Albert Porters after market panzerholz plinths

Hi Albert,

You were referring to the 2008 RMAF show, where OMA debuted the Saskia turntable created by Win Tinnon, for which OMA made the slate plinth and other slate parts. That was an idler drive turntable, not a rim drive (a rim drive does not necessarily use an idler wheel, for example, such as in the Teres product, or in one of the TT weights decks.)

OMA no longer is partnered with Mr. Tinnon, by the way.

See you in Denver,

Jonathan

Dear Radicalsteve, 4.5 KILOGRAMS? Really? Holy patootie; that is 9.9 lbs, which is more than the platter weighs on a Mk2. How long does the table take to get up to speed, not that this alone is any measure of how the servo functions with such a huge increase in total mass? The proof is in the pudding, I guess.

Albert and Jonathan, Just out of curiosity regarding your chosen plinth material Did either of you use or have commissioned any sort of measuring test on panzerholz and soft slate?
I ask this because of the near endless material one could choose from for a mass loaded constrained layer plinth be it man made and or ftom mother nature

My research these past few weeks into the history of speciality plinths shows a long list of methods and material from manufactures and especially the DIY communities that goes back decades

I just find this whole subject of vintage record players interesting that in these modern times one can in some cases like yours Albert advance their vinyl play back using select material with a vintage tt.
On a final note Jonathan mentioned above a denon cartidge body made of panzerholz indeed interesting material.

Dear Dbcooper: +++++ " Did either of you use or have commissioned any sort of measuring test on panzerholz and soft slate?
I ask this because of the near endless material one could choose from for a mass loaded constrained layer plinth be it man made and or ftom mother nature " +++++

this is the third time that you ask the same looking for the answer that can tell you/us if there are scientific/measures/numbers behind the plynth TT build material choosed.

NO answer till this moment from any of the ones involved in the build of those plynths for TT.

My common sense dictate that IMHO they don't have any scientific study/ies that serve as foundation to those plinth designs choice.

I hope I'm wrong and they come here and shows those measuring tests that shows differences in plinth build materials and plinth different shape design, we will see.

Regards and enjoy the music,
Raul.

Dbcooper,

Its an interesting question, about testing a material to try and determine its sonic properties. Let me relate an anecdote which might be appropriate.

A couple of years ago, I was invited to one of the "jam" sessions held at Gregory Singer's violin shop on the Upper West Side of Manhattan. Singer has a small performance space inside his wonderful shop, filled with some of the world's finest stringed instruments. Not only do Juilliard students often come to play, but so do some of the world's finest concert musicians. On the night I came, cellist Nicholas Anderson brought his Gofriller Count Marcello cello, made by Gofriller in Venice is 1697. The group played the Brandenberg Concerto, which was written a couple of decades after this cello was made. To say that I have NEVER heard anything like this instrument is an understatement. Even better was that I got to sit about 5 feet away from it, and I also had a chance to see the cello's back. Which is the point of this response- this cello has a bookmatched knot, not a small knot, but a really big, ugly knot, in butterfly fashion, on the upper section of the cello's rear.

I would think that in 1697 there was not a shortage of wood to use for making cellos. Its extremely rare to see even one knot in a Strad, Guarneri, etc. Yet this cello had not one, but two knots. As an aside, Pablo Casals and Jacqueline du Pre both played Gofriller instruments, but the real issue is, why did Gofriller use this material?

I don't think he did any "tests" in the sense you mean. There were no labs back then.

I'm not suggesting tests are not worthwhile, but you would have to know what you are testing for. Would it be transmission speed of sound through the material, and of what frequencies? And what thicknesses? In the case of Albert, since he is using a kind of clamping system to drain vibrations from his SP10 chassis, this would certainly affect the range of vibrations or resonances being transmitted into the plinth, so then how would you test that?

Furthermore, you would need to know what parameters actually make for the "best" sound. Given this thread, with people like Raul saying they know what the best sound is, I really doubt that there would be a lot of agreement on that score.

Jonathan Weiss
OMA