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Next Level Grounding Feet, Martin Taylor
DESCRIPTION
The Next Level Grounding Feet (NLGF) are fairly large, round section black feet, heavy in feel and with
four upward facing metal studs. They are 57mm in diameter and 32mm tall including the studs.
The NLGF fulfil three distinct functions: 1) isolation; 2) damping; 3) grounding. My best guess, based
on several conversations in the past, is that isolation and damping are achieved by constrained layer
technology that converts vibrations into heat. Grounding is achieved by the studs making contact with
metal chassis and sinking noise into the internal structure. No internal structure is visible and no
details of the exact mechanism of operation are disclosed.
DEPLOYMENT
The studs are intended to face upwards and make contact with the metal chassis of the component.
They should make contact directly and not be placed under existing feet – this is important for the
grounding to function well.
The deployment that I ended up with was after a few experiments with different positioning scenarios.
I set the two rear feet wide apart to give maximum stability where rear panel connections will be
hanging from the component. The two front feet I placed closer together (but not touching). This I
found helps to equalise the load distribution and prevent rocking. It is very important that all studs
make good contact with the chassis – check to ensure that no exposed underside bolt heads interfere
with correct seating of the studs against the underside.
SELECTING WHICH COMPONENTS TO USE
In my digital streaming system, the core and most sensitive components from a vibration standpoint
are my streamer (Sonore Signature Rendu Deluxe) and DAC (Gustard X26 III).
They both use highprecision femtoclocks which, as with all crystal oscillators, are very microphonic and sensitive to
vibrations. Always use them under the most sensitive components, be they analogue or digital, in your
system.
SYSTEM
The system used for evaluation comprises a TP-Link 4G+ router feeding an LHY AS6 network switch
with a low noise OCXO clock, which provides the SFP feed into a Sonore Signature Rendu Deluxe. This
then passes streamed data via USB to a Gustard X26 III DAC. The DAC is set to lossless 32-bit digital
volume mode, and feeds the power amp directly, a Belles SA-100 Gen II. Finally, the speakers are
Usher Be-20 floorstanders on Townshend Podiums. Grounding boxes are distributed everywhere to
help with the lowest noise possible into the DAC.
Music is provided by Qobuz hi-res streaming and a few ripped files held in OneDrive. All are controlled
by BubbleUPnP on an Android tablet. Sound quality between streaming and files is identical and I only
use files for albums not available on streaming.
SOUND
The NLGF do two things better than any footer I've yet heard (and I have a big collection of discarded
footers). The first is a very homogeneous presentation that defies description, pulling you back into the
music time and time again. It sounds real and vivid and everything is rhythmic, fluid and more natural.
The second is a level of dynamic slam that is quite extraordinary because it's so very clean. My system
is not shy in scale and dynamics, but this is a bit special and is amazing in its speed and clarity. Drum
and synth beats are whipcrack in their strikes but even blues electric guitar can be knockout in
intensity.
I gave the NLGF a few days to settle down as Black Ravioli always benefit from weight placed on them
for a week or so before critical use. A week later and they were really taking hold of the music. That
sense of an organic whole is very apparent and makes trying to break down aural impressions by
bass/mid/treble virtually meaningless. Playing Stormy Monday Blues by Roy Gaines, his guitar
exploded from the stage while his voice remained rock steady centre and the Hammond organ played
on, ever audible, with a bass line bringing up the foundation. Time and again I heard fine detail and
macro level dynamics with gut-punch intensity, an extraordinary uplift in dimension and scale.
The NLGF work in the same way no matter the music, to create a performance with shocking realism
and palpability. They are very, very impressive.
In previous incarnations of my system, I was chasing resolution and I succeeded. The new LHY AS6
switch, for instance, created a glorious swathe of micro-detail thrown out there all over the
soundstage. It was addictive. Then I removed my trusty old Gustard U18 DDC and went USB direct to
the new DAC. Another similar improvement with resolution everywhere but also some lack of
cohesion.
What the NLGF do is entirely different. The resolution is there - and more - but it's embedded into the.
music to make it more coherent. Organic is the word I keep coming back to. The rhythm, ebb and flow
are extraordinary while the resolution now 'makes sense' within the music. It sounds more
fundamental and dimensional, a living thing in front of me. Certainly the closest I have come to the
performance being in my room.
After a couple of weeks, the system has continued to improve. All the things I talked about -
heightened resolution, deeper soundstage, incredible dynamics – are there but now in an even calmer
presentation. Music sounds tremendously coherent, dynamic and exciting, with huge inner detail. The
separation of highly dynamic events while background and vocals remain steady is a signature quality
of the NLGF.
MUSICAL IMPRESSIONS
Emmylou Harris – Goodbye. Huge opening acoustic, wide and deep, with tremendous low level bass
vibrations reverberating around. Highly focussed voice nice and central.
Charlotte Day Wilson – Work. Amazing synth percussion attack and bass drum while her voice remains
rock steady and focussed.
Sophie Zelmani – All About You. Incredible acoustic guitar bite. Her voice remains airy, diffuse and
sibilant throughout. Reverb decay in the left channel.
Roy Gaines – Stormy Monday Blues. Incredible atmosphere, crisp electric guitar with pinpoint imaging,
highly focussed central voice, lovely cymbal note decay.
Mavis Staples – Eyes on the Prize. Very good at separating out the busy mix and demonstrating its
excellent dynamics. Ry Cooder’s guitar sounds vibrant and the percussion climax at the end is
thrilling.
Vivaldi – Four Seasons, Drottningholm Baroque Ensemble, Nils-Erik Sparf. The bite of Sparf's fiery
violin, the acoustic of the Petrus Church and the growling organ continuo are a heady mix to make this
such a pleasure to hear.
Shostakovich – Symphony No. 13, Haitink, Concertgebouw. The movement Fears has the bass drum
signalling dread to a degree not heard before, then the men’s choir reinforces this impression in a wide
soundstage. The orchestral peaks are epic, shattering and superbly clean.
CONCLUSIONS
The Black Ravioli Next Level Grounding Feet are the best equipment supports I have ever heard. They
represent a quite significant upgrade in the performance of sensitive equipment supported by them, to
the tune of much higher effective value than their cost. If you were planning on upgrading an already
well performing streamer or DAC, you may well find, as I did, that the NLGF are more cost effective and
give tremendous bang for their buck. In my case, it would be impossible to match their cost with any
upgrade as I am already near the limits of my system capability, so they have given it an unexpected lift
that I simply did not think possible.I’ve said it before: Black Ravioli’s products have magical properties that don't seem possible for such
unassuming things. Highly recommended!
