An eye-opener

I remember one day in the early 1990s when a friend and I visited the Brooklyn, New York home of Dave Kaplan, who is associated with Shakti Innovations. The company manufactures devices that are said to improve an audio system’s performance when placed on things like components and cables by reducing electromagnetic interference (EMI). These include the “Shakti Stone Air” and the smaller “Shakti On-Lines Air.” The company also makes a room treatment device called the Hallograph. 

When we arrived at Kaplan’s home, we checked out his stereo system. I can’t recall what components or cables he was using. I do recall, however, that the speakers were from the much-revered Apogee Acoustics. What was most remarkable, however, was that the entire system was covered with a hundred or more Shakti stones. They were everywhere and blanketed the components, speakers, and cables. They were also on the room’s AC duplexes and electrical panel. In addition, the room contained numerous Hallographs. When we sat down to listen, we discovered that the sound of the system was extraordinarily good. 

We left thinking that the lengths to which Kaplan had gone to improve the performance of his stereo system were, to say the least, extreme. Nonetheless, the performance was there, and the desire to improve my audio system through tweaking had taken root. 

An inveterate tweaker 

Fast-forward by about 30 years and I have probably forgotten more about tweaks than most audiophiles even knew existed. (It’s right about here that readers should make sure not to confuse “tweaker” with “twerker,” the latter of which is someone who shakes their hips and bottom in a low, squatting position.)

I have tried the following products that could be considered a tweak:

• Component supports and other accessories, including racks, platforms, and footers; damping weights and pads; aftermarket fuses; grounding devices; and EMI management devices, including Shakti Stones and On-Lines.

• AC power products such as parallel and in-series power conditioners.

• Cable products such as vibration damping tape; EMI/RFI shielding and absorbing sheets; crystals, stickers, and discs; and RCA and XLR adapters. 

• Physical media accessories such as CD demagnetizers, cleaners, markers, and lathes.

• Digital products such as room correction software, LAN/Ethernet isolators, and USB bridges.

• The listening chair (heh, heh!).

• Room treatments such as acoustical panels, low frequency Schumann pulse emitters, and metallic resonators. 

• Lord knows what else.

What is a tweak?

Wikipedia defines a tweak as a “minor adjustment, accessory, or unconventional modification applied to a sound system or listening room” whose “goal is to extract a higher level of sound fidelity.” Under this definition, a tweak would presumably include the introduction into a system of aftermarket footers for components or speakers. Conversely, it would presumably not include the introduction into that system of a new component or speaker. But how would an upgraded cable or power cord, a power conditioner, a component rack, a network switch, or an acoustical panel fit within this definition?

Undoubtedly, when determining what constitutes a tweak, the lines can blur. It’s not all that different from my wife’s academic dissertation, which attempts to draw the distinction between architectural structure and ornament.

The stereotype

The tweaker stereotype is someone who continually adjusts their stereo system instead of listening to music. However, “dialing in” a stereo system is an integral part of the hobby. Tweakers inherently realize that the easiest way to get mediocre performance from a high-end stereo system is to haphazardly place it in a room, hook up the signal cables and power cords, and listen in ignorant bliss before embarking on a series of expensive component and speaker upgrades. 

In my experience, some of the smartest and most thoughtful audiophiles have also been enthusiastic tweakers. Conversely, many non-tweakers don’t want to put in the work that is required to get the best sound possible. And yes, tweaking can be a lot of work. Even more, many non-tweakers don’t trust their ears enough to make small changes to their stereo system.

Do tweaks work?

Not surprisingly, some of the tweaks that I have tried over the years worked-some didn’t. There was a small, passive cube, apparently made mainly of Lucite, that someone had given me at a trade show many years ago. When sold, its cost was somewhere in the neighborhood of $300. This product, whose name and manufacturer escape me, was alleged to improve an audio system’s perceived performance when merely placed in a listening room. However, it mostly led to nothing more than a lot of A/B testing and no change in the sound. Not surprisingly, there has been no shortage of tweaks that, like the Lucite cube, did nothing, thus giving rise to the emotionally charged term "snake oil.” 

Aside from those tweaks that did squat, there were, of course, many which either changed the sound without clearly making it better or only improved things either marginally or even almost imperceptibly. This is where things can get dicey. This is especially true since whether a tweak works or not can be dependent on the stereo system. What works in one system may not work in another due to the design of the system’s components and speakers, as well as the listening room in which the system resides.

A word of caution

Take it from me: tweaking should be avoided by those who have a propensity toward indecisiveness or obsessive behavior. Audiophiles who can’t decide easily (or at all) whether any given tweak is worth its salt should avoid tweaking at all costs. Deciding whether to keep a tweak or get rid of it can be maddening. As I became more experienced (i.e., got older), I decided that for a tweak to stay in my system (regardless of its price), it must make a significant and unmistakable improvement with respect to my system’s sound. Otherwise, it isn’t worth my time. 

Perhaps some stereotypes are based on a kernel of truth. There are those audiophiles who should avoid tweaking or risk going down a rabbit hole from which there is little chance of escape. My advice is to A/B a tweak, make a decision on whether to keep it, and then move on.  

What is a tweak worth? 

Like audiophile products in general, the prices of some tweaks are astronomically high. However, other tweaks are very inexpensive, or even virtually free. In part, whether a tweak is considered to be overpriced can depend on the pricing model that you subscribe to. Three such models are the cost of goods sold (COGS) model, the performance model, and the research and development (R&D) model. 

COGS is the total direct cost a business pays to make or buy the products it sells. It includes things like raw materials, parts, and factory labor. Those who subscribe to this model of audio tweaking likely believe that if a tweak costs $40 to make and has a retail price of $1,000, it is grossly overpriced. 

Those who subscribe to the performance model believe that if a tweak improves an audio system’s performance as much as, say, a $3,000 component upgrade, that tweak is worth $3,000. Finally, those who subscribe to the R&D model assign value to the time and/or expense that the manufacturer invested to bring the tweak to market. Pursuant to this model, a tweak that has a $40 COGS could be worth a lot more than that if it took the manufacturer three years and many hundreds of hours to develop. 

Who is right? You can be the judge, but in my mind, there’s no reason to choose only one model. Each has its merits.

To tweak or not to tweak

In this feature series, I will examine many types of tweaks, both vintage and contemporary. I will look at things such as the claims made, the technical design principles involved, the prices charged, and whether the promised performance is subjectively borne out. The latter includes whether the sound with the tweak in the system appears better or just different. 

I will also address the rather active world of DIY tweaks. As for the next part of this series, there is arguably no better place to start than cable risers. They may well be the most contentious of all audio tweaks. 

Undoubtedly, this series will upset or even anger some tweakers, non-tweakers, and manufacturers alike. Gird your loins-this will be good.