The SLX Series is a professional quality stand which caters for larger bookshelf speakers where an increase in the footprint is required to ensure optimum stability.
Even if you already have a loudspeaker stand, you can still use one of these foam–based speaker platforms on top of it to reduce the amount of vibration getting into the stand and subsequently into the floor. Many of the commercially available platforms come with additional foam wedges that may be used to adjust the vertical angle of the speaker if necessary.
An isolation platform works in a similar way to a car’s suspension, and comprises three mechanical components: a spring, a mass supported by the spring, and some form of damping to prevent the sprung mass from continuing to bounce around. In a car you have the springs between the axles and the car body: the car body provides the mass and the shock absorbers provide the damping, to stop you having a bouncy ride.
There you have it; the basics of why you should consider stands for your bookshelf speakers. As with much in hi-fi, this is only the introduction to a massive subject, but it serves as a good understanding of stands function and what they can do for your hi-fi system. And they can do a lot for providing your speakers with the optimal condition for top-notch performance.
That’s where you need to put the sub. If your sub has a phase adjustment knob, or a polarity–invert switch, adjust this until you hear the loudest result from frequencies around the crossover point, typically 80 to 120 Hz.
If you visit the various hi–fi forums you’ll find a number of conflicting views on what the best material to use is, but there’s often little to back up people’s claims, and I’d suggest that that way lies madness! Dry playground sand works just fine, and you can even leave it inside plastic bags if you wish to avoid things getting messy.
If the output from the sub seems uneven, you need to try and find a location where it produces a less lumpy response. A good tip for doing this is to temporarily place the sub where you normally sit to mix, and then listen at different places around the edges of the room while playing back a same level chromatic (semitone) scale of sine waves from a sampler until you find the spot that produce the most consistent level across all notes.
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