Albert Porters after market panzerholz plinths

The more I think about it, the more I agree with myself re my statement about poorly designed plinths. Denon plinths definitely hold back the ultimate performance of Denon turntables, with the possible exceptions of the DK300 and DK2300 pliinths. However, a good slate plinth crushed the performance of my DK300 plinth for my DP80. Similarly, I mentioned the badness of the SP10 in a large, heavy, homemade MDF plinth. In both cases, the plinths imparted a baseline coloration that could not be subtracted by tonearm/cartridge combinations. (The Technics obsidian plinths for the Mk2 and Mk3 would seem to be good efforts, however.)

Lewm

some arm boards on the Cain and Cain version for example are actually not attached to the plinth on which the table is found but to what i gues you could call the sub plinth. also i have seen people who have drilled a hole (in both slate and wood examples i might add) right through the plinth and then put there tonearm on a tower which at first glance appears to be part of the plinth but is actually seperate. also some arms like the dobbins plinth are at the back and i'm actually unsure if they are attached or not.

as to what to make the plinths of that is an interesting issue as the science behind it seems fairly dodgey. i am in the process of building mine and this is a brief synopsis of what i know.

a) mdf should be avoided
b) marine/ birch ply should be ok
c) solid wood is also ok maybe think mix and match (ebony high density with maple med density)
d) slate alos works but be careful to over damp
e) avoid lead shot etc

the last idea is from a web site that re does electric guitars they reckon the secret to good tone is proper laquer/ french polish finishes as per old gibsons (i gues that is what piano's are all about too). these guys re laquered copy/knock off gibson's and said the tone improved remarkebly.

sorry one other point the shindo plinth for the garrard is from cherry wood which i think was chosen more for its significance to japanese customers rather than some intrinsic quality of the wood. i looked up the density of cherry and it sits in the middle along with a whole lot of other woods however the effort they put into the laquer finish may actually be what gives their plinth the wonderful tone that some people claim (i can't claim anything as i haven't heard it).

also some arms like the dobbins plinth are at the back and i'm actually unsure if they are attached or not.

i've owned three Dobbins plinth'd tt's; an SP-10 Mk2, SP-10 Mk3, and a Garrard 301. all these have dual armboards that swing (for overhang adjustment and arm length flexibility) but are extremely firmly attached. i know Steve has experimented with many many approaches to the whole arm board/plinth interface question and having this be very solid is a high priority. OTOH not over dampning it is also very significant if the sound is to be lively, which all his plinths certainly are.

i've not personally spent time with a tt where the arm board is not solidly connected to the plinth; so i cannot say for sure whether it's a valid approach. but my guess is that while it might work; it is unlikely to be optimal.

thanks mike for that info i was just guessing (and by the look of my posts spelling badly) re the dobbins. its nice to know that someone has experimented with arm boards attached or not. when you are doing it as a project it really is a once off and you want to learn from others. also i have to consider aesthetics as this particular garrard is going into the lounge WAF has to be high.