, these are apparently simple audiobeat.c at the beginning. The RXR rack that forms

in that they “damp” the chassis top plate, but it’s the basis of this review is the most affordable

worth looking at how they do it and the additional option in the HRS stable. It is also the only one

benefits they bring. Essentially a slab of aluminum with based on a solid maple frame -- at least that’s the

the softer polymer used in the Nimbus applied to one way it looks. The other racks employ billet-aluminum

side, placing them polymer pad down across a chassis construction (although the MXR’s massive uprights

effectively both stiffens and converts that panel into are based on a 3.5”-thick slab of 75-layer Baltic ply).

a constrained layer, helping to absorb and dissipate There’s no faulting the engineering aspect of the higher-

vibrational energy. The damping plates are available in end racks, but there’s also no getting away from the

three different sizes and two different thicknesses, to suit hard technical aesthetic they embody. I suspect that for

different chassis dimensions and structures. The slimmer many potential customers, the RXR will be easier on the

DP II is intended for thin sheet-metal chassis and where eye as well as the wallet, with blond and black options

vertical space or budget is restricted. The heavy-duty available.

DP X is aimed at thick sheet-metal or billet chassis,

or where vertical space and budget are less restricted. Like the rest of the HRS frames, the RXR is itself modular,

That’s because the stiffer the chassis/damping-plate with the height and number of the uprights (33”, 43”

pairing becomes, the more effective the constrained-layer or 54”, they come in single- and double-sided varieties

damping is; but the stiffer the chassis is the stiffer the so that you can daisy chain multiple bays together)

damping plate needs to be in order to have same relative as well as the number and spacing of the shelves, all

impact on the control and elimination of chassis noise. user-selectable and adjustable. Each level bolts into an

aluminum plate bonded to the inside (or both sides) of

But there’s a second benefit that goes with adding the upright, the maple sleeve damping the aluminum

damping plates to equipment -- and that’s the resulting without impeding its energy transfer. There’s also a

increase in mass. Increasing the unit’s mass makes it choice of two footprints, 25” x 19” or 23” x 17” (simply

more resistant to airborne energy. But, any support system take 4” off the width for the actual real-estate available

constitutes a series of mechanical filters -- some much to support equipment).

more effective than others. The damping plates act both

to increase the suspended weight of the component That modularity as well as the mixed-material nature of

and its supporting surface together, and decrease the the structure and the close-grained hardwood employed

proportion of that mass that represents the component makes for an inherently dispersive construction, but if

itself. The result is a more effective filter with a lower you suspected that HRS would be looking for more of a

cutoff frequency at the bottom end. So the damping plates performance benefit than that, then you’d be right. The

don’t just act to improve chassis performance; they also levels in this instance are actually supporting “picture

improve the effectiveness of the isolation from structure- frames” into which you fit the actual platforms. The

borne energy. inside front and back of each frame takes the form of

a narrow beam that stiffens the frame and on which

All that and we haven’t even gotten to the rack itself. the platform rests. Those beams are constructed from a

Perhaps not surprisingly, there is no single HRS rack. multi-layer composite that constitutes the first stage in a

Instead there are no fewer than five different frames and broadband isolation filter, a construct that is completed

four different shelves, or support platforms -- and that’s by the feet used on the platforms themselves. Work

before you consider the fact that three of those platforms your way up the range and the number of layers and

come in a range of different load ratings depending on the resulting effectiveness of the filters increases as you

the mass of the component (and other HRS pieces) to be go, but even the RXR has a remarkably sophisticated

supported. If you were in any doubt about the seriousness composite structure, consisting of a thick aluminum

with which Mike Latvis treats the problem of supporting base, a specifically developed polymer layer, Baltic ply

his (and your) audio system, it should have totally and then another aluminum skin with a top laminate of

evaporated by now. scuff-proof material.

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Just pause for a second and consider this: the -- I’m going to confine myself to the “budget”

the three-shelf double-wide RXR frame being om R-Shelf (I’ll be getting to the more sophisticated
reviewed contains 960 square inches of that audiobeat.c and expensive platforms later). Deceptively

polymer material, around a third of an inch thick. simple, HRS’s entry-level support shelf consists

That’s a lot of material, meaning that HRS had to of a sheet of black high-density composite (a resin/

develop a polymer that wasn’t just effective, but cost cloth matrix that is subjected to enormous pressure as it

effective too, if they were going to meet their goal of sets) topped with that same scuff-resistant laminate, that sits

a more cost conscious support solution. Beneath the flush with the top of the frame delivering a neat and space

frame you’ll find large, conical feet that allow you to efficient solution. It is also available in both black and silver

level the rack. The uprights are also supported on cones, finishes. But flip the R-Shelf over and you’ll be surprised by

ensuring that you don’t suffer sag if you daisy chain two the underside. The 17.8mm-thick top plate is reinforced by

or more bays together. Together those cones ensure both a broad lateral brace of the same material, bonded securely

a direct mechanical ground path for the shelves and in place, creating a 35.6mm-thick spine to significantly

complete stability. increase stiffness.

That in turn brings us to the choice of platforms. To start The whole is supported on three large, square pads of the

with -- and in keeping with the affordable nature of the RXR same specially developed polymer used in the frame, two

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front and one back (or vice versa) that interface the platforms -- which we’ll get to later), all with

with the composite support beams and hold the om minimum redundancy of existing elements.
shelf clear of the frame. More importantly, look audiobeat.c So, it’s smart, it’s versatile and it ticks all of

at the cross-sectional diagram and you’ll see how the boxes regarding equipment support and

the support beam and shelf/pad interlock to create maximizing system performance, which finally

a single multi-layer solution where the two elements act means that we can get down to looking at how it works

in concert to create a single, integrated whole. Although in practice and just how well it performs.

it looks like a simple maple frame with a laminated R eviewing something like an amplifier is
MDF insert, it’s actually anything but. Whether it is the
choice of materials, the added rigidity of the brace or the comparatively straightforward, at least as far
cleverly engineered support solution (probably all of the as process goes: insert it into a system and

above), the R-Shelf is both a remarkable and remarkably ring the changes -- a few different preamps, several

cost-effective performer. Certainly, using it in place of different speakers. In some ways, the approach to

standard MDF or bamboo shelves brings a shocking the HRS products isn’t that different: you need to use

improvement in performance, especially when used in them with a range of different equipment, embracing

conjunction with equipment couplers, regardless of type. tubes and solid state, different chassis materials and

In many ways it’s the single most impressive element constructions. But, assuming that we are interested in

in this whole package and while it may have been a developing some sort of general understanding and

while coming, it was well worth the wait and if on the support strategy beyond the specific performance of the

one hand it has helped achieve the goal of allowing RXR setup itself, you also need to use them in different

HRS to offer a far more affordable solution, it has also physical situations: on different floors, solid and

ensured that their entry-level option still establishes suspended, and in different spaces, large and small --

a performance benchmark that most competitors will and that means in different rooms, adding a whole new

struggle to match. round of listening to be done.

So now that you’ve got your head around the different With that in mind I assembled a test rig consisting of
elements it’s time to sum up and take stock. What you the RXR stand with R-Shelves and a full complement
have here is a genuinely modular and configurable of Nimbus, Vortex and Damping Plates, along with
solution for system support. You can choose the format a Hutter rack in its upgraded form (with two sets of
of the rack (height, width and number of shelves) as Track Audio feet in place of the standard spikes) as
well as the equipment supports and interfaces. That well as a collection of additional coupling devices
means that you can prioritize and target expenditure from the likes of Neodio, finite-elemente and Nordost.
on critical electronic components as well as having the To keep things manageable in terms of shifting
ability to expand or upgrade the provision as time goes equipment from one support structure to the other,
by (especially when you factor in the higher performance I opted for simple integrated electronics, allowing me

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to establish a range of two-box systems. I used the that most listeners actually achieve. Starting

the following components: om on the solid floor, the HRS rack demonstrated
audiobeat.c a significant advantage over the otherwise

• Arcam FMJ CDS27 CD/SACD player impressive Hutter. Soundstaging, instrumental

(classic bent-metal chassis) focus and dimensionality were all much more clearly

• Gryphon Scorpio CD player defined, more coherent and more natural. Whereas the

(composite steel/aluminum bolted construction) Hutter found instruments climbing with frequency and

• Wadia S7i CD player level, the RXR added considerable depth and a blacker

(heavy plate-to-plate aluminum construction) background, and kept the orchestra on a single level, all

• Neodio Origine CD player indicative of a lower noise floor and more even energy

(composite constrained-layer, energy-sink chassis) dissipation. Timing, flow and phrasing were all more

• Gryphon Diablo 300 integrated amplifier natural, fluid and unforced, with a broader and richer

(high-power solid-state amplifier with internal DAC and tonal palette.

composite steel/aluminum bolted construction)

• Icon Audio Stereo 60 integrated amplifier These differences were consistent across different

(tube integrated with classic bent-metal chassis) components and musical genres, but perhaps one

example served to demonstrate the benefits most

These components were used for clearly. In 1983 Deutsche Grammophon recorded an

a series of direct comparisons in “all-Israeli” Four Seasons [Deutsche Grammophon

both of my two listening rooms, Gesellschaft 419214]. Zubin

one large with a solid floor, the Mehta conducted the

other of medium size (15’ by Israel Philharmonic

22’) with a suspended floor. Orchestra, with

The only common chassis option Isaac Stern, Pinchas

missing was the milled-from-solid Zukerman, Shlomo

chassis as sported by the likes Mintz and Itzhak

of the Jeff Rowland and Ayre Perlman taking a

electronics, although in the season each. There’s

course of the review I’ve been little to recommend it

able to experience a host of as an overall reading.

other equipment on the HRS However, what it does

supports, including such offer is the chance to compare

designs as well as turntables and contrast the playing and instruments

and phono stages, tube preamps of these four great violinists, from Stern’s

and power amps, transports fluid lines and smooth poise to Zukerman’s

and DACs, all of which informed both the comparative range and rich tonality, Mintz’s vitality and attack

listening and the conclusions. Likewise, a whole range to Perlman’s presence, body and structure. Except that

of speakers has passed through the main listening room, those differences only really emerge once the system is

although for the direct comparisons I employed the supported on the RXR rack. On the Hutter, the elasticity

Wilson Alexx, while the Focal Sopra No.3 and Vienna of phrasing, the tonal variance in the instruments and the

Acoustics Liszt were employed in Room 2, ensuring playing, the sheer dynamism of Mintz against the effortless

plenty of low-frequency structural and airborne feedback flow of Stern, these distinctions collapse, submerged

to test the signal’s isolation. The racks and cabling were in the heaviness of the full orchestral accompaniment.

arranged so that it was possible to hot swap the systems Without the sleeve notes you’d be hard-pressed to tell

without disconnecting them. that this was four different players and four different

instruments -- and that’s a musically significant fact,

Step one was a straight comparison between the two racks irrespective of what or who you play, because along

with the equipment on its own feet, in order to establish with that rhythmic and harmonic resolution, you lose

relative performance and also the level of performance expressive range too.

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At this point, running the different components the considerably less transparency and focus when

altered the sound of the setup, but did little to om compared to the same system perched on the
alter the relative performance of the system(s) audiobeat.c RXR. It’s hard to avoid the conclusion that the

on the two racks. Benefits varied across the HRS rack and shelves provided better isolation

different component types (amp or CD, solid from structure-borne energy than the Hutter/Track

state or tube) but not necessarily in the manner that combination, as witnessed by the rise in the noise

you might predict. I’ll come back to the specifics floor of the system on the latter combination as soon

later, but in the meantime, what had a much greater as it was placed on the livelier and less-controlled

impact was shifting both racks and system onto the suspended floor. Which brings us to the heart of the

suspended floor. Here, the performance differential issue: the noise floor. The better you isolate the signal,

widened dramatically, the Hutter becoming muddled the lower the level of intrusive noise, whether that

and congested, with a flattened soundstage and noise is low-level broadband or higher level, discrete

Getting started with HRS might
not cost as much as you think

One glance at the prices at the top of this review will they are the most effective part of the complete system,
tell you that even if the RXR/R-Shelf combination but because they are so effective given their price
delivers the least costly HRS rack, that doesn’t make it and can be added to almost any existing rack to lift
no-brainer affordable -- at least in monetary terms. Tot its performance. Add in the fact that they carry over
it up and a four-shelf support works out at $6775, the to any subsequent, full HRS rig and the opportunity
kind of coin that would have most audiophiles thinking to dip your toes in the HRS water, a little at a time
in terms of a nice, sexy box of electronics. while you investigate the brave new world of proper
equipment support and develop an overall strategy
But that attitude is mistaken on two counts. First, becomes irresistible -- especially once you hear the
if you’ve already spent around $15,000 on the initial results. The R-Shelf is becoming an increasingly
electronics and speakers in your system, then unless common practical and performance upgrade for the
you’ve already paid attention to it, the system’s skeletal Stillpoints ESS rack, either with the existing
infrastructure (cables and supports) is going to be the Stillpoints or Nimbus/Vortex couplers (something
next most musically effective area of expenditure. Put Dennis Davis will write about separately). It’s a perfect
bluntly, unless you have a truly monumental mismatch example of just how effectively the HRS interface
in your system, it’s almost certain that spending that elements can be incorporated into existing systems.
money on the RXR/R-Shelf rack will make a bigger and
more important musical difference than a shiny new Once again, our natural inclinations (and assumptions)
pre-amp -- or any of the other electronic boxes for that seem to have got the problem upside down. It really
matter. The reason is simple: proper support is essential underlines and reinforces the fact that it is actually
to actually extracting the full performance from the the signal that we are trying to isolate, rather than the
equipment you’ve already bought. boxes that contain it, a factor that you need to consider
whenever you address the issue of equipment support,
Second, you don’t need a complete rack to start whether with HRS pieces or an alternative. As soon as
enjoying the benefits of HRS’s expertise. As it explains you start to think in this way, the solutions you adopt
in the main body of the review, there’s a strong become significantly more effective -- while the financial
argument to suggest that the Nimbus and Damping steps to achieving an optimum arrangement become if
Plates aren’t just the easiest place to start, they also not exactly bite-sized, then at least easier to swallow.
deliver the biggest bang for your bucks -- not because
-Roy Gregory

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frequency in nature. Both are destructive in the away from the speakers, greater dynamic

different ways, and the RXR/R-Shelf system’s om range and control and a broader tonal palette.
superior ability to deal with spurious energy audiobeat.c But where they really scored was in terms of

hitting the rack either through the floor or musical flow and expression. With Anne-Sophie

through the air is both clear to hear and sufficient Mutter playing the Carmen Fantasie (Levine, VPO

to justify the difference in cost between these two racks. [Deutsche Grammophon Gesellschaft/UHQCD 482

436-2]), the sound gained body and sweetness with a

Make no mistake -- the differences I’ve described are greater sense of phrasing, a more vivid impression of

absolutely fundamental to audio performance and Mutter working her bow. The accompaniment became

musical enjoyment. Neglect them and you undermine defter with far more precise dynamic graduation.

the performance of the In fact, precision is really what underpins the

system as a whole, often in

an insidious and unsuspected

manner. As impressive as

the improvement wrought

by the HRS rack is, it also

risks leading us into a false

sense of security. After all,

the rack only deals with

external sources of energy

-- and that’s only half of the

problem. The next step in

the process was to insert

the various couplers and

damping plates -- which

is where things got really

interesting.

It’s no surprise that adding performance, but not at the expense of a
the Nimbus or Vortex mechanical or clinical quality -- quite the opposite. It’s
couplers and Damping just easier to hear what is being played, what notes are,
Plates to the RXR rack where they start and where they stop. The old adage
lifted performance about “hearing the gaps between the notes” applies
substantially. Anybody with a vengeance, those pauses and hesitations bringing
who has played with purpose, attack and a sense of intent to the playing.
Stillpoints, Sort Kones or
even simple maple blocks to bypass the But there is a caveat to all this: simply place four
feet on their equipment will already know just how Nimbus beneath a component in a regular rectangle
effective these grounding devices can be. But like most and a DP across the central, long axis of the top plate
things HRS, their solution goes further and is more and you’ll hear the benefits. Now start playing with the
configurable, tailoring the response more precisely
to each specific piece of equipment. What’s more,
by damping the chassis itself, the HRS components
attack the problem at source as well as providing an
exit path. Placing Nimbus couplers under either the
Arcam or Gryphon CD players and a Damping Plate
across the top plate, along with Nimbus couplers and
a Damping Plate on the Diablo integrated produced
more space and separation, a soundstage that stepped

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positioning of the Nimbus and DPs and you’ll the and subassemblies involved in solid-state

hear further improvements. Just like other om designs as opposed to tube circuits, resulting
couplers, precise placement of the Nimbus audiobeat.c in a completely different vibrational character

assemblies at sources of mechanical energy or and vulnerability. Past experience with digital

chassis nodes reaps a sonic dividend. Likewise, the circuits also suggests that they are particularly

nature, fixings and vibrational signature of the chassis prone to both internal and external mechanical

means that moving the DPs (yes, you can use more interference, with players, DACs and transports all

than one) can also improve performance still further. readily responsive to improved mechanical grounding

However, the large interface area of the HRS devices and system isolation. This helps explain why top-

can also be a limitation: you need to ensure that they loading and energy-sink transport designs have always

don’t hit bolt heads or other irregularities in the chassis been notably successful -- and why products such as

underside, disturbing both level and consistency of the dCS multi-box systems (most recently the Vivaldi

contact, or block venting, a particular issue with and Paganini) respond so dramatically to changes in

closed-chassis tube designs or hot-running amps. siting and support.

That in turn brings us back to the question of efficacy With all that in mind, let’s look more specifically at
and technology subtypes. The general assumption the results involving the Wadia and Neodio digital
seems to be that tube electronics are the most electronics. The Nimbus certainly worked with these
susceptible to microphonic influence, but both long- players, but the difference was not as substantial as
term listening and these direct comparisons suggest I’d have expected and in the case of the Neodio what
otherwise. While shifting the Icon Audio integrated amp I gained on the tonal and spatial swings was lost on
from rack to rack and hoisting it on Nimbus couplers the dynamics and rhythmic roundabouts. The damping
certainly added to its sense of focus and resolution, of the Wadia’s flat plates was clearly effective, but
these were largely cosmetic improvements. Instead the Origine’s more sophisticated casework apparently
it was the solid-state electronics that gained most didn’t need that help -- or at least not nearly as much
in musical terms, especially the digital devices. The of it. It was these anomalous results that caused some
changes might have been less obvious but the damage considerable confusion early in my listening with the
being done was far more insidious, impacting not just HRS products -- and mandated a flying visit from Mike
the noise floor and degree of detail, but the tonal and Latvis to first hear what I was describing and to then
temporal realms too. Where the tube amp was adding produce, not unlike a magician pulling a rabbit from
harmonics to the picture in the basic support scenario, his hat, prototypes of what were shortly to become
the solid-state electronics were stripping them; where the Vortex couplers. Slipping them under the Neodio
the tube amp managed to maintain its sense of musical CD player was a complete game-changer, increasing
shape and flow, the solid-state amp and particularly the harmonic and detail resolution, separation, dynamics
CD players all sounded more mechanical, awkward, and presence, all while restoring that crucial sense
clumsy and far less fluid, the very qualities that were of human agency and intent. Equally effective beneath
progressively restored as soon as I started to improve the Wadia, the Vortex (along with the R-Shelf) really
the rack and support components. was the missing link in the HRS system, affording as
it did that specific response to the super-rigid or
While many might find this surprising, it was also energy-sink chassis designs that are so prevalent in
utterly consistent, extending beyond the direct high-end audio.
comparisons into longer-term experience with a
wide range of Audio Research and VTL equipment Taking things a step further, I added the CEC TL-3N
as well as solid-state designs from Gryphon, Tom transport to the equation, using the Wadia S7i as a
Evans Audio Design, Lyra Connoisseur and Naim dedicated DAC, thus eliminating or separating the
(where the Nimbus and especially the DPs were transport as a source of mechanical vibration. This did
extraordinarily effective). There are many possible two things: demonstrate just how effective the Vortex
reasons for this counterintuitive result, not least the were in the case of the CEC, but also reinforce the fact
different materials and sheer number of components that the Wadia’s DAC still remained super sensitive

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to support, with or without its transport in the Just as importantly, they were not differences

operation. As impressive as the CEC is as a om that could be overcome by throwing
stock transport, the addition of Vortex and audiobeat.c money at the boxes in the system. The

DPs brought not only a significant increase mechanical support and termination of

in dynamic range, body and presence, it added electronic components was clearly critical to their

significantly to the sense of musical contrast and drama. performance. Fail to deal with the problem and it will

On the Kleiber/Bayerisches Staatsorchester recording of undermine everything else that you do. But how exactly

Die Fledermaus [Deutsche Grammophon Gesellschaft do you deal with it? This brings us right back to the

457 765-2], the improvement in the sense of location whole question of developing a support strategy and

and staging was obvious, but it was the added nuance understanding the problem.

and natural vocal articulation, as well as the range

and subtlety of the orchestral shadings, that really One of the key conclusions that we can draw from

brought the performance and particularly the humor both the long-term listening and the side-by-side

to life. When it comes to digital electronics, don’t comparisons described here is that whilst there are two

assume that just because you only use a DAC, you distinct sides to this problem (the isolation of the signal

don’t need to worry. Those large-scale integrated from external energy sources and its isolation from

circuits seem especially, almost peculiarly, vulnerable energy generated within the equipment that transfers or

to mechanical interference. transforms it) the relative importance of those factors

varies according to the situation. The corollary to that

All of which of course raises the question, What is, of course, that any solution that fails to deal with

happens if you shift the whole system, complete with both problems is self-limiting at best, self-defeating at

Nimbus or Vortex and DPs onto the Hutter rack? The worst -- exactly the flaw in most of the thinking applied

answer is, you get a similar, substantial improvement, to this problem and the products it generates.

the performance benefit in either case being greater

than the already impressive difference between the Looking at the two examples I’ve cited, the large space

two racks -- at least when compared on the solid with the (very) solid floor and acoustically sympathetic

floor. It’s a result that put the overall strategy under a dimensions minimized the impact of both structure-

stark spotlight. But before we go there, let’s repeat the borne and airborne energy. In this instance, the benefits

exercise, but this time on the suspended floor. of the couplers and DPs actually outweighed the

impact of the RXR rack and R-Shelves -- even though

Using the RXR rack, I achieved a similar result, the HRS rack still outperformed the Hutter setup, itself

although the improvement was not quite as great as on something of a benchmark amongst more conventional

the solid floor. But shifting the coupler/DP rig onto the (and affordable) options. If you want me to put a figure

Hutter, although the improvement was there and still on the proportional impact, I’d put it at 60/40 in favor

definitely worthwhile, it was nowhere near as great as of the couplers and DPs. But (and it’s a very big but)

with the HRS rack in this context. On the all-HRS setup, shift the test rig onto the suspended floor and not only

Mutter’s bowing was by turns graceful and incisive, did the RXR pull away from the Hutter in performance

the big orchestral tuttis that open and punctuate the terms, it also narrowed the gap on the couplers and

piece both big and complex, constructed from different DPs, switching the equation 55/45 in favor of the rack.

instruments playing in concert. Shifting to the Hutter Now factor cost into the overall calculation and a

while still using the HRS couplers and DPs caused generalized approach finally starts to suggest itself.

the sound to collapse in on itself. Those big orchestral

interventions were diminished, sounding thickened Given the critical musical importance of equipment

and slab-like, less explosive. Mutter’s bowing became support, it’s tempting to simply say, “Deal with it” and

less fluid and clumsier and it lost its brilliance, both in leave the recommendation at that. But the problem is

terms of tonality and technique. that most of us already own a rack of some sort and

simply migrating to a more sophisticated solution such

These were not small differences, turning a captivating as the HRS RXR is costly and inconvenient. Tot up a

and involving performance into just a recording. full suite of rack, shelves, couplers and DPs and the

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total is pretty frightening. However, as I’ve the Throughout this piece, terms like affordable

already pointed out, the HRS approach is both om and cost-effective have kept bubbling up.
configurable and modular, allowing you to audiobeat.c Take a glance at the full HRS range and

get there in bite-sized chunks. The question it’s pretty obvious why that is. The RXR/R-Shelf

then becomes, Where do you start? Let’s assume combination pretty much halves the price of

that you have your equipment on a half-decent rack HRS ownership -- at least compared to the next model

of some sort -- which means no welded steel, no glass up, an SXR frame equipped with R3X platforms, while

(laminated or otherwise) and hopefully no MDF -- then the MXR, flagship VXR and the M3X platforms simply

rather than replacing that rack lock, stock and barrel, ramp the price level way, way out of sight, at least

I’d flip the response upside down. Rather than jumping for most of us. That’s a pretty big barrier to entry, but

straight into a rack and then adding accessories later, it’s also a barrier to better system performance. In

I’d start at the equipment interface itself. The most cost- creating the RXR frame and R-Shelf, Mike Latvis has

effective approach is to apply HRS couplers and DPs, succeeded in offering a genuine, fully formed, fully

targeted on the key components in the system. Not engineered HRS solution at a much more approachable

only are they effective in all situations (albeit more so price. In doing so he has created a product that gives

in some), the optimum solution for each component is little away in performance terms or versatility when

both predictable and consistent while they also deliver compared to its more expensive brethren, not least

the biggest initial bang for your buck. Once you have because it is compatible with the same equipment

your components individually supported, you can look couplers and isolation platforms that grace the flagship

at shelves to replace existing ones (if the R-Shelves will solutions. The RXR frame is a brilliant performer, made

fit) or shelves and a rack if necessary. all the more impressive and relevant by the creation

of the R-Shelf to go with it. But it also offers the

Of course, your existing investment in direct supports and option to incorporate the more sophisticated isolation

DPs carries straight over to and magnifies the benefits of options from further up the range, in a targeted or

the shelves/rack once you reach that point. You can literally even in a general way -- and that’s exactly where

transfer your system to a superior supporting strategy one we’re going next.

step at a time. For example, most of us have a system that

overflows one single rack, so upgrade by stages. Start with Meanwhile, it is tempting to look at (and possibly

a single-width RXR to support the key signal chain and then dismiss) the combination of RXR and R-Shelf as HRS

add the frames and upright to make it doublewide at a later on the cheap -- and in at least one sense you’d be

date. That way, the expenditure comes stage by stage, you right. But, while it is remarkably affordable for the

can target each slice of the budget for maximum effect and performance delivered and the fundamental musical

you get maximum musical benefit at each step of the way. foundation it provides for your system, there’s nothing

Where things get trickier is deciding how soon you need second-best about using the RXR and R-Shelf. Its

the rack and how much rack you need -- and a lot of that performance stands head and shoulders above more

is down to your room and its floor. The better behaved your affordable (and quite a few, far more expensive)

listening space is -- acoustically and mechanically -- the options. Look at the engineering, the complexity,

less impact even the most effective rack will have. Sadly, quality and sophistication of the design and materials

in the vast majority of cases, our acoustical concerns run a involved, but above all the completeness of the thinking

very poor second to practicality and constructional norms, and solution on offer and the conclusion becomes self-

which is exactly why a rack like the RXR can have such a evident: yes, it really is real HRS, and in real terms, in

profound effect on system performance. musical terms, it is inexpensive.

13

DREPFRROODMUCE
theaudiobeat.c
om

Price: RXR, $1295 to $4795, depending on configuration Power amps: Berning Quadrature Z monoblocks, Audio
(a double-wide RXR is twice the price of a single-wide Research Reference 150 SE and VTL S-400 Series II
unit); R-Shelf, $495; Vortex, $300 or $335 each, $1235 Reference stereo amplifiers.
per set of four; Nimbus, $36.50 to $130 each, depending
on height; Damping Plates, $134 to $320 each, Integrated amps: Gryphon Diablo 300, Icon Audio
depending on size and thickness. Stereo 60.
Warranty: Five years parts and labor.
Speakers: Wilson Audio Sasha W/P Series 2/WATCH
Harmonic Resolution Systems Dog system, Coincident Speaker Technology Pure
2495 Main Street, Suite 227 Reference Extreme, Vienna Acoustics Liszt, Ubiq Audio
Buffalo, New York 14214 Model One, Focal Sopra No.2.
(716) 873-1437
www.avisolation.com Cables: Complete looms of Nordost Odin or Valhalla 2,
Crystal Cable Dreamline Plus or Fono Acustica Virtuoso
Associated Equipment from AC socket to speaker terminals. Power distribution
was via Quantum QB8s or Crystal Cable Power Strip
Analog: VPI Classic 4 with SDS and VPI JMW 12.7 Diamonds, with a mix of Quantum Qx2 and Qx4
and Tri-Planar Mk VII tonearms; Kuzma Stabi M power purifiers and Qv2 AC harmonizers.
turntable with 4Point 14 tonearm; AMG Giro with
AMG 9W2 tonearm; Acoustical Systems Archon, Supports: Hutter Racktime or Quadraspire SVT
Allnic Puritas and Puritas Mono, Clearaudio Bamboo racks. These are used with Nordost Sort Kone
Goldfinger Statement, Fuuga, Kuzma CAR-50, equipment couplers throughout. Cables are elevated on
Lyra Etna, Dorian, and Dorian Mono cartridges; HECC Panda Feet.
DS Audio DS-W1 cartridge with matching equilizer;
Stillpoints Ultra LP Isolator record weight; Acoustic treatment: As well as the broadband
Connoisseur 4.2 PLE; Audio Research Reference 2 absorption placed behind the listening seat, I
and Tom Evans Audio Designs Master Groove phono employ a combination of RPG Skyline and Flat Panel
stages. microperforated acoustic devices.

Digital: Arcam FMJ CDS27 CD/SACD player, Audio Accessories: Essential accessories include the
Research Reference CD9 CD player, Gryphon Scorpio SmarTractor protractor, a USB microscope (so that I
CD player, Wadia S7i and 861 GNSC CD players, CEC can see what I’m doing, not for attempting to measure
TL-3N CD transport, Neodio Origine CD player, Naim stylus rake angle) and Aesthetix cartridge demagnetizer,
UnitiServe music server. a precision spirit level and laser, a really long tape
measure and plenty of low-tack masking tape. I also
Preamps: Audio Research Reference 5 SE and Reference make extensive use of the Furutech anti-static and
10, Connoisseur 4.2 LE, Tom Evans Audio Designs The demagnetizing devices and the VPI Typhoon record-
Vibe, VTL TL7.5 Series III Reference. cleaning machine. The Dr. Feikert PlatterSpeed app has
to be the best ever case of digital aiding analog.

14



the foundation of great system performance the f

HRS ANALOG DISK H

“Adding the Analog Disk to my unadorned turntable certainly produced results in excess of its cost. By this, “Adding the A
I mean that to
I mean that to achieve a commensurate improvement would require spending a lot more money if you were to upgrade t
(non-threade
to upgrade the cartridge, or the turntable itself. If your turntable has a tangential tone arm and a solid
The HRS Ana
(non-threaded) spindle -- just go buy it!” Rick Becker that eliminate
Enjoy The Music performance.
and a billet-
Broadband noise reduction precision tran
maximizes analog performance tolerance for
polymer prope
The HRS Analog Disk record weights are highly innovative designs Optimized for suspension and Analog Disk L
that eliminate record groove noise revealing a new level of musical high mass turntables range of turn
performance. They are manufactured from a proprietary polymer designs. The A
and a billet-machined metal carrier bonded together using a Scalloped geometry provides well on mid to
precision transfer mold with less than one thousandth of an inch secure record changes
tolerance for perfect alignment and balance. The weight and final
polymer properties are based on years of development tests. The Proprietary polymer decouples
Analog Disk Light (ADL) is designed to perform very well on a wide record weight from spindle
range of turntable designs including low mass and suspension
designs. The Analog Disk Heavy (ADH) is designed to perform very Precision transfer molding
well on mid to high mass turntable designs. process for precise balance

Cost effective design
for exceptional value

Analog Disk Light (ADL) Record Analog Disk Heavy (ADH) Record
Weight Physical Characteristics Weight Physical Characteristics

Diameter Height Weight Diameter Height Weight
in cm in cm grams in cm in cm grams
315
3.25" 8.25 1.35" 3.43 3.25" 8.25 1.35" 3.43 850

Available in Black and Silver Finish Available in Stainless Steel Finish Only

Harmonic Resolution Systems (HRS) industry leading performance is derived
® from decades of engineering experience with audio, defense, and aerospace

systems. All products are manufactured in the US by skilled craftsmen using
superior techniques, exotic finishes, and proprietary materials. HRS is
dedicated to producing the finest audio products in the world.

716.873.1437 [email protected] WWW.AVISOLATION.COM



the foundation of great system performance the

DAMPING PLATE /NIMBUS DA

“Do not underestimate the power of our Nimbus and Damping Plate products to significantly improve “Do not u
your syst
your system performance. They are critical elements to obtaining world class performance in many systems.
technical
systems. The impact of reducing chassis noise is a key element of the Harmonic Resolution Systems
The HRS D
technical approach to high performance audio.” Michael Latvis, Chief Engineer effective de
Harmonic Resolution Systems Inc. level of mus
billet-machin
The HRS Damping Plate/Nimbus System incorporates a highly Broadband noise reduction very specifi
effective design to eliminate component chassis noise revealing a new design maximizes performance products e
residual cha
level of musical performance. They are precision manufactured from Effective on electronic chassis audiophiles
billet-machined aircraft aluminum and proprietary HRS polymers. A and speaker cabinets reduction sy
very specific amount of mass, stiffness, and damping from these
HRS Damp
products eliminates chassis resonance problems and transforms Selection of sizes and heights -- avai
residual chassis energy to heat. This is a special system utilized by allows system optimization
audiophiles and industry professionals as their reference chassis noise Model
reduction system. Proprietary polymers DPII-05545 5.5
optimized from years of DPII-09545 9.5
DPII-14545 14.5
listening tests DPX-05545 5.5
DPX-09545 9.5
HRS Damping Plate Physical Characteristics High grip design creates DPX-14545 14.5
-- available in Black and Silver finish -- very stable system
-- Nimbus spa
Model Dimensions(l x w x h) Weight Model
in cm lb Kg NA100
NA150
DPII-05545 5.5 x 4.5 x 0.7 14.0 x 11.4 x 1.8 1.1 0.50 NA200

DPII-09545 9.5 x 4.5 x 0.7 24.1 x 11.4 x 1.8 2.0 0.91 HRS Damping Plates available

DPII-14545 14.5 x 4.5 x 0.7 36.8 x 11.4 x 1.8 3.1 1.40

DPX-05545 5.5 x 4.5 x 1.3 14.0 x 11.4 x 3.3 2.7 1.23 in black or silver to match

DPX-09545 9.5 x 4.5 x 1.3 24.1 x 11.4 x 3.3 4.6 2.09 chassis color

DPX-14545 14.5 x 4.5 x 1.3 36.8 x 11.4 x 3.3 7.1 3.23

Nimbus Assemblies Nimbus Spacer Nimbus Coupler II
-- Nimbus spacer bonded with 2 Nimbus Coupler(s) -- -- all aluminum spacer to hold Nimbus Coupler(s) -- -- all polymer coupler used

Model Diameter Height Model Diameter Height with spacer of choice --
in cm in cm in cm in cm
Diameter Height
NA100 3.4 8.6 1.0 2.5 NS-030 3.4" 8.6 0.30" 0.80 in cm in cm
3.0" 7.6 0.35" 0.89
NA150 3.4 8.6 1.5 3.8 NS-080 3.4" 8.6 0.80" 2.0

NA200 3.4 8.6 2.0 5.1 NS-130 3.4" 8.6 1.3" 3.3

® Harmonic Resolution Systems (HRS) industry leading performance is
derived from decades of engineering experience in audio, defense, and
aerospace systems. All products are manufactured in the US by skilled
craftsman using superior techniques, exotic finishes, and proprietary materi-
als. HRS is dedicated to producing the finest audio products in the world.

716.873.1437 [email protected] WWW.AVISOLATION.COM