How big a Problem Is this Airborne Feedback ? I am referring to 95 + db levels at the listening position. Or is it really structure related so a wall mounted TT would work best? Two statements made on this thread.
Halcro
Air-borne feedback is very rarely a problem despite what you believe.
JCarr
Even better would be to add an acoustic shield around the turntable so that it doesn't get affected by the sound pressure from the speakers.
Are these not differing viewpoints? Hi Johnathan Carr - is your statement based on your real experience with shields or theory ? Hi Henry I know you have yelled at your cartridge at a loud decibel and not heard anything back through the speakers ? Do I really need to attempt this as well ? I rotate different speakers into my room - Dipole, Dynamic cones. Gear placement for one type does not mean the best placement for the other especially if dealing with a smaller room. I have opinions but would like to hear others real experience. I am planning some modifications to the room. This discussion would be very helpful to me. Cheers Chris |
Yes but Henry what's your answer to my valid question? |
Hi Nikola - I can do better than that. I have a 7 layer Canadian baltic birch sp10 plinth sitting idle. I can send it to you to try if you like. But you would have to pay for the shipping. Its over 50 lbs. Let me know if interested.
Hi Henry - will post the SS footers info on the Nude TT thread - I see its front page again.
Cheers |
Dear Chris, Your mother is a wise lady. You should not mess
with doubtful persons. One of them is a traitor. He ordered
a plinth from, will you believe this , Moldova. Former Romania or so. But the price is nearly as cheap as your steel footers ($110; ebay.com) and probable more stable. I intend to put those Still-points underneath to get, say,
Albert Porter (cheap) plinth version for my SP 10 mk II.
Regards, |
|
Dear Audpulse, With all respect, the Berning ZOTLs are fine amplifiers, but they are not OTL amplifiers in the normal sense of that acronym. This has all been argued ad nauseam, and I am with you, if you were to say it does not matter. What matters is they are very good sounding amplifiers designed by one of the true geniuses in audio.
Halcro, Is the SP10 as stable as you recommend to Chris that it needs to be, when mounted on AT616 feet? How would that be unless there was some sort of physical anchoring between the SP10 chassis and the tops of the feet? (You are not the only one who knows how to use a question mark?) |
Hi Chris,
I believe you may have found the cheapest machine shop in the world?
$48 for four solid stainless steel legs including machining them to their points?
Simply amazing......cheaper than concrete perhaps?
The only thing that bothers me about them is their stability?
If you hold the turntable firmly with two hands......are you able to twist it back and forwards?
If so...... I suspect there could easily be movement of the deck when the motor is operational?
It will be interesting to hear your thoughts on the differences to the AT footers? |
Lewm, why not use monopods for your amps, with 1 foot - then we can start a thread on the best sounding elastic to balance them. |
Stands, cables, cartridge clips, headshells, acoustic treatment/sound proofing, fuses...
Regards? |
I plan to mount my amps on separate arm pods. I will require 3 per monoblock, of course. |
Looks to me more convincing than the AT footers below the cover because this cover is very questionable as support.
Dear Nikola Looks can be very deceiving hearing is believing. You have at least 4 virtual friends on this forum from the UK, Mexico, US and Canada affirming the sound of a Nude SP10 MKII on AT 616 footers. My mother always told me to choose your friends wisely. Cheers Chris |
Turntable + tonearm/armpod + amp.+ speakers= System. Ie
a holistic approach.
Regards, |
Tutntables, armpods/towers,
Speakers, amplilfiers? |
Dear Audpulse: I know that Berning a perhaps one of the two-three tube amps I could live for a while if I need it.
You are right that the Majestic's could sound " dry " with some SS amplifiers, I heard that symptom with that speakers driving by Halcro amps but the JC1's are way different with these speakers.
The whole picture is not only about damping factor but wider than that.
Anyway, Lewm think he has the right answer and that's is the important subject and what's matters.
Regards and enjoy the music,
Raul. |
As for the Majestic, I will put the big Berning OTL amp on it. The Berning amp is an OTL on steroids. Forget the SS amp with their damping factor talk. High damping factor gives dry sound. Very difficult to execute proper acceptable damping factor. |
I know some guys here in Holland who are wrestling with OTL
amps for 40 years. One can call such behaviour 'persistance', 'induration' or 'obsession' but during those 40 years they made many 'solutions' for the
impendance problem . The strange thing however is that they
try to solve this problem in the speaker. Some even produced speakers with 500-600 ohm impendance. Thanks to some guy called Bruce Rozenblat the problem is reduced to,say, 4 ohm. So it seems to be very easy to predict what Lew
'secret work' is about. He is tweaking some filter to put in front of his Majestic in order to protect the life of the (innocent) thing as well as his wallet.
Regards, |
Raul, It's a bit of a secret, but I am on to a way of modifying the input of the Sound Lab so as to render it quite nice for my OTLs and anyone else's tube amps, as well. This is a collaboration among several Sound Lab users who prefer OTLs and/or tubes. To take a page from your book, I can't say any more than that right now, but I am listening to a primitive form of the final solution, and it is already a big improvement. I agree, the OEM Sound Lab is built for high power solid state amps, but it does not have to be that way.
OTLs are fine when driving a high impedance load. "Damping Factor", a term that SS amplifier makers love to bandy about, is a non-issue with ESLs. An ESL speaker does not develop a back EMF that needs to be opposed by a very low output impedance amplifier. In any case, Z at very low frequencies is very very high with an ESL. High enough to constipate many solid stage amps and to be ideal for OTLs. |
Dear Lewm: Congratulations on your birthday and by those Majestic's.
I know very well the Majestic's ( my friend and tonearm co-designer Guillermo own it. ) and are first rate speakers and as I posted two-three times the Sondlabs are almost the only elostrostatics I can live with.
I agree with Nandric about tube amps and especially OTL's. I heard the Majestic's with several amp options and the manufacturer recommended JC-1's are perhaps the better IMHO and obviously you don't have to " touch " the speakers to match tube units.
You know very well my take on that critical match between output impedance amplifier with the electrical impedance curve in the speakers where low very low output impedance is IMHO a must to have if you want neutral/accurate response.
Anyway, very good move/play.
Regards and enjoy the music,
Raul. |
Nandric, If one wishes to drive any of the full-range Sound Lab spkrs with a tube amplifier, particularly with an OTL tube amplifier, there is work to be done with the network that feeds the panel. I and others have made some modifications that help a lot. The stock OEM speaker is probably fabulous right out of the box with a first rank solid-state amplifier, but its impedance curve is treacherous for an OTL. |
Hi Lewm,
Yes, I'm referring to the same tt on the Symposium and other products. For me it was a clear improvement: despite my initial (and over enthusiastically voiced!) suspicions concerning air-borne interference with a pneumatic approach. |
Dear Dgob, When you say that you found "improved performance" when you mounted your nude SP10 on AT616s, may I correctly assume that you refer for comparison to the same tt when mounted on Symposium products? Or what? Thanks. |
Jcarr,
you forgot something: a ladder !
by placing a ladder (which reaches high enough over the shielding) in front of the TT you will be able to climb onto it and maintain the TT from above.
But seriously: air isolation is one of the best measurements if designed and implemented properly.
I am wondering why most people are positioning their TT(s) near one of the sidewalls of their listening room using very long cables and also giving their speaker systems the opportunity shooting into the room free
and fast. Why not designing a LS system and positioning it two meters in front of the rear wall in such a way that most of the waves are not entering the space one meter behind and in between the speakers. reflections should be dispersed by corner, rear wall and ceiling measurements too.
We are always speaking about one unit - a TT or an arm pod. But we never look at the whole system - the listening room.
best & fun only |
Hi Ct0517,
I tried to send this before but it seemed to fail. If I therefore repeat my self here I can only apologize.
My experience with the AT616's beneath a nude Technics SP10 Mk2 found improved performance, particularly in the areas of timbre and detail retrieval. This means that you will more clearly be able to distinguish instruments (such as a viola and violin and a wider range of percussive instruments). It also means that the retrieval of inner detail with instruments such as various guitars, double bass and piano are much improved.
My earlier experience with the nude Technics included using Syposium couplers on a Symposium Ultra platform and using a wide variety of footers and cones on distinct platforms. These were all fairly pleasing. However, using the AT616's was a marked improvement on these options.
I hope this helps and good luck |
Dear Lew, You must feel 'Majestic' at present. The
rumours even in Holland are that you now own the best speakers in the world; anyway the best electrostatics ever.
Then you have your both sons near you so you must be a very happy guy at the moment. Hope your sons also love jazz.
Regards, |
Dear Chris, You made some kind of drilling (oil) platform
for your SP-10. Looks to me more convincing than the AT footers below the cover because this cover is very questionable as support. I would add the Stillpoints underneath the the steel 'points' for some damping. I assume that the threads are made in the SP-10 frame? This way you don't need the AT 616 and than (as seller)will probable have some other perspective reg. other Australians than Henry.
Regards, |
Dear Nandric, I am working at this point because I still need income, not because I am too young to retire. The speaker maker, FYI, is called "Sound Lab". They are located in Utah. The full name of the product I bought is "Majestic 845PX", a fairly pompous name, as I am sure you would agree. They are basically giant full-range electro-static speakers. I have a lifelong love/hate relationship with ESLs driven by output transformer-less (OTL)tube amps. I sent my old smaller Sound Lab M1s back to the factory for rebuild, and while they were away got a great deal on the 845s, an offer that I could not refuse, if you have seen The Godfather. While all this has been going on, I have been listening to Quad ESL63s for several months. That's a speaker more suitable for someone in our age range with a bad back. I know this is way off-topic, but it explains why I cannot think about messing with arm pods or de-plinthification (thank you, George W Bush) at this time. |
Dear Nikola you said. I 'assist' ( by looking) my machinist while
he was busy to cut from a billet of bronze a collar for my
Pioneer P-70 tonearm. For your information here in North America machine shop rates are by the hour and are based on the following criteria. $ XX tell him what you want and go away come back to pick it up. $ XXX if you want to watch him make it $ XXXX if you want to watch him and also ask questions. Now I know at least a couple of us have spare sp10 mkIIs sitting idle ? Well my 2nd sp10 mkII recently got set up in the city. I am satisfied with the sound but being this a hobby I need to get more height on the footers to accommodate another armpod that I am planning on making. Now I naively thought that all Australians were as nice as Henry. How greedy that person is on ebay asking what he is for those AT 616s. This got me thinking. I believe I had a mini epiphany. I was so pumped about it and its simplicity that I had to head over to the local machine shop to see if the costs were in line. The costs were so I had some made. Attached is a picture of them. http://cgim.audiogon.com/i/vs/i/f/1314300811.jpg These are 5 inches high and made from One Inch diameter solid stainless steel and have adjustable threads. I have just installed them, may get some time to listen before we go away for the weekend. Any comments from those that have direct experience with Nude Sp10s ? Well ok I will open it up to all ? I have a thick layer of Teflon. I have found that different footers on TTs change the sound dramatically. Any guesses on how the sound will change from the Pneumatic AT616s ? They are coupled to 4 inches of solid maple that is isolated on three metallic filled legs spiked to the house basement slab. Oh I almost forgot Material and labor $48 cash for all four. I had to go away for a couple of hours and come back to pick them up. BTW thank you very much Henry for teaching me how to add links and pictures. What a PITA it is an archaic outdated system. Cheers |
Dear Lew, In the first place congratulation with your birthday. In the second with your Lab 845 PX. Since you are still working I assume that you are a young gentleman in
comparison with some other members. Except for those two facts
(the birthday and the Lab) I don't believe a single word of the rest of your complaints. I hope your Lab 845 PX will surpass your expectations.
Kind regards, |
As time and my birthdays go by, I feel I am headed toward a Linn turntable, a solid-state integrated amp cum phono stage, and a pair of bookshelf speakers. My muscles and joints would love that system. Last night I had to carry just the power supplies for my new Sound Lab 845PX speakers up from my basement to my listening room. This awakened symptoms due to an old rugby injury to my cervical spine. It took four of us to uncrate the 845s and carry them into the house. (I timed their arrival to coincide with a visit from my son, from Tokyo, so I could count on his help.) I cannot lift my SP10 Mk3 in its 100-lb slate and wood plinth without assistance and can barely lift the L07D. I don't look forward to carrying my 90-lb tube monoblock amplifiers up the steps from my basement to the listening room, either. This is despite the fact that I lift weights, do push-ups, and do a cardio work out every day. This talk of massive pods and plinths puts me off, even though I subscribe to the theory. High end audio is for young athletes or for those of us with grown sons who have not yet left home. |
Jonathan - nice to hear from a fellow 60kg SPZ plinth owner - only point I would debate would be the air suspension, still think the tt has to be grounded no matter how much mass you have in the plinth. Rf shielding in the wall & perhaps a sealed room with an assistant inside to turn the record over.. One point I note is the number of people who locate their turntables in resonant room corners or between the speakers where sound travels free and fast. |
Hmmm Jonathan,
Sounds like a typical listening room to me? :^)
Lewm,
The shrinkage of concrete is greatly determined by the water content.....the greater the water content, the more the shrinkage. (George knows what I'm talking about).
I doubt that concrete designed to set under water has much shrinkage.
My experience has been that concrete, as it cures, tends to stick to its edge formwork tenaciously, with most shrinkage occurring within its main body via shrinkage cracks.
That's why great care is usually taken to coat the formwork with 'releasing' agents so that it can be stripped away fairly easily.
If one were worried, or had experiences of the concrete shrinking from it's mould.......one could ensure the internal face of the cylindrical mould was coated with a rough epoxy film to which the concrete would cling.
You actually pre-empted another design I had which was for exposed concrete armpods.
In this case, the metal cylinders would not be permanent formwork, but would be coated with form-release agents so that after initial cure took place, the concrete could be released from its mould by a hammer tap to its top or bottom. This would allow many pods to be cast from the same mould and even pods of different heights to be cast.
The bare exposed surface of the concrete pod cylinder could then be left 'as-is'......or painted as one wished. |
Dover: For whatever reason, cantilevered armboards appear to increase the bass volume and power, compared to non-cantilevered armboards. This is from my own experience, as well as from discussing these issues with other turntable designers.
Still, if I were to design an ultimate turntable, it would have a low-noise platter bearing, an ultra-rigid connection between platter bearing and tonearm pivot (ideally machined as one piece), a helluva lot of moment-inertia in the platter, and even greater moment-inertia in the plinth (which would be designed for low structural and cavity resonances).
The complete turntable would be integrated with a self-levelling air isolation platform, which would rest on a stone column that goes directly into the ground, without any contact with the floor of the listening room. Surrounding the turntable (but not contacting it) would be a double-wall acoustic shield, vacuum-evacuated between the walls to minimize energy transmission.
cheers, jonathan carr (using 60kg solid zinc plinth to connect platter to tonearm) |
I dont agree with pods but I have thought about mounting a cantilivered armboard off the plinth using 3 mini spikes machined from grub screws so they are adjustable ( for levelling the armboard relative to the turntable bearing ) and using a nylon nut and bolt through the centre of the triangle formed by the grub screws to anchor the board. This arrangement would give you true 3 point mounting, energy dissipation and levelling capability. |
Dear In_shore, What you say is also well and good. I further still maintain that the tt and armpod ought ideally to be in unison, so use similar strategy to isolate both tt and tonearm, a la the Da Vinci. I would not favor using a Da Vinci or similar armpod with a tt that was sitting on AT616 feet, even though I know that others here are doing something akin to that and getting what they interpret to be great results. I think that might mean that the level of our concern regarding structure borne and internally generated forces amounts to massive overkill. |
Lewm your comment on the cantilevered arm board pod was visualized completely.
It's just another design method that would be an easy build, fairly inexpensive and very convenient with use.
More importantly emphases are on further isolating tone arms from imposing colouration's including help reducing vibrations of all sorts by way of experimenting with arm board material type. |
T_bone, Why not use an actual M-S armboard (if you are using an M-S tonearm)? I think reproductions are made.
Halcro, You are obviously an architect. (I already knew that.) But doesn't all cement shrink to at least some degree whilst it is setting up, no matter how low the water content? And wouldn't even a small amount of shrinkage cause the inner cement cylinder to pull away from the walls of the metallic tube? Thus, could the cement cylinder become loose and actually fall out of the tube?
By the way, this issue of "shrinkage" was covered in a Seinfeld episode. |
Yes, you are probably right. The nest way to deal with the top is have a full-width metal top-plate. |
T-bone,
Not sure I follow you on the tip-up and down bit?
If you want a glass smooth finish on the concrete?.......that is normally achieved by steel trowelling which is why I suggested screeding of the top surface with a metal flat edge as in a steel rule.
This will be equivalent to a steel trowel.
Otherwise, a machined metal top-plate to fit on top of the concrete, ensures a "really really good" finish. |
Halcro,
Makes sense as an inexpensive DIY solution. May not be as pretty as the DaVinci solution but there is no reason why it cannot be made reasonably pretty. The question I would have is how one can make really decent Micro-Seiki-like armbases to fit in the middle of the top plate, and have the top plate look really, really good.
The only way I can think of it is to make a very fine liquid "top" by turning it upside down (so top is down) on wax paper and pouring only the first 2-3 cm (with a styrofoam blockout for where the top plate and VTA tower will be). Then after that is done and mostly dry, pour the rest in around the blockouts and let dry. The first layer on wax paper, if wet at the very bottom, should create a super-smooth surface which can be finished as one likes. |
Concrete armpod indeed!
Why not Audpulse?
Heres the design:-
A sand and cement mix (3:1 or 4:1 is fine) is available in any hardware store in small plastic bags.
Now for the mould
..select any hollow metal tube section from 100mm diam. (4) to 150mm diam. (6) cut to the height required at the sellers yard.
This metal tube will become the finished external surface of the Pod (permanent formwork) so select the material and finish you wish to achieve.
Stainless steel may be linished or polished, copper or brass can have a clear sealer applied, aluminium can be anodised natural or black or can also be powder-coated any colour or painted in an automotive workshop with 2 pack polyurethane to any colour.
A PVC tube from plumbing suppliers is really cheap, but as the concrete cures, it emits quite a lot of heat and the danger becomes one of buckling the softening plastic mould?
Thats why wall thickness of the hollow tube should be reasonable. Not less than 1mm I should think?
Place the tube on a flat surface lined with heavy weight plastic building sheet (we dont want the bottom face concrete to stick) and add water to a quantity of the sand and cement mix.
We do not want the mixture to be wet and runny as the higher the water content, the greater the shrinkage and we dont want the concrete separating from the metal mould?
A nice, dry mix will be perfect to pour into the mould.
Screed off the top of the mix level with the top of the mould, with a metal or wood ruler edge and then place a weight on top of the mould till initial cure has occurred
..we dont want the concrete to slip out from the bottom edge of the mould?
After 24 hours, initial cure has occurred and the mould can be lifted off the plastic sheet and placed anywhere for the final cure to take place
.30 days is ideal but 21 days may be OK if you are in a hurry.
Now for those who have a tonearm that is all surface fixed, place the tonearm base on the top surface of the finished pod close to one edge (this is for 9 arms which possibly wont get close enough to the turntable edge if the arm were located in the centre of the 6 diam. Pod) and mark the location of the holding screws. Drill these positions to accept standard plastic plugs and hammer these into the concrete.
Do the same in the base of the pod for the 3 screw-in spikes which you can source from various suppliers.
Voila
..your armpod is ready!
Now heres the good bit
.for those with vintage tonearms or modern arms which have VTA towers or DIN connectors underneath the arm
..you need to position block-outs in the permanent mould BEFORE pouring the concrete mix.
The phono-cable block-out can be another metal (or plastic) tube (12mm or 1/2 diam.) which will extend from top to bottom of the mould (the cable will exit under the armpod) and be permanent.
The VTA block-out will be made of Styrofoam (cut to the correct size and depth) and taped to the inside face of the metal mould (the cutting of the Styrofoam need not be super accurate or beautiful but needs to be OVERSIZE.
The Styrofoam will be burnt out of the mould after curing of the concrete and we dont want to be hacking concrete out of the mould because the VTA tower misses by 2mm?
Most vintage arms rely of nuts to clamp the arm between a turntable baseboard.
In this situation, you can either
..finish the concrete lower in the mould to accommodate a 1/4 metal plate cut to size or
even easier
..add the 1/4 metal plate to the top of the finished armpod and fix IT to the concrete via screws into drilled plastic plugs.
This metal top-plate needs to be drilled for the VTA tower and fixing nuts as well as the holding-down screws
..but this should be a piece of cake for any metalwork shop or indeed any DIY hobbyist at home.
Now for the comments and barbs
..
What do you think? |
One nice thing about the cantilevered armboard is that one can fine tune the spindle to pivot distance without having to shove around the huge main weight of the whole pod. I think this is a tremendous advantage in obtaining mm accuracy. And I don't know why there would be any danger of tipping or even tippiness; the weight of the main body of the pod would easily be many multiples of that of the cantilevered armboard cum tonearm. Another advantage is that one need not accommodate the vertical shaft of the tonearm in the main body of the pod itself (as Henry has cleverly and probably expensively done); it can hang there in space next to the pod, so you can easily fiddle with tonearm ICs, etc. And finally, such a set-up would be very cheap to make and require the minimum of machine skills, IMO. All you need is a brass cylinder, perhaps threaded at the bottom for "feet", a threaded hole in the top dead center of the cylinder to affix the cantilevered armboard(s), and probably an alu or brass or bronze or wood or whatever armboard with a hole at one end for bolting to the cylinder plus a hole at the other end sized to fit the tonearm in question. I really am enthused now; I would make that brass cylinder as large and heavy as possible. Note also, thou plinth-less ones, the size and mass of the bass on that Da Vinci and how the base of the tt is an exact match to the bases of their armpods, so as to provide similar levels of isolation/coupling to the shelf. This is the way it should be done, even if the Da Vinci is "showy". |
Halcro,
Pictures, I can do one better and send you a sample of my work to try in your own system if you like. I am familiar with your tables and some of your tone arms.
Briefly, my pod design is from the top down where most of my time was involved, mass loading is the second stage of the pod.
Henry I understand and appreciate the effects of solidity and stability has, however in my view regarding tone arms its not always a good thing to direct couple that arm to metal plates and hunks of metal.
Don I extend the same offer if you are interested.
Sorry for being vague I can explin in more detail with a p.m.I have to cut this short, road trip.
Regards Mark |
in-shore, halcro is correct in the 3 points he makes. my mandate when i designed the pod was to have as much adjust-ability on-the-fly as possible. i can adjust azimuth and sra on-the-fly. i also wanted to standardise on armboards, as i have a micro seiki table as well with a number of armboards and arms.
i have done all of that with my pod.
as mentioned in an earlier post, the only concern that i have is my extended cantilevered armboard for the davincci. i will be making a new board, shorter and thicker at the post end for more contact area and less overall flex.
i have another pod, similar to the the one pictured, almost completed. it will not have the adjustable sra, but thr rest is the same. it's for my second table. i'm looking forward to installing my moerch up4 on it.
i'll post pics when it's done.
don |
Dear Lew, I am not familiar with USA price(s) for the Reed but in Germany (www.audio-markt.de) the Reed 2A is 2440 Euro ( basic version) while, for example, Raven 10.5 cost 4000 Euro. Not a bargain but still a 'decente price'.
For those with, uh, the 'French connection' even cheaper.
As far as I know there is no importeur in France (yet).
Regards, |
Dear Halcro, Very sorry to hear about your insomia but hope
that those painkillers are effective. Now Lew mentioned somewhere that he gets his best ideas just before going to
sleep. If we can put your both in bed together some huge
Heureka may come out as a result. I of course mean pure intellectual cooperation.
The possibility to get an heavy armpod for $40 looks even more promissing than the start of the MM thread. Is there
any chance that such an arm pod can be made from granite?
The kind from Lithuania is , as I already mentioned, unbelievable beautiful.
Regards, |
In_shore,
Any photos of your pod? |
Halcro, hope you are not thinking of pouring concrete into a mold ?
Will be very interesting to see your method that will cost $20-$40.00 |
Halcro
I was not aware of Corby's work, thank's for bringing this to my attention.
As nice as Corby's design looks and is I find it overly complicated for my requirements and perhaps as you mention plagued with stability problems.
My design is as simplistic as your pods are though mass is the only thing they share in common. |
Dear Nandric,
I like your humour :-)
Unfortunately, sending one of my pods to Europe (including some specialised packing to protect the valuable object).....would cost heaps.....not to mention the Project Manager's time and effort to organise the building and sending of such a thing ;-)
But I might have something better for you?
Lying awake in bed last night......insomnia being a common symptom of painkilling tablets after surgery.....I had a Eureka moment like yours!
A method of producing heavy armpods for the cost of $20-$40?
And no machining skills required and the end result could be as beautiful as you could wish?
Is anyone interested?
Stay tuned and I will reveal my epiphany tomorrow ;-) |
In_shore,
There were some previous discussions here regarding cantilevered pivoted armboards attached to the armpods as per Corby's excellent example illustrated some pages back.
To me, there are three obstacles to this in relation to this thread:-
1) It requires even more expert machining and metalworking skills which puts it beyond the average DIY audiophile here.
2) It makes it more expensive
3) A cantilevered swiveling and/or height-adjustable mounting board attached to the armpod, has many risks regarding stability, movement and rigidity.
The prime requisite in my thesis on the armpod is that of utter solidity and stability.
Strangely enough.....moving the heavy armpods on spikes is not that difficult.
Without the spikes however......the pods can 'glide' across the shelf with alarming alacrity. Co-efficient of friction of the two smooth surfaces must be low? |
