Tonearm mount on the plinth or on Pillar ?

I've been digging through this to the point of multiple circular thinking all leading to nowhere. My comprehension, while not fully through, does lead me to question many of the tenants expressed here, if only due to being invested in a TT/plinth?/tonearm which violates almost every principle presented here for superior SQ. 
Trans-Fi Terminator tonearms , linear tracker with air bearing. Salvation TT with magnetic bearing, floating for all practical purposes. Resomat platter pad which further isolated the LP from the platter. nothing is connected with respect to vibrations being transmitted concurrently during playback. Sounds great. 
I did follow Terry9 and place a little damping material  on the arm wand to some good effect. 
Maybe it's my tin ears but it sounds really great to me.

Lewm, the Terminator tonearm actually pivots vertically on two contact points of an underslung carriage. This is joined to a sliding metal inverted V bearing which slides horizontally on a similar inverted arm,separated by a thin cushion of air. A pump with very low pressure allows for a long thin surface, decoupled by air. Thus the arm can pivot vertically while the sliding inverted bearing moves without resistance, [air cushion]. The support arm under the inverted bearing is attached to the plinth, with the air cushion separating the bearing from the support arm. The air cushion completely separates the inverted bearing and the undercarriage from the support arm and the plinth.
As to the resomat, I have experimented with three other mats and in each case the dynamics I was accustomed to hearing were sucked out of the music.This was without doubt the most dramatic negative change I have heard in the system. The music just died. Needless to say the resomat is in place permanently.
While I have formally studied physics on a basic level and have some limited understanding of airborne/foundational vibrations, in no way am I qualified to refute or support either of the theories being bandied about here. I do know however that the above methods put into effect, including the magnetic bearing supporting the platter all work to decouple all the working parts. This to me seems to reduce the chances of resonant/non-resonant vibrations being transported throughout the playback system. Totally contrarian I realize, but it works and to me it works better than what I have heard otherwise, particularly in the case of high db playback.
My ego isn't really attached to this, so anyone who wishes to shoot it down, have at it.

Throughout this thread arguments on both sides seem to have merit. I will say Ralph's data is the most convincing given that he has measurements to support his viewpoint. It would be interesting to see some data involving the turntable  setup where the turntable functions from a different room isolated from the airborne and to some extent transmission through the structure of the playback room. 
During my college years I often listened to a system in which that was the case. In this case it was absolutely necessary or the stylus would fly off the table otherwise. We listened kinda loud! I still do.
I really enjoy these kinds of discussions, always a lot to learn here. A similar discussion about spiking vs isolation of speakers on WBF is equally intriguing. Even the propagator of Stillpoints began to question his product and we all know what a wonderful system that is.