What is turntable “liveliness”.

I have been through Belt Drive, Idler Drive and Direct Drive TT's, of which I have come to settle with DD as my 'go to' design.

Additionally I have heard my TT in quite a few different systems where there have also been BD, ID or DD as the resident TT's.

I have no prejudice against other Drives, I have been impressed during my own ownership and through experiencing those owned by others.

I would say a ID TT, has it's feet firmly bedded in the substrate, and can be a experience, where the Bass Range can be very present, to the detriment of the MId's and Highs. I have experienced this to become much improved by the use of a off board Speed Controller, and have heard a range of Speed Controllers that are able to be quite perceivable on how they impact on the perception of Bass being present. 

Today I firmly believe the 'structure/materials' used for producing the TT and the method used to support the TT in the home environment are quite capable of impacting on the produced sonic for the better or the worse.   

Experiences have shown a certain design for a TA, that is quite a common design/geometry, can substantially inhibit the sonic and produce a subdued sound, that is seemingly on a leash/constrained. This in itself could create plenty of descriptions as an explanation for what an alternative and less constrained presentation from a different TA>TT can sound like.   

@ghdprentice If you are able to detect a reduction in smearing, which I usually refer to as being able to detect Micro Detail, Micro Dynamics and a Envelope of a Note or Vocal. This is a valuable place to be when wanting to know how resolving the Vinyl Source is.

This detail production is extremely valuable and when perceived as being present, is a justification for the monies outlaid on various upgrades over time, or the extensive investigations and trials undertaken to create the perception.

During the development of a TA, I was party to, there was always a earlier guise at hand to compare the progressive works with. It was quite amazing at times, how a older guise, that had already seriously impressed and been instrumental in creating a change to ones own equipment in use, could be perceived as being quite wanting, as it was noticeably smearing details and the envelope, when compared to the latest design under trial. 

Note: The experience of producing impressive resolution is commonly found by working out the best mechanical interfaces and when something new and quite attractive is found, for most much of the investigation for betterment stops.

The Signal Path is a fragile necessity, and when the mechanical interfaces are close to optimisation, the Signal Path will be the failing for the realizing the full potential of what is already achieved for the resolving qualities of the source.

I have encouraged other to and have myself  worked with the Signal Path, from Wand Wire, through to Pre-Amp' and can assure anybody, that as a simple effort, exchanging the RCA Connection to Low Eddy Types on both Cables and Amp' Chassis, will allow much more to be perceived as a imagery, in relation the sonic produced, a veil 'will' be lifted, if the mechanical interface on the source is optimised, a treatment of the Signal Path will produce a Night and Day difference and the discovery will not be wanted to be changed.

Extend this experience to trialling different Wire Types and the personalisation to attain a sonic that really meets ones unique preferences begins.

My suggestion for a Wire Type and being a vociferous advocate for these wire types are well known within this forum.  

@ghdprentice Many years ago, I was caught in the entrapment of HiFi and was an individual with an obsession. Such a mindset in my life, is no fun, and the joy is not to found in listening to music on audio equipment.

That person is long gone, and good riddance to such a waste of energy. 

I severed my usual participation in HiFi and found a way to build on a social structure around the hobby, I have been working with this attitude for over 20 years now.

I have never looked back and regularly spend time in the company of others who are quite capable to create thought provoking demo's, as a result of where their interests take them. I have been quite instrumental in encouraging investigations as well, where the end experience has been much more tan the sum of the parts..

I am pleased the passed on experience has been a info, that you feel is worthwhile learning more about.

TA is a abbreviation I use for Tonearm.  

@ossicle2brain You have pointed out the points I made a concern for myself to attempt to improve upon many years ago.

My journey took me to the point that I was having Platter Spindle Bearing Interfaces optimised using the original housing to undergo modification.

That lead on to the complete Bearing Housing being swapped out for a new design one on a certain Brand of TT. 

I have more recently reverted back to having other TT's have their original Bearing Housing modified, but there are now new ideas evolving that will mean new bearing housings are to be produced for my 'go to' TT.

The efforts have certainly improved centricity of the Spindle Rotations and when the parts are bespoke produced for each Housing Spindle, the run off measurements are much improved over the OEM.

Unfortunately if very low microns being recorded are to be goal as a measurement, then the original bearing designs are not able to cut it, a rethink and substantial materials are required to produce the redesign. 

At present there is a lot on offer to minimise the impact of non-centricity of the Album, and reduce the fluctuations that can be detected in the speed.

An off board - standalone strobe will quickly show speed fluctuations due to eccentric rotations.

Hydrodynamic Lubrication is a almost impossible condition to maintain within the bearing housing when working with a typical journal bearing design. It is strongly suggested metal/metal contact will occur, this occurrence equates to noise and over time wear of a sacrificial parts metal, resulting in abrasive dust as an interface.

Removing metal/metal contact, as a result of exchanging parts, has a major improvement on the noise produced at the time of Spindle and Sacrificial parts coming into contact, the method certainly removes concerns for abrasive dust as well.  

@noromance If you like the effect that a Concrete Base has under the supporting structure, in recent years the next best thing to this has been for myself, using Phenolic Resin Impregnated Densified Wood, such as a Panzerholz Type material.

I highly recommend this as a Sub Plinth or Sub Plinth - Sub Sub Plinth assembly.

My own usage has also extended for it to be used as Plinth Material for a TT. 

I prefer to suggest Sub Plinths as the initial trials as they will offer a impact on the Sonic that will show the traits of the Board. The Sub Plinth is more ubiquitous and easier to source as a reasonably priced item.

The TT Plinth in the same material is carrying additional cost, your want to extract detail, is exactly where the PRIDW Board comes into its own.

The New Linn TT, has a version of this material incorporated into the design, even though the description is being used to not let an individual recognise the Brand selected. 

As a Marketing Term used as Speil to get a reaction, the term' Prat' if invented by a individual from the UK has more than one connotation. 

As it was directed to a Audience of what one would suggest to be mainly mail. Iy can only be suggested a Misogeny is an underlying context for the creation of the term 'Pfat'

For the Linn TT design, making the Statement as Speil 

"She's a Belter" might have been kinder to the  females of the UK