Placing your equipment upon three Bindbreaker feet reduces the influence of microphonic effects within its circuitry. Micro-vibrational energy sinks into and is absorbed and dispersed by the Bindbreaker more readily than it bounces back up into the equipment. The result: fantastic clarity, lower noise, more focus, better imaging, more distinguishable bass, clear and uncolored highs, and a rich midrange with melodic qualities which simply sing music in all its purity. Music frees itself from the bounds of the loudspeaker.
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Some ideas on micro-vibration management
First, remember please that we are dealing with micro-vibration. When we say micro-vibration, we are speaking of sub-measurable vibration. There are generally two schools for vibration absorbing feet: rubbery solutions and hard solutions. Rubbery solutions can be measured in their effectiveness, but this is due to the fact that they deal with low frequency, large amplitude vibration (like the kind found in industrial transformers, refrigerator pumps, water pumps, generators, etc.) As audiophiles we don’t really need shock absorbers which deal with large amplitudes. We are dealing with vibrations of a miniscule sort which are of sufficient frequency to be able to affect capacitance differences of such small a nature as to induce a smeared sensation of the audio, even though this effect remains immeasurable using even quite sophisticated lab equipment. This is hard to pinpoint while measuring, but critical listening reveals that all rubbery solutions introduce a rubbery type sound quality, and this is undesirable. Bindbreaker falls in the latter school of thought, the ‘hard’ solutions.
Two unique steps
In terms of functionality, there are two steps involved with the Bindbreaker. When speaking of vibration of any sort, there are always so-called modes of vibration involved. These modes have directions. The first task of the Bindbreaker is to polarize the micro-vibrations such that only those normal to gravity are accepted into the foot. (This is why rubbery feet don’t sound good, because they offer up and down vibration resonance damping, resulting that some amount of the vibration will always get reflected back up into the gear.) This first step is accomplished within the workings of the hexagonal cylinder on top.
The micro-vibrations the Bindbreaker deals with are acoustic in nature. Acoustic vibrations travel much more quickly through steel than they do through the cellulose fibers of wood grain. The top, smaller portion of the Bindbreaker is attached to the lower portion through hard steel only. No wood-to-wood contact is made. Thus, any and all vibrations which enter the large steel joining bolt have already been polarized in nature. This is because they only enter the large steel bolt normal to gravity. As these polarized micro-vibrations travel very quickly through steel, they immediately spread through the tightly joined thick steel plate which conducts the vibrations nearly instantaneously to the matrix of steel bolts at the bottom. The steel bolts are all in tight contact with the wood fibers within the larger bottom portion of the Bindbreaker.
The reason the Bindbreaker has a hexagonal shape is that the hexagon is the only figure naturally formed when maximum density of circles are arranged. We want maximum density because we want a maximum surface boundary layer between steel and wood. The wood provides maximum damping, the steel provides near-instantaneous conductivity. Thus, these two steps work in tandem in order to bring micro-vibrations away from the gear’s bottom as quickly as possible without any chance for them to spring back up towards the gear through resonance or impedance mismatch. The Bindbreaker is a vibration sink with one direction only: first only to the side, and then only into wood. The Bog Wood plate at the bottom has the additional and subordinate function of further damping the numerous steel button hexagon sockets, for these form small resonant cavities of their own.
The result when used beneath audio equipment: fantastic clarity, lower noise, more focus, better imaging, musical bass, pristine highs, rich midrange with melodic qualities which simply sing music in all its purity. If you already enjoy the DFPC Series power cables, and now the Firewall modules, you will absolutely love the Bindbreaker feet. Perhaps one, if not very imaginative, way to describe their performance is that they work “like DFPCs on steroids.” You will not find a coloration here. You will find more and more music.
The result of their use is that the music frees itself from the bounds of the loudspeaker. Almost as if the music has sounded before the loudspeaker has had a chance to move. That’s how quick the Bindbreaker is to act. We are speaking here of possibly the most subtle art in all of audiophile culture. The product performs very strongly and is ready to join the LessLoss family of unique, cost-effective, superb performers.
Upon using the Bindbreaker feet, it is hard not to gain more respect for performers, for instrument makers, for conductors, and for composers. So much more is revealed from recordings one would have thought one knew everything about that one is, frankly, humbled by the very experience. This in some way is a lesson in the great mysteries of nature and how, with due diligence, one can ‘crack the code’ of immeasurable phenomena through strict logic and numerous trials.
The Bindbreaker vibration control feet are not intended to be used for loudspeakers. Use them under your source, under your preamp and under your amps. Use them under external power supply units and under shelves and plinths.
— For use under any components whose weight is up to 100 kg.
— Recommended are three Bindbreaker feet per component.
— Sliding the Bindbreaker feet after equipment has been laid onto them is not recommended. Lay the equipment down vertically onto all three Bindbreaker feet at once.