SP10mk2: OMA Graphite plinth vs.Dobbins plinth

Lewm, any mods outside of my country is impossible for me, shipping cost too much. I can only do it here (such as recaps etc), but now all original sp10mk2 just works fine and i already find local vendor for recap work in the future if needed. Actually Dobbins plinth (and the price quoted here) is a classic one to fit original sp-10mk2. Removing chassis is another story and different plinth he use for his own Kodo The Beat turntable design at much higher price. What i like about removed chassis is the abbility to use any tonearm with it, with original sp10 chassis it's not always possible with short tonearms as you know. Anyway i'm gonna stick to my Reed "12.

It would be nice to read opinion of OMA graphite late plinth users, seems like it's less popular plinth and different technology, but looks great. Sad that i'm so far away and can't check it myself in real life.

I use all-slate plinths for my Lenco and Denon DP80. I am very pleased, particularly with the Lenco in slate. But in some respects this is a subjective judgement. For my SP10 Mk3, I added a hardwood layer to the base of a large slate plinth, firmly fixed to the bottom surface of the slate. This was done empirically, but it actually did seem to make the turntable more neutral sounding when a priori I heard no real problem with the all-slate original version.

My stand is well damped with glass, metal and sarbothane in between.

Glass and (most) metal are not damping materials.

Glass and metal typically reflect higher frequency energies at the boundary layer. Imagine a room consisting of a big steel box with large glass windows. Stand inside and play your violin loudly. Would those windows, walls, floor or ceiling "damp" the sound? I think not.

Lower frequency energies which do cross the boundary layer into a glass or metal layer tend to be propagated rather than damped. Closing a window attenuates birdsongs because their high frequencies are reflected, but the low frequency growls of the garbage truck pass through the glass and are still easily audible.

Some materials do damp vibrations. The dense hardwood of your Reed tonearm is one such and that contributes to its quietness. But glass and metal typically do not.

By design, phono cartridges detect and amplify vibrations. Therefore, any energies reflected or propagated toward them will be interpreted as signal, which raises the background level of sonic mud. Including sonically reflective or propagative materials in either the TT stand or the plinth raises the system's noise floor.

Of course you should buy whatever plinth you like for whatever reasons you wish. Just thought it might be helpful to clarify some mistaken assumptions as regards sonics.

Mr. Deacon it's alwasy nice to read your posts, you're right, forgive my english, i just tried to say that my stand is Heavy and Stable. "Well damped" was incorrect word. It was not specially designed, just a custom build heavy big metal stand with thick glass on top of the sarbothane pads.

As far as i know Teak Wood (which my current plinth is made from) it a good damper along with sarbothane.

While preferring not to contradict anyone on stuff I cannot refrain from saying, in my own opinion, that Sorbothane, while seeming to be a perfectly good damping material, is actually not. Now, someone might possibly find some place where Sorbothane improves the sound, but I have found in most situations it ruins the sound. Like many rubbery, gel-like, soft materials Sorbothane appears to allow energy to be stored even more than it would be with no damping.