LaserBase Component Stand with Twinkle Toes - (Rubber Feet) - {20 Pound Weight}

LaserBase Component Stand with Twinkle Toes - (Rubber Feet) - {20 Pound Weight}

Selling on Consignment for my Customer.

Tube Dimensions with Twinkle toes:
Top: 12.5" x 12"
Bottom: 15" x 14.5" Including rubber Feet
Height: 7.5"

Twinkle-Toes are, explained simply, small ball-bearings in the center of the leg. The leg is cut in the middle. A cup is machined in the upper and lower cut surfaces to contain the "loose" ball-bearing. You end up with a leg with a loose ball-bearing in the middle of it with the two cupped surfaces and the weight of the component and LaserBase holding everything together. However, if you lift up the LaserBase frame while the Twinkle-Toes are free, you will leave four feet and ball-bearings sitting on the shelf. If you remove a component from a LaserBase

I have two larger stands both without Twinkle Toe's Inside dimensions 15.25" W x 11.12"D x 6.75"H- Weight Limit 20 pounds, Condition 7/10 selling for $325 and larger one 15.25" W x 14.25"D x 6.75"H Weight Limit 40 pounds, Condition 6/10 selling for $275. If interested I'll post additional ad.

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Reprinted from SoundStage Review by Doug Blackburn

What is a LaserBase?

Let’s build a LaserBase. Start with 1/2"-diameter tubing and build a rectangle about the same size as the component you will be supporting. Then build another rectangle inside the first one, also using 1/2" tubing. Slip an elastomeric band lubricated with petroleum jelly around each pair of parallel tubes, four bands total. Now attach four downward-pointing feet to the outer frame -- they’ll need to be maybe 3" long or so. These four feet will contact the shelf or table supporting the component. Then attach four upward-pointing feet to the small frame. The component will sit on these feet. These upward-pointing feet will also need to be around 3" long. When you set the LaserBase on a shelf, then place the component on top, the elastomeric bands stretch out to hold the component in what amounts to a decoupled "cradle."

Twinkle-Toes are, explained simply, small ball-bearings in the center of the leg. The leg is cut in the middle. A cup is machined in the upper and lower cut surfaces to contain the "loose" ball-bearing. You end up with a leg with a loose ball-bearing in the middle of it with the two cupped surfaces and the weight of the component and LaserBase holding everything together.

Reprinted from Soundstage review LaserBase Component Stand
by Doug Blackburn

Twinkle, twinkle…Twinkle-Toes

After a week of acclimating myself to the sound of the system with the CAL CL-25 on the LaserBase, it was time to see what the Twinkle-Toes do when you release them. I grabbed the knurled collar between two fingers and threaded it down the leg until it reached the bottom and exposed the cup-bearing-cup structure that is the business end of the Twinkle-Toes option. Repeat this for the other three legs and the Twinkle-Toes are now all present and in full action. Again, the difference is obvious and can best be described as more of the same -- meaning that the Twinkle-Toes just multiply what the LaserBase did by itself, and pretty much by a factor of two. This was sort of a jaw-dropping experience because I figured the four elastomeric bands were doing the vast majority of the work and that the Twinkle-Toes would be more like buttering the bread rather than a significant improvement in its own right. It is easy enough to thread the four collars up to disable the Twinkle-Toes. I did just that several times to convince myself that, yes, the Twinkle-Toes really are that much of an improvement.

Initial listening impressions

I had been using the CAL CL-25 as the primary digital source in my system for a while before the LaserBase arrived. I was quite familiar with the excellent performance and sound quality of the CAL CL-25 and was somewhat skeptical that an isolation device under it would improve the sound enough to justify the $550 cost of the LaserBase with Twinkle-Toes. My initial listening to the LaserBase was with the Twinkle-Toes "captured" so that they were not actually being used. This configuration closely, but not exactly, replicates the performance of the standard LaserBase with no Twinkle-Toes or Fingers.

It took about three seconds for my skepticism to disappear. The change in sound was quite obvious. Bass improved in tightness and detail. But the overriding sonic club that hit me was the sense of space the system took on with the CAL CL-25 suspended on the LaserBase. The sound opened up, portraying a whole new feeling of space I’d never heard from any digital front-end in this system before. More critical listening revealed a top end that was more refined and detailed than before. There was no delay, no break-in, no hours of tweaking needed. The improvement -- and believe me, it was unmistakable as a very worthwhile improvement -- appeared instantly. This is the kind of system change that once you hear it, you never want to look back. There’s no need for a list of recordings with description of what LaserBase does to their sound because LaserBase does what it does to every recording. Even 78 RPM records remastered to CD sound less space-restricted when the LaserBase is in use.

The sense of space the LaserBase brings out has a lot to do with how sounds decay. Without the LaserBase, components sound comparatively dead, as if sounds start fine, but die away too soon. This premature decay drains the life out of sounds and closes down the sense of soundstage space to a significant degree. Even in a system that already has an impressively wide and deep soundstage, the LaserBase can still cast a magical spell on the proceedings by de-clumping sounds you never realized were clumped before. Height is more apparent, and the decay of sounds becomes a multi-dimensional thing for the first time. Decay becomes audible at the instrument as the note dies out as well as a spatial thing where you hear the note decay within space. Without LaserBase, the decay that occurs in space seems to happen right at the location of the instrument -- clumped around the instrument instead of occupying room in the soundstage. The "LaserBase Decay Effect" means that you hear both kinds of decay, instrument-related and space-related, as they occur in live music. When you hear decay work like this in a home audio system, it becomes easier than ever before to suspend disbelief and let the music carry you away. If your goal is effortless listening and losing yourself in the music, the LaserBase will aid and abet you in your pursuit.

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