
In the Reading Room, running a system with both optical and file replay, I settled on a variation of that theme. The D1.5, C1.2, L1 and two A1.5s were plugged into one side of the QB10, the router, SOtM switches, optical bridge and the Sean Jacobs supply for the Roon Nucleus were all plugged into the other. I did try connecting all of the network components to a separate QB8 on a different AC feed, with the D1.5 and C1.2 on one side of the QB10, the analogue components on the other, but the system lost coherence, transparency and presence, underlining once again the importance of a single, star-grounded connection for your primary signal path. Switching the D1.5 and C1.2 back onto the same bank of sockets, while leaving the network components connected to the separate supply/block was quiet, but lacked the secure rhythmic footing and sense of musical drive that comes from using both sides of the QB10 instead – presumably a reflection of the QB10’s sonic superiority over the QB8 – and an incidental reminder that network components matter too.
The second choice concerns the Sort Füt grounding feet and what the unit is going to sit on. On arrival, the four feet have thin rubber discs attached to their contact surface. Which is fine if you are going to stand the QB10 on some ultra-fragile piece of furniture, although I shudder to think what that rubber will do to French polishing… But assuming that you are going to be placing the QB10 on a dedicated, audio specific support, either in or beside your equipment rack (a safe assumption if you are prepared to splash the cash for the QB10 in the first place) then those rubber discs need to go. In fact, I’m slightly confused as to why they’re there or why their removal isn’t at least mentioned as an option in the manual. The Sort Füt is a mechanical grounding device. It offers a low-impedance exit path for internally generated mechanical energy. Given that the QB10 will be passing AC current for your whole system and, given that the AC supply is busily vibrating at 50 or 60Hz, the levels of internal mechanical energy that risk being transmitted straight into your delicate audio circuits are substantial. So why impede the expensive exit path you’ve provided by blocking it with a soft, lossy interface? Remove those rubber discs and your system’s focus, resolution, transparency, leading edge definition and attack will all improve significantly. In fairness to Nordost, they’re taking the safety-first approach by fitting the pads as standard, but owners who aren’t fearful of marking the supporting surface should know that a healthy, free upgrade awaits if they simply shed those pads.
