Opinion 1
As it is commonly known, anti-vibration accessories can be divided into two groups. The first group, let us call it “monolithic”, is best defined by it’s name, and I think we do not need to extend it, while the second group, “wobbly”, is based on more or less complicated decoupling of individual elements using strings, balls, or whatever the manufacturer thought of. Of course, there are some intermediate and undefined states in-between, which take elements from bot camps and mix them together following their own recipe. Each one of us, knowing what he or she is looking for in the sound, does make an initial selection, at least in the beginning, and choses the gadgets from a certain area of interest. Interestingly, if my memory serves, most anti-vibration add-ons we tested to date represented the second group, or was a kind of hybrid, for example when the platform was monolithic, but the feet were floating and quite complicated. Our today’s guest cannot be regarded as being so undecided, the anti-vibration platform Graphite Audio Classic 40, although using two kinds of materials for its construction, is completely rigid and not adjustable. So if you are looking for a rigid base for any of your components, I have no other choice, than to invite you to read on.
Moving to the description of the looks of the titular “plank”, I could try to make my best effort in exuberantly describing the different growth rings, space technologies and visions the manufacturer had during meditations in moonlight. But the Graphite Audio Classic 40 is as you can see for yourself, and you can decide if this form suits your esthetic expectations. Because besides the external design, which is fully customizable, the device is utterly simple – a plywood platform placed on three, rigidly screwed on, graphite feet, able to carry a 180kg load. The only designer element you can find, is the company logo in the right upper corner of the front.
In terms of construction, the apparent simplicity of the Classic is … apparent, because the plywood they used is not your typical run the mill one, that you could find in any DIY store around the corner, but a specially selected one, made of thin (0.5mm) leaves. Depending on the order, it can be covered with natural veneer with a matte or gloss varnish, or painted to any color from the RAL palette. As you can see on our photos, the tested unit was equipped with three proprietary, graphite, feet with cut off summits, placed in a triangle with two of them in the front and one in the back. However during conversations with the manufacturer it was mentioned, that this setup (2+1) can be changed into 1+2 if the buyer desires. I will just add, that I prefer the second option, as I sporadically operate the front panels of the devices I own, while I tend to exchange cables very often, so I need more stability in the back.
Now we have described the looks as well as the construction of the tested platform, we can move to the part about, well maybe not the sound, as probably no one sane will play on the GaC40 (Graphite Audio Classic 40), but its influence on components placed on top of it. And without to much ado, we must confess, that this influence is present, as applying the platform under the amplifier as well as the sound source, resulted in imprinting such a clear and undisputable signature on the final sound, that nobody with working senses, especially ears, would negate it. But to be fair to you, our readers, I must explain, that this platform does not influence the whole sound, it does not work globally, but concentrates on the turn of the lower midrange and bass. But instead of shifting the tonal balance, the GaC40 concentrated on the intensification of the mentioned subranges, saturating the midrange, and maybe not boosting, but making the bass more energetic. Here it is not about a rude boombox or a loudness effect, but adding a few joules, upping the PRaT (Pace, Rhythm and Timing) by a few notches. This resulted in the reproduced music gaining in palpability and your legs moved to the rhythm of the played repertoire on their own.
For example, “Echoes” by A Life Divided showed, that electronics spiced with aggressive guitar riffs can sound lyrical and dense, so it does not have to repel with roughness and edginess, while the etheric “Enfant do vent” by Cecile Corbel is far from anemic puffing, without any bass. Seemingly the contours are drawn with a thicker line, and the whole sound evolves in the direction of elegance and nobleness, but let us be frank – when a group, a quite significant one, of manufacturers and listeners alike, confuses being detailed with being resolved, a platform like this one, influences the sound in a positive way, bringing it back to the right tracks. And it is not about curing the plague with cholera, or mudding the sound, but about an evident normalization of some anomalies, some steps that went too far, when someone got lost along the way to the truth in sound and realized, that those steps were in the wrong direction too late.
With the GaC40 most music, even one not listened to very often, due to its shortcomings, like the first issues of U2, gains on attractiveness, or just acceptation, and this makes it clear, why those Polish platforms were so popular during the last Munich High End, where the glass and metal environment made some of the presented gear sound offensive and anemic. And those symptoms are cured by the GaC40 from the start, others are treated later. Here, like in the case of Carla Bruni (“Quelqu’un m’a dit”) it smoothens sibilants, there, like with “Death Magnetic” by Metallica, it will civilize compression and clamor, and in the end it will make us stop having the dilemma if we want to play a certain disc, if we will be able to endure its sound, and make almost everything playable to the point of becoming a pleasure when listening.
So is this “the cure to all evil and the hope for the coming year?” – to quote the Polish singer Krystyna Pronko? Well, yes, as long as your system is not prone to too much lethargy and not lacking vital strengths, because the Graphite Audio Classic 40 will not create those by itself. I would even say, that if your system has issues with too much, or lack of control of lower registers, the Polish platform will underline them, so the tested accessory is not really a deal for you. It is also worth noting, that you will not correct any deviations from horizontal leveling, so if you want to put a turntable on top, you will need to make sure, that the support the GaC40 will be placed on, is properly leveled.
Marcin Olszewski
System used in this test:
– CD/DAC: Ayon CD-35 (Preamp + Signature) + Finite Elemente Cerabase compact
– Network player: Lumin U2 Mini + Omicron Magic Dream Classic + I-O Data Soundgenic HDL-RA4TB
– Digital source selector: Audio Authority 1177
– Turntable: Kuzma Stabi S + Kuzma Stogi + Dynavector DV-10X5
– Phonostage: Tellurium Q Iridium MM/MC Phono Pre Amp
– Power amplifier: Bryston 4B³ + Graphite Audio IC-35 Isolation Cones
– Integrated amplifier: Vitus Audio RI-101 MkII
– Loudspeakers: Dynaudio Contour 30 + Brass Spike Receptacle Acoustic Revive SPU-8 + Base Audio Quartz platforms
– IC RCA: Furutech FA-13S
– IC XLR: Organic Audio; Vermöuth Audio Reference; Acrolink 7N-A2070 Leggenda
– Digital IC: Fadel art DigiLitz; Harmonic Technology Cyberlink Copper; Apogee Wyde Eye; Monster Cable Interlink LightSpeed 200
– USB cables: Wireworld Starlight; Fidata HFU2; Vermöuth Audio Reference
– Speaker cables: Signal Projects Hydra; Vermöuth Audio Reference Loudspeaker Cable + SHUBI Custom Acoustic Stands MMS-1
– Power cables: Furutech FP-3TS762 / FI-28R / FI-E38R; Organic Audio Power + Furutech CF-080 Damping Ring; Acoustic Zen Gargantua II; Furutech Nanoflux Power NCF
– Power distribution board: Furutech e-TP60ER + Furutech FP-3TS762 / Fi-50 NCF(R) /FI-50M NCF(R)
– Wall power socket: Furutech FT-SWS(R)
– Anti-vibration platform: Franc Audio Accessories Wood Block Slim Platform
– Switch: Silent Angel Bonn N8 + Silent Angel S28 + Silent Angel Forester F1 + Luna Cables Gris DC
– Ethernet cables: Neyton CAT7+; Audiomica Anort Consequence + Artoc Ultra Reference + Arago Excellence; Furutech LAN-8 NCF; Next Level Tech NxLT Lan Flame
– Table: Solid Tech Radius Duo 3
– Acoustic panels: Vicoustic Flat Panels VMT
Opinion 2
Our today’s hero is well known on the audio market, and not only the Polish one, for a few years already. You probably know, that it is a vibration combat specialist, who, after many favorable tests (like the IC-35 cones), and after fairing well on the Polish market – even Marcin bought a set of supports for his power amplifier – is very successful on the Munich High End. There the company is visible and recognized since about two years, and it wants to keep its momentum. And to do that, they need to expand their portfolio. And it does not matter, if this is in the High End levels or for the average Smith or Kowalski, what counts, is to offer the client some new, some different technical solutions, that would allow this client to come a step closer to the qualitative absolute in his or hers audio setup. And this is what we are dealing with here, a novel product. To be precise, the seemingly simple, but bringing with it audible changes in the sound, anti-vibration platform Graphite Audio Classic 40, destined to support your electronic components.
Writing a few sentences about the construction of the tested accessory, based on information provided by the manufacturer, we know that it is based on the idea to utilize plywood as the main supportive element, which was veneered with exotic wood veneer and varnished with high gloss lacquer for visual reasons. This composition, designed to de-couple the device placed on it from the base shelf or rack, has a graphite element with the company log placed in the right hand corner of the front and is placed on three, unregulated, feet. As you can imagine, the whole looks very sleek and nice, and it is packed in a solid cardboard box coated inside with profiled foam for transport.
So what aspect was the main fighting goal for the tested audio component support? Compared to the IC-35 cones it went more in the direction of quieting down the sound. The music gained body and smoothness, and due to this, the system handled all kinds of imperfect recordings much better. Of course, this resulted in them being minimally calmer, but it was interesting enough to being perceived by me as just a different perspective on the same material. What were the changes? First of all, the sound was more rounded, and thus offered a higher level of saturation, which is often expected. Secondly, due to this approach all kinds of “sound generators” gained energy, and by that I mean the instruments and vocals. And thirdly, a feedback of the two items mentioned above, was better concentration of the system on bringing the virtual stage closer to the listener, something that is very often desired by the music lovers, as it increases the impression of the musicians being in their listening rooms. As you can see from the description, the characteristics of the tested platform tell us that it is a product, where the effect of minimalizing the influence of the ground on the components results in very well handled calming of the sound. The sound is not killed, like it often happens with simple rubber supports, like mats designed to be placed below your washing machine – yes, yes, I heard about using such ill-fated ideas, trying to reinvent reality – but just having a touch higher weight, and thus more saturation in the middle of the sound spectrum, with a slight rounding of the extremes of the spectrum. But what is very important, it is done in such a interesting way, that with only a slight tempering of the aggression in the music, we do not lose the vigor included in it. It still has a nice timing and appropriately strong kick, but without the unwanted distortion. And with that, I hope nobody will be surprised with interesting appearance of bands performing under the mad flag, like Rammstein with “Reise, Reise”, where besides the clear musical performance with strong hits and sharp cuts of the ether between the speakers, we also have the very expressive vocals, which is really creating the tone of the whole performance. This is true reckless driving, which was a little tamed down due to the action of the Graphite Audio Classic 40 platform, but on the other hand you could listen to that not only with greater pleasure, but also with higher volume levels, something that many fans of this German band are happy to do. But what with the other face of the medal? Like during inhaling the melancholic jazz in the likes of Bobo Stenson Trio “Cantando”? Of course the influence on sound is similar – toning down of the whole presentation, but in this case also the music does not die off, only with a slight diminishing of the sharpness of reproduction of the contours of the world, more emphasis is placed on its essentiality and the closer projection of the virtual sources moving in the direction of higher palpability, while still being very well placed on the sound stage. If this last aspect is really desired by everyone is a completely different question. In this case, this kind of influence results in elimination of distortion, introduced by unstable base, which seemingly add air to music, but in fact obliterate the picture of the whole.
Based on the description above, would I recommend the tested platform to everybody, without any exceptions? Unfortunately not. And not because it makes the sound too smooth, but because in very sweetened systems, its action can be perceived as crossing over the line of perceived smoothness. But if your system is not one of those – pushed too much in the direction of roundness – you should try this platform in it, even if for whatever reason you will not keep it. I assure you that it will be a different, much more pleasing look at the same music productions, something that finally might become the Holy Grail you were looking for from the very beginning.
Jacek Pazio
System used in this test:
Source:
– transport: CEC TL 0 3.0
– streamer: Lumin U2 Mini + switch Silent Angel Bonn N8
– DAC: dCS Vivaldi DAC 2.0
– Master clock: Mutec REF 10 SE-120
– reclocker: Mutec MC-3+USB
– Shunyata Research Omega Clock
– Shunyata Sigma V2 NR
– Preamplifier: Gryphon Audio Pandora
– Power amplifier: Gryphon Audio Apex Stereo
– Loudspeakers: Gauder Akustik Berlina RC-11 Black Edition
– Speaker cables: Synergistic Research Galileo SX SC
IC RCA: Hijiri Million „Kiwami”, Vermouth Audio Reference
IC XLR: Tellurium Q Silver Diamond, Hijiri Milion „Kiwami”, Siltech Classic Legend 880i
Digital IC: Hijiri HDG-X Milion
Ethernet cable: NxLT LAN FLAME
Power cables: Hijiri Takumi Maestro, Furutech Project-V1, Furutech NanoFlux NCF, Furutech DPS-4.1 + FI-E50 NCF(R)/ FI-50(R), Hijiri Nagomi, Vermouth Audio Reference Power Cord, Acrolink 8N-PC8100 Performante, Synergistic Research Galileo SX AC
– Table: BASE AUDIO 2
– Accessories: Harmonix TU 505EX MK II, Stillpoints ULTRA SS, Stillpoints ULTRA MINI, antivibration platform by SOLID TECH, Harmonix AC Enacom Improved for 100-240V, Harmonix Room Tuning Mini Disk RFA-80i
– Power distribution board: POWER BASE HIGH END
– Acoustic treatments by Artnovion
Analog stage:
Drive: Clearaudio Concept
Cartridge: Essence MC
Phonostage: Sensor 2 mk II
Eccentricity Detection Stabilizer: DS Audio ES-001
Manufacturer: Graphite Audio
Price: 8 999PLN (1 999€) RAL; 11 899 PLN (2 629 €) Natural wood veneers
Specifications
Standard dimensions (incl. feet): 475 x 445 x 40 mm (+/- 3 mm)
Feet: 3 – not regulated
Weight: 5.5 kg
Max load: 180 kg
Finishes: RAL palette: Matte, High Gloss; Natural wood veneers: Matte with wood structure, High Gloss