EVO-3 Anti-resonance pads

The body is made of high-quality dural, on which a double layer of copper and nickel is applied. The nickel is hardened by nitriding at a temperature of 600°C in a further process. The upper and lower parts are separated by three very precise hardened spheres. Each sphere moves in its own polished spherical housing. This assembly eliminates unwanted vibrations that spread in space when listening to music. It protects audio components and speakers from ambient vibrations. Installation is absolutely simple. Under audio components, usually amplifiers, preamplifiers, DA converters, we insert four or three EVO-3 pads. The pads are placed under the bottom plate of the components, not under the rubber feet. We recommend using four pads for speakers.

The evolution of the final product took more than three years of development. We conducted a number of tests of different geometries and combinations of different materials. Our experience is here, try the EVO-3.

How Do the EVO-3 Perform Specifically?

Review by Hifi-voice.com

The lower, tempo-setting frequencies in "Lovers Rock" from the self-titled album by Nigerian-British singer Helen Folasade Adu, better known as Sade (2000 | Epic | 500766 2), were noticeably punchier, more physical, more confidently contoured, and better separated with the support of zirconium. Perhaps not as voluminous, but more concentrated and perceptually precise. In contrast, silicon emphasized fullness, a sense of relaxation, and a kind of calm bubbling, enhancing the feeling of weight and richness—less defined, yet still subjectively better than when the device is simply placed "as is."

The same effect was observed in "First of May", a Bee Gees cover performed by Sarah Brightman ("The Very Best of" | 2001 | EastWest | 8573 88362-2). This track features bright, ringing highs, where the "light" setup ensured greater "crispness"—an English term that conveys a clear meaning but is somewhat difficult to translate directly. In Czech, one might describe it as a sharper chime, a more finely honed tone that stands out distinctly. The "dark" variant, on the other hand, did not bring out the highs to the same level of clarity but rather emphasized a sense of organic cohesion. Even so, there was an improvement in clarity, creating a richer and more balanced character.

The dynamics in Prokofiev's "Symphony No. 1 in D Major, Op. 25" (Sergiu Celibidache / Münchner Philharmoniker | "Symphonies 1 + 5" | 2004 | EMI | 7243 5 57854 2 8) were influenced by both sets, each in its own way. Zirconium seemed to enhance the ease with which energy surged, creating a lighter, airier presentation with greater, more physical emphasis and impact. Silicon nitride, on the other hand, emphasized fluidity, mass, and smoothness, allowing the music to hit with more power and density.

In the cinematic piece "God Particle" (Hans Zimmer | "Angels & Demons" | 2009 | Columbia | 88697520962), the zirconium pieces provided greater confidence, firmly placing each note in its position. The soundstage appeared more confidently defined and even wider, offering more air and space, making the entire musical landscape easier to interpret. Meanwhile, the ceramic models "turned up the heat," intensifying the overall experience. The result was denser, more connected, and less holographic, yet more dynamic and robust, as if presented on a larger scale.

The oboe interpretation of Telemann's "Fantasia for Flute No. 3 in B Minor" ("The Artistry of Heinz Holliger" | 1987 | Denon | DC-8006) became more defined with zirconium supports. The instrument stood out more clearly and tangibly at the center of the soundstage, offering a monitor-like precision. In contrast, the ceramic variant provided a greater sense of integration with the surroundings, with more air and a stronger ambient presence, highlighting echoes and spatial reflections.

Review by Watt-audio.sk

From the moment they were installed, it was immediately evident that their impact on sound reproduction was far from insignificant. Initially, I could hardly believe it myself, but the change was truly substantial across all sonic parameters. The most pronounced improvements were in the overall brightness and clarity of the musical scene, particularly in the midrange and treble, which are crucial carriers of musical information.

The highs gained a stronger emphasis and purity, and the overall reproduction acquired a more dynamic and faster response. Details were rendered more distinctly, with richer articulation and sharper contours. Subtle details, previously masked by more dominant elements, became more noticeable due to better definition and increased energy.

In the lower frequency range, the bass response exhibited greater control, with a clearer decay and no artificial boosting of the low-end, which can sometimes result in unwanted humming or booming. With more precise attack and decay, the bass felt faster and more aggressive, yet without losing body or coherence with the mid and high frequencies. The overall presentation became more balanced and structured, improving not only clarity but also the precision and stability of spatial imaging.