• Utilizing the same design principles as the renowned QPod for front end equipment as well as the SPod and MPod for heavier speaker and amplifier loads, the APod is the ideal coupling mechanism for A-Series speakers as well as the S1 MkII. Based on the scientific design principles of Constrained Layer Damping, unwanted mechanical energy is dissipated away from the enclosure. Demonstrable results include increased dynamics, enhanced focus, greater resolution, and a closer representation of the original musical performance as it was intended during the recording process. The main structure of the APod is formed from multiple machined aluminum sections which when assembled form a vertical stack. A solid pure copper substrate center round is sandwiched by a top and bottom layer of aluminum that when compressed together facilitates the Constrained Layer Damping (CLD) function. The main structure of the SPod is formed from multiple machined aluminum sections which when assembled form a vertical stack. A solid pure copper substrate center round is sandwiched by a top and bottom layer of aluminum that when compressed together facilitates the Constrained Layer Damping (CLD) function.
  • Throughout the development process of the Q platform numerous advances in the area of resonance management were made.

    Originally developed for internal R&D, Magico is introducing the QPods to maximize front-end system performance. The pods themselves are CNC-turned and milled from hardened stainless-steel, oxygen-free copper, and hard black-anodized aircraft-grade aluminum. These materials create the constraining layers for the damping material that is alternately clamped between to create a single traverse dissipating unit, which we call the QPod.

    Vibrational wave propagation through the floor, stands, and the equipment itself is converted into heat energy through the side-to-side movement (known as “shear deformation”) within each layer of the pod.

    By adding a multi-leveled constraining layer mechanism to equipment standoffs, electrical and mechanical vibration-induced artifacts are acutely reduced, ultimately resulting in marked improvements to signal fidelity.

    Cumulative Spectral Decay of a preamp chassis, standing on its factory feet, playing back an impulse response. Speakers are playing back the signal in room.

    Same preamp playing back the impulse standing on four QPods.

  • SPOD – Utilizing the same design principles as the renowned QPod for front end equipment and the MPod for heavier speaker and amplifier loads, the SPod is the ideal floor coupling mechanism for S-Series, Q-Series and V-Series Speakers. Based on the scientific design principles of Constrained Layer Damping, unwanted mechanical energy is dissipated away from the enclosure. Demonstrable results include increased dynamics, enhanced focus, greater resolution, and a closer representation of the original musical performance as it was intended during the recording process. The main structure of the SPOD is formed from multiple machined aluminum sections which when assembled form a vertical stack. A solid pure copper substrate center round is sandwiched by a top and bottom layer of aluminum that when compressed together facilitates the Constrained Layer Damping (CLD) function. An adjustable spiked footer threads into the SPOD base and when locked into position provides solid coupling to the floor. The SPod is configurable for the Magico S1, S3, S5 (MkI and MkII), the Q1, Q3, Q5 as well as the V2, V3 and legendary Mini Speakers.
  • The LPI V2 slips over the spindle of your turntable and rests on the label portion of the LP. This our patented isolation filter absorbs the micro vibrations that are created by the stylus skating in the grooves. If left un-intercepted, the vibrations flow past the spindle and directly back to the cartridge as the record rotates. The LPI V2 dramatically increases the sound stage size and focus. Lowering the noise floor at the source exposes the most minute detail of location and presence greatly adding realism and emotional expression to the listening experience.
  • The standard Ultra Mini V2 consists of three primary elements: body, base, and filter. The narrow tapered Mini Body houses the V2 technology filter. The Mini Base allows for leveling when four are used under one component. The standard thread size is an 8/32” which will fit some equipment with out the Base. The Ultra Mini V2 is available with 1/4-20 male threads to be used in the Stillpoints Component Stand, ESS X and Rail Grids. Other sizes are available by special order.
  • The Ultra II V2 follows the legacy of the original Ultra 6, incorporating the use of technology pockets on opposing sides of the isolator. The Ultra II V2 is the first product to support the Version 2 filter and it is the only product that was built using just the Version 2 filter. There is no Version 1 Ultra II. It is available in these configurations.
  • The Ultra 6 V2 is the first Ultra product to use opposing technology pockets. Order the Ultra 6 V2 with an Ultra Base which provides an additional 20% to 25% in performance. Order without the Ultra Base if used in an ESS rack or with a Component Stand.
  • The Stillpoints Aperture is the only acoustical product that will give you both absorption and diffusion at the first reflection points of a system. And you want both!
    • The Aperture’s unique trapping system captures an area of waveform much broader than its small surface area would suggest.
    • The Aperture can be used to trap waveforms either facing the wall or, facing away from the wall.
    • The Aperture effectively increases soundstage width and depth. This is especially true for smaller rooms. (See the Michael Fremer review in Stereophile, Feb 2016.)
    • The Aperture will increase the dimensional perspective of the image structure.
    • The Aperture focuses music and voice without room boundary.
    The Stillpoints Aperture will NOT:
    • Decrease or limit the dynamics of the system.
    • Diminish the power of the bass attack.
    • Unevenly control one frequency over another. (This is often the case with traditional room treatments)
    Choose from three “STANDARD” natural wood frame species: Oak, Cherry, & Walnut.
  • The resolution, textures, transparency and expression of sound is greatly affected by how and what power is supplied to your audio devices. Which means a power supply unit affects the sound quality to the entire audio system, and should never be considered “just a power supply unit.” The sPS-500 is an audio power supply designed specifically for high performance audio. It is built to eliminate noise generated by powered devices as well as to remove noise coming from an AC power source. Using SOtM’s unique technologies for noise cancellation and sound enhancement, and high quality audio components that are already proven in sound quality, you will hear superior sound with the well-designed sPS-500.
  • The sCLK-OCX10 is a master clock generator that produces a high purity 10 MHz clock signal. In digital audio devices, the clock signal acts as the heart of the product, a higher purity clock brings more accurate and better sound quality. However, the higher purity clocks also requires higher costs, therefore, a high-purity 10MHz clock, like a master clock, is not installed inside of the audio device but connected to the internal clock and synchronized by a master clock as the way to improve sound quality. The sCLK-OCX10 is a specially designed product for high end audio equipment which brings all the benefits of master clocks that have been used primarily in recording studios and high performance audio. It could be the paramount digital device for audiophiles who want the best sound quality. It can be used with  devices equipped with a BNC connector for their master clock input. For SOtM products, 10MHz master clock input connectors can be optionally added to products with the sCLK-EX installed such as the sMS-1000SQ, the sMS-200ultra,  and the tX-USBultra can be used with the sCLK-OCX10.
  • You may have heard someone say or said yourself something like “it sounds analog” or “it sounds musical” when listening to a very good sound. Such expressions have been used to describe sound that is close to the real charm in an actual performance stage or that is instead expressed in musical nuances. However, whether it is the former or the latter expressions, the meaning of these expressions could only make sense when the feelings of a very dedicated and dynamic live performance reach our ears and touch our minds. However, with most audio systems it is very difficult to experience such charm or musical nuances, and in fact even it is even hard to reach such sound with ultra high-end audio systems. So SOtM, to overcome such situations, has been developing from the SATA filters, the tX-USB card series and other equipment since people first started getting into computer audio. These have settled in to being essential parts of digital audio nowadays, but still it is a fact that there is a lot to overcome to improve sound quality.

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