A Copernican View of the Turntable System

Hi Jonathan,
I imagine though, that the 'processing' of the material and the 'significant effect on sound' due to that, would vary depending on 'where' in the signal-processing chain that material was applied?
For instance, I can imagine a tonearm headshell or arm-tube having a more 'significant' effect on the signal than say......an isolating spike or cone, or an arm-pod or a shelf bracket?
Cheers
Henry

Jcarr,

As I was posing the questions you were already answering. Synchronicity,

Thanks

Dgob, One advantage of brass: it is pretty soft and therefore very easy to machine. It also looks nice.

Can someone point out to me where (in what post) JCarr listed his preferred materials in order of goodness? I only see where he listed first the preferred methods for creating objects out of solid metals and in a second post the metals that he personally has auditioned. Or Jonathan? Thx.

Daniel (DT): Do you equate speed of the propagation of energy in a material with goodness of the material for use in arm pods, plinths, arm boards, platters, or what?

May I ask all of you if a very heavy outboard armpod as I am using it for the FR-66fx on my Continuum is moving despite the fact that I connected it with a plastic part between the TOHO armpod and the heavy Continuum body - in this way creating a sandwich constellation. I for myself don't believe the TOHO stand will move but I am eager to learn if this is possible anyway.

best & fun only

Dear Lewis (Lewm), IMHO the "conductivity of energy" is a key feature/issue in tonearms and turntables (and associated arm pods, plinth, platters). It is at least if one tries to get the most dynamic, live-like and uncolored sonic results.
It is a key issue - not the only one, but very important and most often overlooked.
Cheers,
D.