Vinyl turntable mat?

Millercarbon, have you heard the detail in an ASMR recording? Or a school brass band with a drum kit playing in a marble-floored hall? Pretty dang detailed!

Sorry for the confusion. The G-1042 is the cartridge; Goldring G-1042.
The cd player is the Rotel RCD-971.
Of course I'm not making any statements about what is ''The Best''.
I thought it was self-evident that my description of my experience was exactly that. So here's the disclaimer: The description in the opening post of my impression of this mat is a description of my impressions of this mat.
Clear enough?
My question is if anybody has any thaughts about what is the best way to deal with the inherit resonanses in the vinyl?
Some means that the best way is to let them resolve on the backside of the record into air. Others use felt, or glass, or acrylic. Or vinyl.

Your powers of description do not match your level of enthusiasm.  Can you say more clearly what you did?  What I read starts with a question about a vinyl platter mat.  And you point out that a vinyl mat might have the feature of draining energy put into the (vinyl) LP, due to the efficiency of transfer of energy from vinyl to vinyl (about as good as can be achieved, I agree).  Then you go on to talk about the Resomat, which in my mind is the exact opposite approach; the LP is suspended in mid-air.  Resonant energy can only be dissipated via the interface of the LP with air. (Maybe that's not so bad; I don't know.)  Then I get confused. It seems you glued some stand-offs to the surface of an actual LP and used THAT as a mat, with the test LP sitting on top of those furniture thingies.  If that's correct, what you created and used is most analogous to a Resomat.  Correct?  So here you are endorsing the idea of the Resomat, correct?
But you have not done, or at least not reported on, a comparison with a mat (vinyl or other) that actually might do a good job of draining resonant energy from an LP.  In science, this is called a "control".  And most of us, including me, have no idea what is a "G1042" or an "RCD971".  And at the end, the whole thing is based on your subjective judgement, so all you can say is you arrived at something that seems to work well, for you alone in your system with your selection of rock LPs.  That's fine.

I use the Oracle hard mat on my Technics SL1200g and find that I get a wealth of information compared to the soft rubber mat that came with the turntable. 

Hi millercarbon
You said: ''What I did not notice is anything about how you readjusted VTA for the increased record height.''
I really don't know how to respond to this. I used the vta adjustment on the arm mount - I turmed it clockwise so that the arm was level with the vinyl.
If I understand the rest of Your post correct; it is important to the sound that the resonants in the vinyl is fed back into the cartridge?
If You look closely to the original mat delivered with the SL1200, it has 4-6 ridges wich the vinyl rests on.
To be honest; I really don't understand Your point.

I notice your comments "Extreme articulation. Immense detailed reproduction. Every hit of the triangle is articulated." What I did not notice is anything about how you readjusted VTA for the increased record height. 

Air of course isn't about to be damping anything. Playing a record, there's a lot to be damped. First and foremost, vibrations put straight into the vinyl by the stylus knocking back and forth as its being drug along the groove. Oh and did you know, that groove, its created by a signal that's had the higher frequencies amplified by as much as 20 dB? While the bass has been turned down by about the same 20 dB. Its true. Its called RIAA equalization.

So the signal put out by the cartridge, its never just the music from the groove. Its always the music signal plus whatever else is causing the stylus to move around. A lot of which as previously explained is generated by the stylus against the record itself. 

If you like the way that sounds, great. Rest assured you are not alone. You might however want to go back and listen a lot more closely. Lots of guys get thrown off by the initial high frequency attack phase of a sound, calling this detail. Or even "extreme articulation, immense detail" as it were. Forgetting that detail isn't just the initial attack, but includes the subsequent fundamental, harmonic development, and decay- all of which must be in balance. 

When they are, funny thing, nobody ever calls it "detail". Nobody listening to a real live person singing, or even just talking, ever said, "WOW such extreme articulation!" 

So the comment itself is a clue to look deeper. There's more going on here than it seems. Of that you can be sure.