Thanks everyone. For me, a lack of funds is the mother of invention, so that's why, at least in part, I'm thinking of Raul's clever approach.
I've always been a little circumspect when it comes to wood and turntables. I believe that its use transforms the turntable into a musical instrument (I also consider that sprung suspensions add to the euphonic mix). While all plinth designs have this effect, the goal (for me) should be neutrality. The more 'stuff' attached to the device that is extracting the micro signal from the groove, the more chance for colouration.
Lewm: Good points to consider. In place of the AT pneumatic feet of Raul's set-up, I was thinking of some of those fantastic feet from Herbie's Audio Lab. They would perform the isolation task very well and secure the TT to prevent dancing across the room... The company also make a great matt that is perfect for the SP-10. As for the pod, checkout this pod with adjustable feet, layering, damping and (brass?) weight:
http://www.turntables.lt/gallery/tonearmturret/norm_04859_2009-04-04.jpg
Rnadelman: Ah, the layered approach. If I had to go with a plinth, I think the plywood/aluminum woud be the best sonically. There is someone here (In OZ) who makes them. Do you think that they do a better job than wood of draining unwanted resonances?
Jsadurni: See the link above- is that the kind of 'pod' you made? Would you say that your setup keeps the speed and bass reproduction while extracting the upper mid and treble with air/space/soundstage depth?
Raul: It seems that Jsadurni is getting great results from the non-plinth + tonearm pod approach. I agree- I can always try the setup first. The feet I can use later with a plinth if the pod idea doesn't work.
Keep the idea coming, thanks everyone!
I've always been a little circumspect when it comes to wood and turntables. I believe that its use transforms the turntable into a musical instrument (I also consider that sprung suspensions add to the euphonic mix). While all plinth designs have this effect, the goal (for me) should be neutrality. The more 'stuff' attached to the device that is extracting the micro signal from the groove, the more chance for colouration.
Lewm: Good points to consider. In place of the AT pneumatic feet of Raul's set-up, I was thinking of some of those fantastic feet from Herbie's Audio Lab. They would perform the isolation task very well and secure the TT to prevent dancing across the room... The company also make a great matt that is perfect for the SP-10. As for the pod, checkout this pod with adjustable feet, layering, damping and (brass?) weight:
http://www.turntables.lt/gallery/tonearmturret/norm_04859_2009-04-04.jpg
Rnadelman: Ah, the layered approach. If I had to go with a plinth, I think the plywood/aluminum woud be the best sonically. There is someone here (In OZ) who makes them. Do you think that they do a better job than wood of draining unwanted resonances?
Jsadurni: See the link above- is that the kind of 'pod' you made? Would you say that your setup keeps the speed and bass reproduction while extracting the upper mid and treble with air/space/soundstage depth?
Raul: It seems that Jsadurni is getting great results from the non-plinth + tonearm pod approach. I agree- I can always try the setup first. The feet I can use later with a plinth if the pod idea doesn't work.
Keep the idea coming, thanks everyone!