All,
I just caught on to this thread and need to find the time to digest it in its entirety before replying, but one thing jumped out at me as I was scanning through it - Axle's comment (quoted below). I'm not singling you out Axel. It's just that your clear writing called my attention to it.
Axelwahl wrote:
The platter material / mats / pads / and other damping are ALL colouration items (excluding some really heavy lead-loaded mats adding more mass)
I contend (as Ralph does) that a compromise in dynamics is a coloration, and if dynamics are unconstrained, then you are more faithful to the music.
As far as mats and other materials are concerned, I subscribe to the following position. A part of the job of the various components in an analog rig is to transmit (as opposed to reflect) vibration down the chain at EACH and EVERY materials interface.
A mat is just one more part of a turntable - whether supplied by the manufacturer or purchased in the aftermarket. It either "works" or it doesn't. It adds another interface to the equation.
Examples of interfaces are:
- cartridge to tonearm
- tonearm to base
- record to platter
- platter to bearing
- bearing to base
- base to stand
and so forth ... until we work to the Earth's core, the sun burns out, and life as we know it ceases to exist (grin).
Material selection is critical here, with one consideration being to match the relative speeds of sound of the interfacing material pairs.
Think of how a flat stone can be thrown so that it either skips across a lake or alternatively passes immediately into the water.
There's much more to this, but I don't have the time to explore it at the moment.
I'm deep in the throes of supporting Mark's controller design, but I'll try to find the time to read this thread from start to finish.
Cheers,
Thom @ Galibier