If you could win the Footers in the Link for about $180, you will be very happy.
These are the footers I have used for years under heavy TT's until Solid Tech - 'Feet of Silence' , took their place under a much lighter in weight DD TT.
These are from my side thoroughly recommended for Source, Amp' and Speaker It was these that made such an impression on a friend under their speakers, they went the route of Townshend Podiums at a substantially increase in cost.
https://www.fromjapan.co.jp/japan/en/auction/yahoo/input/1129165914/
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@noromance I always state something along the lines of the experience encountered has been the one that most impressed and proved to be the one wanted to be maintained.
There is no longer any want to revert to experiences previously had.
Bringing in alternative materials carefully selected for the roles to be used has never failed to impress as a betterment when I have been party to the changes being made.
I can say this for Wire, Types, Connector Types, Bearing Interfaces in both TT Platter Bearing and TA, TA Headshells and structure materials such as a Plinth or Sub Plinth.
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@noromance Similar experiments have been done with naked chassis on numerous TT's, even when my friend got their SP10 R, there was a range of Prop's trialed to eke the sound from it that was a betterment.
My continuous experiences of using Plinth Materials and experiencing Plith Matrilas has been run in conjunction with working with the overall supporting structure for the support of the Source and System.
I have worked from the Floor Upwards and also having industrial type Gallows Bracket fastened to the Walls as a Suspended Structure.
The Gallows Brackets has served as a Shelve Support and also an anchor point to suspend shelves from on O Rings, Chain, and Rope.
The Suspended Set Up nor the Shelve Support was an attractive option to be used with the Vinyl Source, but complimented CDP > DAC very well.
The Vinyl Source from my experiences works at it very best in my listening environment when mounted on a Multi Tier Support Structure, inclusive of Highly Compressed Foam, Steel Plates, Granite as the Sub Base and this is then built of as the mount for the Bespoke Produced Hard Wood Rack that has spring suspension as footers, with a variety of Isolation devices used for under each Shelve.
The Racks support for the Vinyl Source is a further multi tier support structure that has been optimised over the years to suit a variety of TT's in varying Plinth Materials. I do believe I got a very attractive sonic from Granite when it was a preferred material, especially when I found materials that was able to keep it in a state of suspension and not compressing to become hard.
I found a 40m Diameter dense closed cell round Backing Rod used for Silicone Applications ideal for this role as a Footer for a 9 Stone of Granite Plinth. It is trimmable as well to assist with the bulk of the leveling requirement.
The individual who now owns the 401 and Granite Plinth has not got the same from it as I did, even though it sits on the Backing Rod I gave the owner. As for the reason who knows. It might be there is not a understructure like mine used to support it, or the new environment needs different structure very different from mine and the one presently in use ?
The 401 owner has done much better with various designs of Wood Board as a Plinth Structure.
On one occasion I informed the 401 owner, but in relation to their GL 75's that there is a colouration detectable that is most likely caused by the Sub Support in use.
I know how tidy a GL75 can sound as a typical GL75 and as a PTP Design, as I have experience with both through ownership.
The 401 owner invited me back to show me how much their TT's had been tidied up, on this occasion I took my Sub Plinth and Stacked Footer assembly with me to give them a demo' and loan.
Following their new under TT support demo' the items were swapped out for my own, in this environment they worked superbly, the System owners Jaw was agape😦. During the loan, my devices were plagiarised for their own continued use.
The Environment for a TT set up and the Support Structure in use are extremely important to having the Vinyl Source optimised for performance as a set up.
A TT will produce a sound and music that is a enjoyable experience in any environment, think of all the Parties a TT has been the source for the music being danced or head banged to.
As an audio enthusiast and having learned over many years, things worthy of consideration, I have adopted an active approach, that attempts to address some of the things that are best avoided. I do think I have removed or at worst diminished unwanted influences to the place they are not detected as detrimental to the signal being produced by the styli's interface within the groove.
As it is known, Densified Wood as a Support Structure, is where my attention is now placed.
My Bespoke Produced Rack, which is very long time owned will most likely become a Hybrid with this material, especially as a Cap attached to the Base of the Legs to house the Spring Suspension and as replacement for the used Ash Wood for Frame Bracing / Shelve Supports.
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I have heard the 401 with the LDA Speed Controller Prototype and the Marketed Model.
I have also heard the 401 using the LDA Speed Controller compared to other Speed Controllers, produced as designs to be DIY produced.
I do believe the LDA is the better as a basic design to a DIY basic design, but have heard a bespoke modified DIY Basic design that was parity or possibly a little better that the LDA on both a 401 and a GL 75.
I use a Nigel Built (Personal Built Model) NSC on my PTP Solid 9.
I know the Idler Drive Sound very well and have encountered many ID's including the 301's, I have heard these models in a large selection of Plinth Designs, but not all demo's are in the home system.
A good selection are in systems I know quite well.
I today find the DD TT, especially in my own case, a Vintage Japanese DD TT, when mounted on a particular plinth type, is much more attractive to my unique preference as a method to replay a Vinyl Album.
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I don't use Slate for any purpose in HiFi, but have at one time been interested in the material and as a result, own a very heavy Slab, probably from a Seam that was close to 2500Kg+ per m3.
I no longer express an interest in Granite as a Plinth Material, I have many years experience of it used on a 401, and through the 401's new owner being a friend, experienced the 401, used on a selection of Plinth designs of which I preferred the lighter designs, in either a Wood Mass with Damping Pockets or as a CLD Design.
I know the 401 Sound very well and the most it has impressed me is during one of my last encounters of it in use, when the 401 was mounted in a Three Way Compressed Bamboo Board cut to be used as a Plinth.
I stand by my statement made at the time of the demonstration, being that I have not encountered a 401 that could create such a good impression.
With my better understanding of materials today, I do know that the Three Wat Compressed Bamboo Board can have a Damping Factor of 2 - 5 depending on whether the size tested is a Sample dimension or a Plinth Dimension.
That as a measurement for a Sample is 10x improved damping in comparison toa MDF Sample.
Slate as a Sample has a measurement of 0.017, which is one the last measurements one would select if choosing a material with highly effective intrinsic damping. The Bounce Back of Energy transferred is going to be evident, I will state audible, if compared to a material being used with damping properties that produce little or negligible bounce back of received energy.
The material I am now an advocate of, and for a period of time have been transitioning to for various roles. Especially as a Plinth Material, Sub Plinth Material, Equipment Chassis and is the material that will most likely supersede most support materials used in my system is the material referred to as a Phenolic Resin Impregnated Densified Wood, of which it can be discovered from the Brand Panzerholz and Permali and in my case are both owned.
A Sample of Panzerholz and Permali has a Damping Factor of 4 and a Plinth Dimension of 25mm Thick Panzerholz has been measured with a Damping Factor of 7.
There is no Bounce Back that is audible from these Damping Factors, and the Dissipation of Energy transferred is one of the Best Measured as well.
I will not suggest a Stone, Plywood Board or MDF is a inferior plinth, each material can be quite stable. I am sure they have their fanboys for how the sound produced is assessed.
I would myself have a Compressed Bamboo over any of the above, as I know how it has impressed me in relation to what I know about Stone and Plywood Board Designs.
Over all the above I now know without reservation I would have a Phenolic Resin Impregnated Wood Board, I have heard this compared to Marine Plywood, MU25 Plywood and the Panzerholz Plinth was instantly discernable for the improvement it offered.
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Just as Damper and Body Materials used in Cartridges has evolved in the selection for a materials.
Materials used for structure in audio equipment has evolved as well, and it is easy to see where the industry is adopting it and not. Linn won't inform on their most recent TT being constructed with P'holz, it is an inhouse name for the material. As does Kaiser Speakers referring to the Bespoke Materials as Tank Wood.
There are most likely other Brands with a usage of it and a disguised name to protect their IP.
'Bounce Back' is a simplistic term, used when describing extremely Poor Dissipation and Damping, the Energies are not Damped or Dissipated, hence they are contained and in motion as further transferal, hence 'Bounce Back'.
In relation to the TT, being in contact with such a material, the likelihood/guarantee is that the Styli is to be receive energies from Bounce Back, resulting in a contaminated energy being sent to create the initial signal to be transferred for further stages of amplification, where the contamination is included in all stages until sound is produced.
Whether the end listener is able to detect the contamination in the produced sound will be open to debate, I have and do, when certain types of structure are being used.
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@lewm My days of Ping Pong with you are from this post onwards over, especially on the subject of your preferred plinth material, in relation to my ongoing interest in Plinth ,Materials, where I have for the present settled on a Phenolic Resin Impregnated Densified Wood Board as the Plinth Material.
There are Links posted by myself for quite some time that shows the Damping - Dissipation Data for many materials selected for a Plinth and other Structures used in the field of audio. I will not be supplying these to you, that search is now for you to satisfy yourself.
My two pennies worth, strongly suggests Slate Samples of same dimension from all over the World will measure at very closely to 0.017, which will have substantial Bounce Back as an inherent property. This is very different to your very Layman description of Slate Properties.
Again if a Phenolic Resin Impregnated Densified Wood Board produced anywhere in the World, if the same dimension will measure similar, especially with 4.0 being the reading for a 4" x 4" x 1/2", which is substantially more attractive as a materials than all others known to be used for structural purposes in the field of audio.
@noromance It is good to see your inquisitiveness has taken you to places where modern approaches are being adopted and the benefits are discovered. The SPH Bearing with the Non-Metal on Metal design is one I know very well, and one I was instrumental in having a Composite Spindle Design produced for, which a friend now has in use for their Idler Drive adventures.
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An interesting statement, I wonder who said it ?
"And it's quite possible that Panzerholz is superior to slate; I haven't tried it. To be honest, the foregoing information about the difficulties of obtaining and working with Panzerholz just shows the wisdom of ordering a finished plinth from Albert."
A clue maybe, A user of PA Slate maybe and one who bolsters their being a advocate by making it known, OMA proudly use PA slate. I would stand proud if I were doing very well out the realisation of plagiarizing a British Companies concept for a Plinth Product at $3K a purchase.
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For the record, my making a post is not always an attempt at responding to a post from another.
Likewise, my showing a commonly found evidence that a particular individual is varied in their assertions made and stand taken, is also not my responding to an individuals post.
What might or might not prove to be of interest, is that the particular evidence used, is one that is 14 years old. The use of Dreary as a description does seem to be fitting for more than one reason when referring to my post.
I have made it known, I am not a lock oneself away in a room individual a their participation in Audio as a interest. I get out and take part in a spread wide social network.
As a result of my willingness to meet others, I've been exposed to a wide range of Plinth Designs. Where I have been seated in front of and receiving demo's of the fashionable materials for Plinths used for Idler Drive TT's from the 90's and 00's (Granite, Slate and well thought out timber structures are all met in used as a Plinth Structure being demonstrated, of which I chose Granite).
The 10's and now in the 20's, have introduced myself to new concepts (very advanced Timber Structures with designs included to aid damping, Increased Compression Wood Based Boards and Highly Compressed Foam Based Boards Polybentonite Resin, Highly Compressed Bamboo and Densified Wood.
There is no desire to return to any material experienced prior to my usage of a Densified Wood as a material, even though my experience of Highly Compressed Bamboo on a Garrard 401 has been very impressive and indelible as a memory, the best 401 met to date as my assessment.
As for materials I am keeping on, the next will be a Mycelium based product, hopefully all Organic in its origin and able to compete with substances coming from Chemical or Petrochemical origins.
Formula One already has a secretive materiel that is very much aligned to this new philosophy.
The same person who has received material Samples from me for testing, that are not commonly met materials, and the same person who over the Years been supplying Data on a vast range of materials used in audio. The same person who has in 'certain circles' become known as pretty much the Godfather of Panzerholz through the Testing and Data they supplied many many years ago, will receive from myself new samples of new discovered materials for testing.
I am not an expert, I don't have to be, I receive good description of Data from those that really know. That when contemplated by the Layman, helps making decisions to make a change a no brainier, to follow up on the idea to be inquisitive and learn what is on offer.
There is an amount of Threads to be found, with a substantial amount of Posts on Spindle Weights, Spindle Clamps and Mats.
My input will be I have found through many trials, what I class as suitable to my own unique preferences.
Yours will be a Journey of many stops with trials and discoveries to be met or a one stop journey where the alighting the interest ends quickly, I strongly recommend the former.
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During the past weekend, I was finally able to add a SS Platter to a SP10 MkII.
The demo' was carried out in the home of the individual who has won over many converts to adopting the work undertaken on the SP10 MkII and their Bespoke design for a Tonearm.
The SP10 used has a bespoke design being used for the Platter Spindle Bearing and also has a electronics modification that has a improved control in comparison to the original design for the stability of speed.
Panzerholz is the TT's Plinth with a P'holz Sub Plinth.
Three individuals in the Room using equipment each are very familiar with in relation to TT>Tonearm>Phonostage>Speakers.
New Class D Power Amp's were in use, which I immediately picked up on had a impact on the Soundstage, there was the perception of a wider and deeper volume being filled.
The SS Platter (7Kg) with no damping was put into service after the first recess for Lunch.
A few repeat Tracks were agreed to be replayed and as I was in the hotspot, I was immediately to become aware of the difference the SS Platter has on the presentation.
With the changes detected, I gave up my seat to the System owner who worked their way through a few familiar Tracks.
The other attendee also had the hotspot for their choice of Tracks as well.
Interesting Outcome, I felt the Mid's and Highs were accentuated in a way that was not in coherence with the lower frequencies.
The system owner felt the lower frequencies were not only subdued, but also subtly smeared and lost the clean edge and fast decay usually present.
The other attendee felt the Mat should be tried out with a Valve Amplification as well, as the Bass might benefit.
The system owner has heard enough to convince them that a Damping will bring more to the party and give the Mat a better Interface on the TT.
Moral of the Story, Platters can't be assessed as a verbal exchange, the experience has to be had, especially in a environment where much info is already known about the systems performance without the additional ancillary.
As for exchanges of a Platter Spindle Bearing to a design using modern concepts and materials not used by the original manufacturer, such as a Thermoplastic with low coefficient of friction. I can say go for it, there is much improvement to be found.
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@tomic601 As I have made it known endlessly.
I travel, I meet, I experience, I comment only (to the best of my ability ) on experiences encountered only.
If I add anything beyond experience had (to the best of my ability), it will be the interpretation of a description given from an individual 'known' and who I have a lot of trust in on the subject of Audio.
I do the basics of the Math Pretty well, and have access to all the Tools available to be used on the internet to make the math occasionally required easier.
Math, what does it really mean to a Newbie, or in many cases to the individuals with a long term interest in audio ? Most are trusting in others and allow the Math to be another's concern. Is a audio enthusiast really lacking in understanding and not to be taken serious if they are not presenting the Math behind decisions made/to be made.
Does a 10 years old - 40 years old TT really perform to the measured spec offered at the time of new?
Does a Cart' with a usage life really perform to the measured Spec' from when it left the manufacturers ?
Does a Tonearm living in a typical environment for a period of time, function exactly as the design was intended to do so ?
All the so called Diehards, quoting all forms of Math don't actually know what they own.
I am sticking close to those who do know what they own, and on a simple description can request a chance to investigate something that may have changed, the only math required being the calculation of the round trip.
Basic description of experiences had, and influences resulting from experiences had, are the type of info that I wholeheartedly sense is what appeals to the larger audio enthusiast group. It is these who I post for in a Thread. Certainly not the stagnated, who are very low in activity for their inquisitive ventures.
As said on many occasions, I gave up on the 'sole locked away in a room listener type', way too many years ago.
To consider this notion today is seen to have an only outcome that diminishes opportunity to encounter experiences and removes opportunity to attain, the very important grounding in what is valuable and worthwhile maintaining and what is a 'se défausser'.
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Unfortunately the Gon is doing its FORUM MEMBERS an INJUSTICE by blocking Links to other Web Sites that are totally on topic to the content of Thread.
Everybody needs a good old link to help, these are coals on the fire.
Stereophile - Budha Bearing review, a few useful tops about fitting these add-on devices as well.
I have used and will suggest Bicycle Torque Wrench as the tightening tool. The selection of the correct Nm Setting is King in such a circumstance. 4Nm is a very good start point.
An additional Collar used on the Chassis to improve Chassis Rigidity, resulting in substantial reduction on the Chassis Flexion is invaluable.
There is no point having the tightest of tolerances for a new machined Bearing Assembly, set up in a way the Bearing Housing Base is a Pendulum through Chassis Flexion showing the worst of its presence at the Bearing Base.
A Bearing Housing Exchange Is one of a few considerations to be used in conjunction, with adding rigidity to the Chassis and Anchoring the Bearing Housing Base to reduce flexion. Some also have methods to use a Base Anchor as a Energy Drain.
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I've had a look at the Plinth and Arm along with the down stream system.
This looks like it the venture is a result of a deep passion to bring Old Tech' into the World of working in conjunction with Modern Design.
The Vinyl Source will be real eye candy 😎
Once fully established, with Cart's having a few Hundred Hours behind them from New. I suggest trying out a few other Platter Mats, it is quite a surprise what can occur as the result of using different materials, loaning is the easiest way to get samples to put to the test.
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On owned ID TT;s I have had a very pleasant surprise from a 5mm Forex Foam Material.
The same surprise has also been discovered with the 5mm Forex Foam in use on owned DD TT's
A Friend was quite impressed with the same 5mm Material used on their BD TT, where I gifted them my spare Mat.
The owner of the BD TT, now uses the 5mm Mat on their SP10 R as well.
I bought 2 x 3mm and 2 x 5mm Forex Foam, produced as a TT Mat, where including delivery it was approx' £30.
At the time of Purchase the Material, it was described as being the same as a Brand known as DAT Mat, which was approx' £100 and the Mat thickness I can not recall for this product.
The 3mm was able to change the Sonic, but also impacted on the SQ.
The 5mm is a different impact, every thing that is extremely attractive is maintained or slightly improved, even when there is a noticeable hint of Richness of Tone with the 5mm used in comparison to a Metal Mat.
The Forex Foam 5mm will work with the Concave Platter.
If moving away from Richness of Tone is attractive, then Metal Mats are able to produce this perception.
In my experiences, the AT 666 Vacuum Mat is the one to produce the perception of being most Transparent/Lean of used Metal Mats.
The Tenuto is next in perception of Transparency/Lean.
The AT 677 Duraluminium Technihard and Micro Seiki Duraluminium are perceived as a hint towards Rich Tone when compared to other Metal Mats.
The Micro Seiki being 8mm Thick, is perceived as the one with the most perception of a Rich Tone, with my experiences of Metal Mats used.
Do not let anybody try and steer one into thinking Mats don't create a perception of Tone.
Do let in the notion, that a Mat of a certain type can be quite a bad inclusion.
As there is the materials, or interface for the material, that creates a end sonic, where much of what is attractive is effected to the point it is perceived as being very deficient and unwanted.
The downside is to learn where the differences are to be found, does mean Differing Materials, Differing Materials Thickness are needing to be experienced in use in the environment the TT is set up in.
The upside is, when the correct interface is found, there is a deep satisfaction to follow.
A lot of Though has gone into what the TT and TA is to be seated on.
Similar thought is also required to discover what is the best for the Vinyl, as the Source Material and Styli as the Data Extractor to be seated on.
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In the days of the system being in the main living space of the home and there were not too many concerns for the systems security in that set up, (Grandchildren Arrived)
At this time, when myself and wife, were making a time for dedicated listening session. We would on regular occasion, select the whole collection from one of the 26 Letters in the Alphabetically Stored Album Collection.
This selection type, proved good for exposing Albums in the collection that are easily overlooked and encourages a time for the Albums replay to occur. There is always a Gem or Two going to resurface in a Album that has become unfamiliar as a replay.
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A Friend who is a through and through ID TT user has their Audio System Racks on a suspended floor. There has been various methods investigated / tried out to improve the TT from the Floor Up.
The Audio System Rack is mounted on a Sandbox Plinth, which I know has been claimed to have been substantial in improving things and is very little expense to put in place, even if made look aesthetically pleasing.
A simple method such as this is worthwhile investigating.
The alternative Rack being referred to being 3 x the Width, could have Pedestal Sand Boxes produced to be able to take the support legs of the Rack only?
My own investigations and trials for mounting the Audio System Rack. Has Three Tiers of different isolation materials used before the Steel Plate Base Plinths are mounted on these. The racks are seated on the Steel Plates with a separating footer. Additionally, the Racks are rigidly braced. The TT is seated on a Sub-Plinth Assembly with Solid Tech Feet of Silence as the Footer in direct contact with the TT.
1, The Sub-Plinth Assembly under the Rack does create a discernible difference to the Rack being in direct contact with the floor. Speaker users are knowing about the benefits if using various methods to interface with the floor on any floor type.
2, Rigidly Bracing a Rack is in my experience very discernible as the betterment to the Rack left free standing. My Racks are braced together (my method not so aesthetically pleasing), as well as being rigidly coupled to the wall structure. Assessing this is easy as both are easy to release and A/B compare, both coupling methods in my set up have been very beneficial.
3, Producing support structures under the TT can be undertaken at a variety of costs and even more permutations for Plinth Materials and Footers used as separators and then the TT’s Mounting Feet. Working with the various options of permutations is where the real magic occurs. To really get the benefits it is best when done as the last exercise of the three treatments.
There is not a ubiquitous methodology for this one, I have loaned out many materials to be used on other systems, as the Mount for the Source, the differing environments and methods used to support the Rack, as well as the Rack Type creates very different outcomes of how a material is assessed for its impact on the end sound. Perseverance wins through.
If any of the other suggestions offered by other contributors for the TT are followed up on. The benefits that are yet to be discovered will be even further benefiting when experienced on a Mounting System that is addressed from the Floor Upwards.
https://forum.audiogon.com/discussions/turntable-isolation-journey
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There is one advantage of repositioning equipment, even if only Temporary.
Such an investigation should cost very little monies and now the TT is set up, the only treatment for the TT following relocation, should be to re-level the Platter.
There is lots that can be learned about looking out for the needs of the styli, when used for the role in the groove to produce mechanical energy to be converted to a a very low voltage electrical current.
The Styli will receive ambient energies, of which certain types are able to adulterate the energy generated by the groove modulation.
As the methodologies for reducing transferred energies to the Styli improves, the end result is the perception of the end sound increasing in presenting as tidied up sound improves.
Platter Mats also fall in to the considerations for control measures.
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The individual who I reference for materials worthwhile considering for Plinth Builds does the materials testing.
This same individual has made it known that a Modeller Putty known as Newplast, is excellent as a substance for improving the Damping Properties of materials in use that don't measure with an attractive Damping Factor.
A treatment with this within the rebated area of the Plinth and concealed underneath might be the way to extract more of what is being looked for.
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I know the SPH Bearing will and it does create very noticeable improvement over the standard bearing when compared on GL 75 ID TT's.
Other make good reports about the other TT's these are produced for.
One other method is to have the 301 Original Bearing produced to have not Metal on Metal Contact possible to occur, by having Thermoplastic Parts produced to create the tightest of tolerance interfaces between Spindle Bush and Spindle, as well as having the Thrust Pad produced from Thermoplastic as well.
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Also do not overlook the 'fact' the Platter is receiving side force that will add a force to the Platter Spindle.
Think of the Bearing Housing fastened into a quite thin metal as an anchor point. The Force on the Platter that is also being loaded into the Spindle will be encouraging the Bearing Housing to route force into the interface between Bearing Housing / Chassis.
Flexion is to occur and will be most amplified at the Base of the Beating Housing.
Eccentric Rotation can be occurring at the Bearing Base, that is then in a lesser degree being produced at the Spindle.
The overhang of the Platter Rim from the Spindle and Platter Mass will assist with amplifying rotations that are eccentric.
A Styli in a Groove in such an environment is going to be functioning in a way that is not allowing for it to be a optimised interface in the groove.
Bracing the Bearings Base, or Rigidly Coupling the Bearing Housing Base is a long time seen fix on TT's that have the potential to produce a flexion in the Chassis, that is at its worst when impacting detrimentally on the Bearing Housings Base.
A lot can be achieved if keeping the original Bearing Housing and producing mod's for it, most replacement bearings seen today as a commercial offering, are only a end design that utilises plagiarized DIY Designs.
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Original Plinths for Idler Drives of which I owned a 401 original Plinth were built with basic cabinetry assembly practices and were creating a larger air Void.
The non rigidity of the Cabinet ( think Syli requirements) and the large Volume of air caused audible resonance when transferred to the Styli.
Plinths today are usually seen with tight tolerance rebates for the TT to bed into and the Plinth Structure is substantially rigid.
The magic really occurs when the materials for the structure are able to Damp/Dissipate energies produced very effectively, hence the Styli is working in a much improved environment.
It is all about the Styli sensitivities to received energies, keeping the energy passed from the Styli to become the electrical signal to undergo various stages of gain as unadulterated as can be achieved at the Source, which is the Styli.
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@lalitk I have stated in an earlier Post:
" 3, Producing support structures under the TT can be undertaken at a variety of costs and even more permutations for Plinth Materials and Footers used as separators and then the TT’s Mounting Feet. Working with the various options of permutations is where the real magic occurs. To really get the benefits it is best when done as the last exercise of the three treatments.
There is not a ubiquitous methodology for this one, I have loaned out many materials to be used on other systems, as the Mount for the Source, the differing environments and methods used to support the Rack, as well as the Rack Type creates very different outcomes of how a material is assessed for its impact on the end sound. Perseverance wins through" .
@lalitk Now the keenness to resolve the mechanical interface has been addressed with vigour and experimentation the solution for one particular and unique environment has been discovered, which from my end brings the notion, your now on your Journey with the Pedal to the Metal.
I still remain firm on the notion, further tidying up of the end sound is able to be discovered, but do ’encourage’, a period of tome to allowed for, to enable thoroughly enjoying the music encounters now to be had for an extended period. It is now important to become very familiar with the attractions being presented during the music replays that are now available to be perceived by yourself.
Many Years Past, a selection of the UK Idler Drive users were Wed to Barry Diament’s guidance for Vibration control, especially the Roller Bearing Footers.
It looks like your footers are quite similar as a function.
It is also widely suggested in the UK that Townsend Isolation Platforms started out as a Product from using the Diament design for a inflated supported platform.
As the Diament suggestions for methods are very affordable and achievable, and in the case of this Thread been successful, the Link will be good to review.
https://barrydiamentaudio.com/vibration.htm
The idea of Perseverance wins through, is the real requirement to create the conditions that work as the perceived optimal set up.
I have been questioned on this, to the point the suggestion is not much more is to be achieved. I do not yield to the idea, there is a reason to stop, honing mechanical interfaces for the benefit of a Stylus to function at it optimised, is for myself when participated in, a real time enjoyment. .
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@lalitk The time now is to forget 'what was' and enjoy the 'what is'.
The obvious audible intrusion has been tamed, it will be a period of time, before the wish to bring to forefront a sonic that is detected as being not the most attractive is desirable to be tidied up. You are with quite a few trials of different permutations for support to be utilised, before Propping Flooring is the treatment.
In case I forget. the Diament Guidance, suggests the Roller Bearing will work on improvements to isolation in the Horizontal Axes, there is still Guidance on how to treat the Vertical Axes to have an improved Isolation. There are many who have done this and have found it to be of value. A said, there is also those who are strongly suggested to have built their Business offering the method.
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When setting up support structure for a Stylus to perform at its optimised / close to optimised. My experiences had, has discovered that 2mm (1/16) in a thickness of a materials used under the Stylus can make a major difference.
The TT is not up and running at present, but because I was very impressed by the AT 677 Mat, I have a Micro Seiki Copy of a Mat made in very similar metal to the AT 677, but at a 10mm, approx' (3/8) thickness.
Forex Foam Mats used as 5mm Thick Mat, are in my set up extremely attractive in use on both ID TT and DD TT's. Take the same material mat in less than 5mm, when used in my system on a DD TT, the outcome is the usage is very short lived. This material type at lesser thicknesses does not perform attractively.
The same outcome occurred on a system in another Home on a BD TT, the system owner was so impressed with the 5mm Mat I gifted it to them.
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I am very familiar with much of what occurs in the UK with Idler Drives, and the Power Supply in the Link is a New Brand and New Model to me.
As stated in other posts, the LDA, is a very difficult design to surpass.
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Bamboo Board with three tiers as the minimum and compressed on both planes, is a improved Board for intrinsic Damping/Dissipation Properties over most of the usual board types seen used for Plinth construction.
A 401 listened to, mounted on a Compressed Bamboo Board Plinth, is my most impressed listen I can recollect.
Compressed Bamboo Board as referred to above does not cost too much. As a ,material it can be further enhanced for the attractive intrinsic properties, by applying thinned oils for it to absorb. I recollect seeing Shellac referred to as well as a Treatment to improve the properties, all good on my camp, as aesthetics are also being dealt with as well.
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To have the most attractive aesthetic does add cost, especially if a professional Cabinet Maker Service is to supply fascia materials and carry out the finishing. Spray Paint Coating as a Fascia Finishing can be much more cost effective.
I am today more Wed to a aesthetic that has Honesty, the structure is not masked.
Mass Plinth and Idler Drives are from an era, when not too much was known about materials that are with an intrinsic property for Damping/Dissipation.
There are extra options today for selecting a Plinths function. Where Mass is a Sink to absorb motor energy, reducing energies transferred through the Platter to the Stylus. Damping/Dissipation, where energies are canned through the material and substantially reduced in their impact on other local materials.
There is plenty to be read on a forum like Lenco Heaven, to produce a basic idea for how each in use are perceived.
My recollections are those who moved on from a Mass Plinth have not returned to the structure. Damping/Dissipation has its attractions.
I am also in the prefer Damp/Diss Camp.
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