HIFISTAY HARDPOINT TRINIA +α VIBRATION ISOLATOR REVIEW

In the latest review, I explore a highly interesting high-end audio accessory, the Hifistay Hardpoint Trinia +α vibration isolators from Korea. 

HARDPOINT

Since 2012, Mr. Naiwon Pyun started to develop a new generation of flagship footers, applying HIFISTAY’s own “Swing Technology”, and after designing countless prototypes and long extensive field tests with various audiophiles in Korea, he finally introduced the first generation of Hardpoint (with double swing structure) in 2014. 

About 2 years later, the upgrade with the more sophisticated triple swing structure, “Hardpoint Serene Z10”, was launched and then introduced outside Korea for the first time. After the short period with the “Q9” version, “Hardpoint TRINIA” was released along with an improved internal structure and a new 3-point contact (instead of the single-point contact in the previous versions) in 2017, and in fact, it was the last version of Hardpoint. 

HARDPOINT TRINIA +α

In 2020, with tireless dedication to TRINIA, which already delivered a great performance, Mr. Pyun proudly introduced TRINIA+α, the new generation of HIFISTAY’s flagship foot, ensuring the next level of performance by adding “α” to TRINIA (new optimized lower layer of vibration, new improved inner part, and other subtleties). 

This induced for HIFISTAY a new exciting journey with the goal of reaching passionate audiophiles around the world.

HardPoint is designed from the ground up as a state-of-the-art vibration isolator. ‘Hard Point’ term comes from automotive engineering. It means that it is the optimal design for optimal operation of the suspension.

Damped Oscillation Graph

Hardpoint moves naturally with the spherical pendulum mechanism of the optimally designed curvature.

HIFISTAY SWING TECHNOLOGY

The precise physical movement of the intricately designed ceramic and metal structure effectively controls unwanted vibration from/to audio equipment (through the pendulum movement of 3 (or 4) ceramic balls on the precisely processed spherical metal structure). 

Extreme technology and metal processing are implemented for the optimal movement

TRIPLE SWING STRUCTURES

Rolling disc Contains 3 Points Ceramic bearings (Triple pendulum). Dual Rolling discs follow the action-reaction spherical pendulum motion

DUAL ACTION SWING

Once the vibration (from audio equipment) arrives, identical vertically stacked twin swing structures perform an action and reaction process. Dual Action Swing is very effective, especially against micro-vibration.

Triple Reaction Diagram

BASE SWING

A wider and larger movement performs overall control of incoming and outgoing vibrations.

Three contact points on each footer effectively dissipate vibrations from audio equipment to the underlying structure of Dual Action Swing.

OPERATIONAL

Hifistay Hardpoint Trinia +α-vibration isolators utilize Newton’s laws of motion (The Third Law). Due to the principle of action & reaction, the double roller disk reacts immediately to vibrations by responding to micro-vibrations.

As a thoroughly engineered device that actively dissipates vibration, it responds to vibration according to the damped oscillation.

A double rolling disk, consisting of ceramic ball layers on the top and bottom, responds with a spherical pendulum motion according to the optimally designed radius of curvature.

HardPoint was designed with the clear goal of not compromising the sound or altering the tonal balance.

What it does do, as you can read in the review, is help the sound projection achieve more focus, clarity, and better harmonic density. 

The decays and delays that are critical to recreating acoustic space are denser, and the perception of higher resolution allows for a more open and naturally relaxed sound that is not dynamically constricted. 

Hifistay Hardpoint Trinia +α Vibration Isolators are designed for use with CD transporters, DACs, music servers, turntables, amplifiers, network equipment, studio monitor speakers, isolation transformers, etc., but during evaluation, I found that it works especially well with analog and digital front ends and preamps. 

1. Top Ceramic ball
2. Guide ring
3. Rolling Disk
4. Hex socket set bolt
5. Ceramic ball bearings
6. Upper rolling disk set 
7. Body
8. Under rolling base
9. Bottom ring
10. Bushing guide

The height adjustment is easily done by gripping the rolling base with the engraved scale and then turning the under part, the lower ring. 

There are laser engraved scales around the bottom ring and 0.5mm spacing on each wheel. By turning the ring you can adjust the height and level in 0.05mm increments for each scale.

THE MUSIC 

Argumentum ad absurdum. It should be expected when isolation devices are brought up. But the proof is in the pudding, and only the music will show what happens.

With Hifistay Hardpoint Trinia +α vibration isolators in action across various high-end audio components, including DACs, music players, and preamps the result was far from subtle. 

With Trinia+α in action, my listening notes repeatedly pointed to the reduction of the effect of mechanical hysteresis, the mitigation of the clout effect, and the positive impact on dynamic performance. 

Half the Perfect World, a studio album by Madeleine Peyroux is a great example of the interesting phenomenon when music simply does not flow. 

Half the Perfect World sort of slows down with unusual rhythmic pauses that feel like a chaotic swarm when something is not up to the required standard. It was interesting to observe Hifistay Hardpoint in action, introducing no friction, but a seamless stream of music following Peyreux’s compelling lyrical tale. 

The adept polyrhythmic organization and sophisticated bass control were readily and immediately apparent at Medeski Martin. “Wood Shack Man” was more consistent and with refreshing continuity without sounding demure with the Trinia+α vibratory isolators placed under the digital front ends. 

“Wood Shack Man” can sound disjointed, like migrating leisurely through the sonic void rather than drawing a much-needed poetic narrative.

 

But the Trinia+α vibratory isolators helped not only the aforementioned track, but the complete album to emerge from the music vault without the too often introduced alienation.

“Wood Shack Man” can sound too hastily ineffable as the tones and notes would move further away from their innate disposition. On the opposite, the Trinia+α vibration isolators helped to decode these terms with more integrity and natural calm than I would expect. 

“Shine” by Marcin Wasilewski Trio from the album Trio requires a fundamental balance across the frequency range to be fully relished, and some of the components do not say the last word in that regard. Interestingly Hifistay propelled “Shine” bold with nimbleness and surprising connectedness.

Starting with a slow sweep, the “Marais Maison” Douö Bertrand Renaudin, Olivier Cahours can sound semi-opaque, but with Hifistay Hardpoint Trinia +α vibration isolators in the plot, the music enveloped with refreshing solidity.

“Marais Maison” can be both magical and unpredictable in playback. “Marais Maison” should extend much more than the usual audiophile glitter in the dark. When all is set right Douö Bertrand Renaudin and Olivier Cahours should model out contexts and necessities that define the supremely energetic core of “Marais Maison” and fill the empty black canvas with supremely tonally intense momentum.

With Trinia+α vibration working under the given components, the tenacious effect was a tangible music pulsation that enfolds more positive vibrancy and not caricatured Bertrand Renaudin and Olivier Cahours.

Raison d’être of any high-end audio accessory should be an allurement within the scope of neutrally, denoting a valence of timbre and tone. Not realign the structure, but discharge a continuous flux. 

When everything is suitably adjusted and well balanced, music should emerge with contentment and not seem arbitrary. 

Across tracks and albums, the Hifistay Hardpoint Trinia +α vibration isolators allowed the various components to reach their terminus much more easily than with some similar products I have tried over the years, and that alone is worth highlighting and praising.

CONCLUSION 

” A little perspective. That’s it. I’d like a fresh, clear, well-seasoned perspective. Can you recommend a good wine to go with it? ” – Anton Ego (Ratatouille).  

Nothing is fixed and frozen. We learn we move forward, we experiment, we measure, we evolve. Do we?

That should be the universal modus operandi, regardless of the subject matter or industry. And yet … 

Things are never as simple as they seem, especially with anything audio-related. 

Too often, hard-core audiophile objectivists argue against something that has been perfected in other industries for decades, if not more. 

We certainly need the healthy pluralism of ideas, approaches, and that’s why I am not a sectarian and fanatical paper tiger focused only on a singular approach, brand, principle, etc. 

Technology and different applications are an everlasting dynamic. The past century is great evidence that the point between search and arrival is at a steady but ever-changing pace. At the end of the day, there is no upper limit to progress. 

The biggest mistake in high-end audio is sticking to a one-size-fits-all approach or solution to a particular problem. This excludes so much of the underlying efforts of specialized industries that deal with particular “problems”. In our case, resonances, and vibrations. 

A general focus on solving one thing in a general way may produce a certain result, but it does not help to dig deeper into the matter and find/address all the sub-issues.

Example. Modern, massive chassis of high-end audio products are certainly impressive, but they are also very inviting to all kinds of resonances. There’s a little doubt how different materials of the eye-catching high-end audio gear galore skeletons always present various and unknown results resonance-wise. 

Particularly accumulation and dissipation of resonances and micro-vibrations are rarely if ever researched beyond the usual framework.

I would not exactly call it a general lack of effort, but they’re really are not that many high-end audio companies implementing properly researched chassis analysis into their products. Off the top of my head, I can only think of two, perhaps three brands that have put more than the usual amount of endeavour into this.  

And to make it even more complex. After accepting the limitations of component’s given chassis, there is a second act; unit placement. It’s not just a matter of positioning the audio product on the particular rack and getting the job done. Without knowing the propensities of the rack and shelf, anything can happen vibration-wise. 

 

High-end audio accessories are seeing less and less as curio every year for a reason. There is only so much R & D and resources that can be spent on dealing with resonance after usually most of the time and money is spent on electronics, built-in parts, exotic materials, etc. I know for a fact that many high-end audio companies do not want to neglect this, but there is always limited time, resources, or even will to properly explore the field of resonances. 

Still… Micro-vibrations and resonances exist in parallel and may not be imperceptible at first, but they do have an impact on the sonic outcome. Only by observing, researching, and exploring the limbo between these poles can bring results and questions our objective view of these fundamental fragilities.

There seem to be confusing fractal breaks in not dealing with resonances appropriately and the big question is what really fills these known and unknown gaps and what exactly makes for a better state sonic equilibrium. 

What we are aiming for is some sort of proper calibration and optimal point, and that’s where I feel Hifistay Hardpoint Trinia +α vibration isolators come into play with their ability to work supplementary with the energy of the music. With Trinia+α vibration isolators, the music feels less simulacrum and more qualia. 

 

Hifistay Hardpoint isolators work closely with a framework of more precise reality, and this was easily felt with various types of music, as described in a previous section. 

No matter how far we have gone in our goals to achieve audio nirvana, the music is still reproduced/replicated and is subject to so many dependencies. It is difficult to talk about ideal resonance behaviour, but there is little doubt about how enormous peaks of resonance frequencies affect the perception of pitch, timing, and phase; thus distorting the mirrored reality. And like it or not, this is in close connection not only with airborn feedback but from the self-oscillation coming from the devices themselves. 

By looking at micro-vibration, we enter the realm of the inherent properties of music, and audio accessories should help present the fundamentals and essential aspects of music rather surprising them.

If a music signal can be seen as an energy that has to cross a more or less unknown terrain in the form of a huge variety of materials, cables, parts, etc, than conscientious handling of this fragile signal is necessary and of utmost importance. 

Dealing with resonance and vibration is a universal challenge that should not force the dichotomy, but reconcile the distinction that it is subordinate to the music and better audio reproduction. 

I have tried a lot of high-end audio paraphernalia over the years and many of them are an imposition beyond fact. Non properly execute vibrational feet can wrongly harmonize the signal, synaptically working against the music, and cause an insurmountable hurdle.

Hifistay Hardpoint Trinia +α-vibration isolators deal with influencing intrinsic tendencies and acts as a potent emergent carrier.

The Hifistay Hardpoint Trinia +α vibration isolators’ endpoint of dealing with resonance could be noticed immediately with the taking away off the metallic term in the sound. For example. It’s not the needed timbre of metallic drums that is disturbed, but the mechanical coloration that can make rides and hi-hats sound like clacks.

In different inserts, especially with digital front ends, Hifistay Hardpoint Trinia +α-vibration isolators brought the fullness of the details with the feeling of less energy loss and better control of the music.

Many accessories are all and only about the puzzlement they introduce. Too quickly, live performers can sound more like automatons than a credible replicant (Bladerunner pun intended). It’s a different story with Hifistay Hardpoint Trinia +α vibration isolators. 

Resonances underpinning the sonic disorder are not an easy task to deal with at any point, yet somehow Hardpoint Trinia +α manages to eliminate the predicament with a significant difference in establishing and validating the music’s intrinsic energy.

Any high-end audio product or accessory should be beguiling in effect and subduing. Hifistay Hardpoint Trinia +α vibration isolators skilfully combine these qualities in an electrifying way that makes the music event feel less like a sensation and more like a real thing.

Hifistay Hardpoint Trinia +α vibration isolators stand alone in delivering something meaningful and well-researched that provides objective, repeatable results, which is not always the case.

It’s hard not to be impressed with Hifistay Hardpoint Trinia +α-vibration isolators. The amount of work, research, and practical implementation that has gone into these devices is quite impressive. I am more than happy to recognize Hifistay’s efforts with the 2021 Mono and Stereo Highly Recommended Product Award for Hardpoint Trinia +α vibration isolators.

PRICE 

• 2,450 Euros (a set of 4 footers)​

TECHNICAL SPECIFICATONS

• Size: 54Ø – 60Ø x 40 mm
• Adjustable height: up to 3mm
• Load capacity: 30Kg/pc,(4EA-1Set : 120Kg/Set) 
• Weight : 134g/pc

CONTACT