Nevertheless there still exists a narrow frequency band where the Goebel speakers interact with my room, culminating in a slight coloration. My colleague Helmut Baumgartner, who had already given me some advice on how to optimize loudspeakers, recommended to experiment a little with the set-up, since the tiled floor with the underfloor heating underneath would be anything but advantageous for the sound. With this in mind, the principle of decoupling instead of coupling would probably be the method of choice. A series of experiments followed: with the finite elemente Carbofibre° HD, corkboards and a combination of both. The cork, applied with or without Carbofibre°, got the Aeon tamed in the presence range and let you indulge lots of bass - but also tended to let the imaginary stage shrink a lot. The Aeons simply seemed to be slowed down. Thereafter Oliver Goebel mentioned that his Hong Kong distributor uses to recommend the Revopods of the British manufacturer Arya Audio for the placement of his loudspeakers. Two weeks later, two sets of these damping feet arrived to my listening room. They sound slightly different depending on whether they are put to direct contact with the speaker's plinth or if there is a silicone ring or disk in between. But that's another story. Thanks to the Revopods, I am now entirely happy with the Epoque Aeon Fine. But that doesn't necessarily mean that the attempts at optimization didn't continue: Screws to connect the plinth with the Revopods and Ansuz' Darkz feet have already been ordered...