Nude Turntable Project
Just a comment on mats which may be of interest to the 'now' many TT-101 owners here..........compared to the standard rubber mat supplied with the deck, which I found adequate........the best mat I have heard on my TT-101 is the Micro Seiki Cu180. This mat gave a silence and depth to the sound that was impressive. Unfortunately.....its weight (1.8Kg).......rendered the brake-stop mechanism inoperable, with the platter continuing to spin after the stop button was pressed. This bothered me (although some readers appeared unperturbed) and I searched for a different solution. The Victor pigskin mat (available in black or brown from Tommy at TopClass Audio in Hong Kong)......applied directly to the aluminium platter of the TT-101 gave virtually all of the benefits of the Cu-180 mat with the added bonus of even better 'brake' function. |
Halcro: yes, difficult to find but patience pays off. Mine is cosmetically in very fine condition--but there are speed problems. I bought it so I could test your theory about vintage direct drives and 'living dangerously'. That and it was just too cheap to pass up. It was sent directly to Bill Thalmann's hands. I'm confident he can locate and fix the problem. I plan on buying that pigskin mat. Thanks for the advice. My table is the ql10 so I will keep in plinth for a month or so to get accustomed to the sound. I'll try to set up my pod next to the plinth as well but I suspect that I won't have the shelf space. Ultimately, I plan to go nude because that's how I roll (as the kids like to say). It depends though: I might like the plinthed sound? Yes, many comparisons to be made. I'll choose ten tracks and make notes with each different set up to compare differences. The sp10 is sounding pretty darned good these days, so I'll be happily amazed if the Victor gives me something better. |
Halcro, The rubber straps are flat bungee cords - available at home-goods or hardware stores. Yes I clearly hear an improvement with them - that tin can needs dampening. Perhaps it would be better to coat it somehow. My observations on poorly recorded albums is that the better I make my playback system the better I can hear the flaws in the album. I am quicker to chuck bad records now than I was in the past because they are unlistenable. Of course the good albums just open up wonders. As far as plinth/no plinth, Lew and I just exchanged posts on Vinyl Asylum and he easily stated that bad plinths cause problems but that good plinths can be a benefit. My opinion is that good plinths sound better than bad plinths but at least in the case of good DD tables no plinth is even better. Lew also made the point (Lew my apologies for quoting you and especially if I, by some stupidity on my part, misquote you) that idler drive tables require a good plinth and that string/belt drives often don't. That may well be so, but it doesn't say anything good about the vibration issues of idler drives, does it. As I have stated before, somewhere, a plinth is unnecessary and often undesirable because it collects, holds, and returns vibration to the tone-arm and turntable. I hear the loss of this vibration as gain in all things musical - like going to a better turntable. Things improved for me as I went from full plinth to semi-plinth to no plinth. I am not going back. |
Banquo, You do realise that if you get the Victor pigskin mat.......your turntable won't be fully kosher? Continuing to amaze me with all things audio......how do you suppose it is, that removing a heavy rubber mat from the aluminium platter of the TT-101 and replacing it with a paper-thin pigskin mat......can create a sound virtually identical to that of the 1.8Kg Cu180 copper mat from Micro Seiki? This I can ruminate on as I watch the sunset from my terrace at Positano. What are the peasants doing? |
Dear Aigenga: Congratulations and welcome to the CLUB! ++++ " As far as plinth/no plinth, Lew and I just exchanged posts on Vinyl Asylum and he easily stated that bad plinths cause problems but that good plinths can be a benefit. My opinion is that good plinths sound better than bad plinths but at least in the case of good DD tables no plinth is even better. " +++++ Lewm is a very good friend and I respect him a lot, problem is that on that subject he is only speculating because he never gave/gives the opportunity to hear/test the DD non-plinth/nude alternative so he really can't know and can't affirm nothing about but only speculate against people like us that we know because we have the first hand experiences " before and after " the nude road. Regards and enjoy the music, R. |
I picked up a TT-101 on eBay a couple of weeks ago. I was very happy to receive it in excellent condition! Going through the process now of figuring out how to build an arm pod etc. Probably going to take a while before it starts spinning records in the system, but it's a project for fun so not in any rush. I think my first effort for the armpod is to have a relatively simple brass pod(need something pretty heavy, could be steel or bronze too) made that I can attach an extra aluminum armboard from my Galibier to. This would allow some flexibility, make use of things I already have and require a minimum of machining. Some things I've noticed. The bottom "cage" definitely seems like a weak link. I can totally understand the need for damping it somehow. If I were to build a plinth of any kind I think I would just remove it entirely. The bearing actually has an area at it's underside that would be easy to create a vibration sink for ala Albert Porter's plinth design for his SP10 Mk3. He uses a threaded brass rod screwed through a lead plate which is supported by his plinth to make contact with the bottom of the bearing in order to damp vibration. An interesting idea. Even without a plinth it seems like an area where some sort of damping may be easily applied. On page 24 of the service manual it discusses the braking mechanism. It says to spin two heavy records (200g each) on the platter at 33rpm and push the stop button. Then adjust the VR647 on the circuit board to get it to stop fully. This VR647 pot(?) was pretty easily found and looks like it adjust with a small screwdriver. It says to do the same procedure but with one record at 45rpm. Got me thinking that maybe you could use a heavier mat or center weight and still adjust the brake to get it to stop. Anyone ever try adjusting this? Anyways, first project is the armpod. I'll report back once I get that working. Excited to have a direct drive to play with! Matt |
Henry, You are in Positano? A very attractive women whom I met on a train only two days ago was on her way to JFK airport to catch a flight to.... Positano, Italy. Look for her, very short blond hair cut like a man's, mid-40s, the rest of her definitely does not resemble anything male. Of course, now I remember that there may be a Positano in Australia, given that one of my best friends has a summer home in Sorrento, near Melbourne. Aigenga, I hate myself for taking the bait, but the fact that an idler drive sounds best in a well-designed plinth does not make it inherently inferior to other drive systems. Other drive systems present different unique issues that also have to be dealt with. Also, what I was trying to say about belt drives, however badly I phrased it, was that many current generation belt drives could be said to follow the no-plinth dictum but in fact they do have very elaborate underpinnings. What has been done away with is the wide open deck surrounding the platter. Losing that deck seems to result in a more open sound, possibly because it reduces direct reflections of sound energy emanating from the stylus/LP interface. (That's completely off the top of my head and possibly complete BS.) I think that's the major benefit of what you guys are doing, getting rid of the open deck. It's what I liked about Nottingham Analog tts. Yet in the last few years, the conventional plinth has reappeared among mainstream (i.e., <$10,000) belt drives. To wit, the VPI Classic, Well Tempered Amadeus, etc. |
Hi guys - I think you will need to start a Victor TT owners thread soon. Henry’s nude thread is partially responsible for ramping up my own vinyl lunatic phase. His Copernican thread was the real culprit however for me. Well lets call it 25% Nude – 75% Copernican. Not sure whether to thank Henry or curse him. It did stop my speaker activity for a couple of years anyway. Aienga - Great pictures. You look like you are having a lot of fun. Mab33 – I can send you a document that shows how to construct a basic armpod. If you email me at bcpguy (@) bell (.) net I will return an email with it. Remove parentheses when sending – I used to get a lot of spam. Cheers Chris |
Mab33 welcome to the TT101 group. The idea of draining the vibrations from the bearing is quite interesting. It is a simple plastic thrust plate and a steel ball in a cup of oil. I drained and cleaned mine and refilled it with Mobil 1. I don't know if a more sophisticated ball - synthetic ruby or the like - would make an audible difference, but I am going to try it soon. I think that I would want to replace the plastic plate with a brass one before I fitted a draining rod as the plastic might not transmit the vibrations too well. If anyone knows of a brass or copper thrust plate that I can buy I would appreciate it and then I would replace both the plate and the ball. If you are interested in the original plinth I happen to have a spare. I would certainly try the double mat that I am using as it does the job beautifully. |
Lew, I wasn't baiting you. I agree that each type and indeed each model of TT has advantages and disadvantages. I am ignorant about idler TT's and so rather suspicious of them, but willing to accept that the best of them are truly good. I don't agree that the lp/stylus interface has much effect on a plinth. My thinking is more about motor & contact from shelves & airborne vibrations that get loaded into and radiated as well as reflected from a broad plinth. I think the latest wave of plinthed tables is A: retro styling and B: easy arm mounting. Tomorrow I am going to start a thread on vibrations at the lp/stylus interface (which I have been thinking about) I hope to see you there. |
Hi Mab, Welcome to the TT-101 Club. It's certainly growing? You're fortunate indeed to have found one in good working order as the complexity of the innards looks quite daunting? With all these nude Victors now in use.......someone suggested a 'package deal' on my cast bronze armpods? I would like to oblige but there are many impracticalities involved in making these:- 1. I designed the height to suit the cones under the nude turntable and the selected spikes screwed into the bases of the pods. 2. The spikes for the base of the pod need to be selected so that the right diameter holes can be drilled and tapped. 3. The casting of the bronze is just the first process. 4. The rough casting then needs to be taken to an automotive shop for a 2 pack polyurethane paint finish to be applied. 5. The painted casting then needs to be taken to a machine shop for the drilling and tapping of the top fixing holes and the bottom spike holes. 6. The machine shop then needs to fabricate the thick linished aluminium top plates to be screwed to the base and which needs purpose made fitting and fixing holes depending on the arm to be used? 7. The finished assembly then needs to be protected and packed in a sturdy box which will take the weight (13Kg....approx 29lb) 8, This 30lb box then needs to be shipped overseas. The costs of doing all this would be prohibitive IMHO? However.....I have all the design drawings which I am quite happy to Email to anyone who might be interested in having it done at their locality. Just let me know? Have you had a chance to set up the turntable and listen to it in some sort of fashion? |
Hi Lew, I have just returned home.....although your description of the 'stranger on the train' is tempting me to return to Positano forthwith to conduct a house to house search? And yes......whilst there maybe a Sorrento in Victoria just as there is a Naples in Florida.......there ain't no Positano in Australia? |
Time to pick-up this thread again as I have made a notable improvement to my nude TT-101. Damping and draining vibrations is one area that all audiophiles are aware of and many try to address in any number of ways. I have previously worked on the vibration problems of the TT-101 in two ways: I put rubber bands around the sides of the tin-can base (an obvious problem area) as well as putting a support (I tried both a brass cone and squash balls) in the center of the bottom of the can and brass cones as feet to a granite slab base. (See earlier entries). But, I knew that I hadn’t done near enough to optimize this TT. By the way, all of these new improvements will work on turntables that are plinth-mounted as well. For previous turntables I followed the advice of a poster on another site who recommended using copious amounts of clay to fill-in cavities and cover surfaces and I found it worked but I knew that clay was the wrong material for the tin-can base of the TT-101, so I went looking for a different solution. I decided on 3M Sound Deadening Pads: http://multimedia.3m.com/mws/mediawebserver?mwsId=66666UuZjcFSLXTtOXMEMXMtEVuQEcuZgVs6EVs6E666666-- One pad costs $7 and was more than large enough to do the entire TT. They are designed to sound proof cars so are available where car parts are sold – I got mine online. I covered more than 60% of the inside of the tin-can including much of the bottom as well as the sides – necessarily covering a lot of the air-holes. I left enough of the holes open for air circulation (I had monitored the can for heat and after many hours of operation it was still at room temp so I knew it was not a big problem to cover some of the holes). I did leave the top edge of the can uncovered – the area where it mounts to the TT - so that a solid metal-to-metal contact remained and allowed vibrations to drain from the TT. I put a rubber-band back on the outside of that area of the can to damp it. I also covered 90% of the surface area of the cavity below the platter – to me this is just a resonating chamber left there for manufacturing reasons and in need of damping – see photo: http://s1106.photobucket.com/albums/h373/Garya1/Nude%20Turntable%20and%20DIY%20Arm%20Pod/?action=view¤t=TT-101damping003.jpg I also covered the bottom surface of the TT where it used to sit on the plinth – why not. The entire job took me about two hours. The material is very easy to work with and mistakes are easily rectified. I used dinner plates of various sizes as templates and a bowl to hold the TT upside down. A circular mat knife was perfect to cut the material – a scissors did well also. My first spin after putting it all back together was Brahm’s first piano concerto (Rubinstein and Mehta on London) an album that I know well and love. I was floored by the improvement in image solidity and full-volume orchestra clarity. Of course I asked my wife to come in and give me the true story – without my bias. After listening to the Brahms as well as Christopher Parkening (a rather long listening session for her) she gave me congratulations and confirmed a significant improvement overall. So, $7 in material and 2 hours of time, I guarantee you will be floored as I was. What are you waiting for. Gary |
Victor 101 - Could you get rid of the flimsy bottom cover completely and mount the nude deck via an inverted tripod ? It doesn't look particularly rigid from the photos. Potentially could you remove the internal transformer and some of the electronic boards from the main chassis and mount them separately to eliminate as much vibration as possible. Make sure all internal joints are as rigid as possible. If you check out the Cotter and Kaneda versions of the SP10mk3 you can see what is possible in terms of stripping down to the bare essentials. |
Although I would like to have all of the electronics mounted remotely it doesn't seem practical - it sounds to me like many hundreds of dollars and weeks of absence - after I find someone to do it. As far as the rigidity of the base goes it is one piece of pressed steel supporting 7 lbs or so. Not a problem. Gary |
Hi Gary, Very interesting improvements and co-incidentally.......I have been testing and analysing the 'weakness' with the nude Victor as well. As you have discovered.....the thin perforated metal circular surround is, I fear, the Achilles heel to supporting the Victors on spikes? With the Technics SP10 models (as Chris has shown)..... it is possible (and preferable) to fit custom long tube spikes to the underside of the platter surround itself whereas it is exceedingly difficult to do with the Victors? The problem is structure-borne feedback as is mostly the case with turntables? Every supporting shelf is under 'stress' to some degree depending on its material, thickness and load, but most importantly.......on the 'span' and 'type' of span. In my case with the wall-mounted shelf.........the cantilevered nature plus the heavy load and wood core structure sets up a particularly 'nasty' stress pattern. What I have recently discovered is that 'stress' in any material....... creates a subsonic 'sound-field' within that material which is directly related to the 'level' of stress. I previously thought.....wrongly I must admit.....that lower frequencies could not 'bridge' the pointy end of a spike support? It is now known that they can and that spikes in fact 'couple' rather than 'de-couple'. The 'stress-induced' sound waves in my cantilevered shelf are being transferred to the thin metal surround of the Victor which in turn passes them on the platter surround, motor and spindle support which the stylus then 'reads'? This can be verified by placing the stylus on a record without turning on the motor......and then turning up the volume of the preamp until one can induce a loud low-frequency feedback loop through the speakers. You, Gary.....have tackled the problem at the resultant culprit.....the metal surround which can work well. I am going to attempt to tackle the problem at the 'source' by trying to prevent the transfer of this 'sound field' between shelf and turntable by isolation devices. I'll keep you posted......:^) |
Halcro, I see all improvements as cumulative. I agree that the shelf can have a huge effect and must be addressed. And it MAY be a good idea to support the TT at the original support ring. But no matter what else you improve, if you don't damp the tin-can you will still have problems. Even if you decide (heaven's forbid) to go back to a plinth even a wonderful slate and unobtanium plinth, you need to damp that can. I would also damp the chamber under the platter. By the way, no matter how high I set the volume I don't get feedback. $7 and two hours and you will be much happier. Gary |
Dear Aigenga: A coincidence with your latest tweck: years ago I made it the same with my Denon's DP75/DP80, even I did it with both Denon platters ( the down side. ). I used sorbothane and works great I did it too with the MS RX5000 platter with good success too. Now, I posted somewhere ( not in this thread. ) that I used a damping fluid/paint that was used several years ago to damp internally speakers ( it apply as a paint. In my speakers I think I gave it like 2-3 layers of that " paint " and works wonderful. ). Well I used with the Denonn's motoer covers to damp it and works really good too. One " advantage " in the Denons is that that motor cover is not made it of one piece but three different ones and in some way when these parts were atached together trhough screws it damps in some way each to the other vibrations or at least change the frequency resonance and intrude the less on the final performance. The other experience I had and have with this very similar Denon/Victor is that " still points "/metal like footers does not damp almost nothing and at least in my set up the pneumatic AT footers are way better. Regards and enjoy the music, R. |
Raul, I was thinking about a paint solution but decided that I had the space to use this 3M product and that it would be even more effective. I have the pneumatic AT footers under my pre-amp and I used to have them under my TT (I also used squash balls at one point)but decided that I didn't want any rubber creating a flexible suspension so I went with the cones. I don't expect them to damp anything but do hope that they will couple the TT to the granite and drain some vibrations from the TT. The platter on the JVC already has a ring of rubber-like material on it from the factory. I was afraid of putting anything additional on the platter for fear of effecting the balance. Your idea of the motor cover is an excellent one and I will gladly borrow it and dampen the motor cover on my TT as well. Thanks. |
Halcro and Gary: In this thread (here), dgad and dgarretson suggested using springs underneath the platform that supports the tt. The thought was that one could control the frequency at which the platform moves by calculating the load on the spring. Choosing a lower freq outside the audible range will ameliorate your issue, Halcro? I have no idea how to do the calculation but this should be kinderspiel for an architect. I haven't myself tried it, but I did something similar (I believe) when I had my sp10 on spikes resting on a sandbox which was in turn supported by 4 AT 616's (which are just fancy springs?). That set up was a great improvement over what I had before. I was going to buy the springs to test whether they could give me the same results--but for far cheaper than the 616's. McMaster-Carr has a bunch of different springs for different loads and compression rates: here |
Dear Aigenga: Well the blend material I used only sees and apply as a white paint but certainly it is not a paint. I can't remember its industrial name and I don't know if even still in the market, what I know is that works great. I respect your opinion/take on the cones but as is possible to drain some TT vibrations in the same manner transmit vibrations coming from the granite that's a resonant material, yes is heavy but to resonant. Btw, I combined the pneumatic footers with the metal cones as you can read it in my virtual system: +++++ " Both TT's seats over three Audio Technica AT-616 neumatic suspension isolators with inverted Tip Toes ( position ) on top of these AT isolators. Anyway, you have the whole idea. Regards and enjoy the music, R. |
Raul, BINGO on the damping paint. I am yet to encounter anything in the industry that works like the paint. I used it on my MARANTZ 7 STEREO CONSOLE preamp in a painstaking way. First I painted all the resistors and joints in the preamp. Next painted the chasis(three coats)and the tweaked power supply and the glass portion of the after market fuse. When people say blacker backgroung, it is a joke until you have performed this task and listen to the component in question. This preamp is a back-up unit for me but the drop in noise level in unbelievable. I will do it to my TT101 later but will first try the exercise on TT71 when it returns from Applied Fidelity. If you have a unit that you want to keep and have the schematic, go for the gusto. It works wonders on my ML Request speaker. The whole backplate of the speaker including the woofer cabinet was paint(three coats). The speaker is a different beast. Even the accompaning sub(Janis) received the same treatment but this time five coats. The only thing about the sub that vaugely resemble a Janis is the cabinet. |
Dear Audpulse: Good to hear it. Even that in many ways my Denons are near the Victor designs and I could think that performs " similar " I just bought ( ebay. ) a Victor QL-7 TT ( mint condition. ). I did it not because the TT but because the Victor tonearm ( that I want to try it. ) that happens that in this TT model is the Victor high-end 5045 ( similar to the 7045 . ) that Victor marketed as a separate/stand alone tonearm. The last time I saw a 7045 tonearm was over 750.00 and I paid for the Victor TT/5045 400.00!!!! and that TT comes with a " especial " TT71 version that through its specs/numbers even or surpass the TT101 as is with the S/N ratio that in the QL7 is 78db against the 75db in the TT101. Speed deviation figure is the same as the drift characteristic and in theory use the same platter: http://www.thevintageknob.org/jvc-QL-7.html This measures does not surprise me because something similar happened in the Denons where the top DP-80 measures 78db and its " little " brother DP-75 has an spec: 80dbs. I think I was and am lucky to found out this Victor combo at that price in mint condition, the seller told me that he thought the unit is new! Years ago, happened something similar: I was looking for a FR FR-64 and suddenly I saw it on ebay as part of a Luxman PD-310 TT that I was unaware how good was it ( Now I know it is very good BD TT. ), that way I bought the FR tonearm I was looking for where I had a high reward through the Luxman TT. I don't know where but I think I have a little amount of that " magic " blended paint that as you I will use it in the QL7. Regards and enjoy the music, R. |
Gary, I'm sure you're right about damping the 'cage' and I intend to do so if....and after....I have eliminated the 'source' of the feedback? Incidentally....I tried the 'bungee cord' treatment to no effect :-( My thoughts are....that even if I dampen the 'cage' successfully WITHOUT treating the cause.....there is still transference of energy which is manifesting itself in some ways? Banquo, I agree with Gary. I don't want a suspended (bouncy) table. With the Victors supported on the outer cage......it is very easy to induce 'movement' if the supports are not executed correctly? And that 'movement' is magnified enormously because of the lever-arm of the metal cover in relation to its connection with the platter. I've experimented with rubber and insulating materials and whilst the bass may seem to improve.....the highs are badly affected? |
Evidently, I didn't express myself clearly, but let me try again. The springs don't go directly beneath the turntable cage but rather below whatever platform the tt sits on, in my case a sandbox. The weight of the tt + platform results in the spring having a certain frequency at which it moves. My sandbox and tt weighed around 150 lbs and there was certainly no bounciness to the system. I take it no one believes one can turn a non-suspended table to a suspended one by changing the type of platform the tt rests on. Or am I missing something? At any rate, Halcro, you mentioned an issue with low frequencies affecting the tt-101 and I thought this might be worth a shot, since it theoretically at least allows one control over just that. But if one is like Gary and you "don't have any issues that require amelioration" then I'm truly envious :). |
What is the cage made of? I always thought that if I could find one of these tables to play with that it might be a good idea to have a disc cut out of plate, .125" to .250", of the same material that the chosen pod material is to attach to the bottom of the cage. This should fix the flimsy section that the feet are attached too and should help sink any resonance. |
Sorry Banquo, I didn't get what you were suggesting? A Minus K stand is the obvious solution to my concerns and I am investigating that possibility? The problem with that for me however.....is that the increased load of the Minus K plus a top plate of slate that I may need.....will simply increase the stresses in the cantilevered shelf which are the cause of the problems in the first place? |
I have been experimenting with damping this tin-can for some time now and I believe that with my current approach it is no longer the place where I can wring much improvement. From the lack of anyone saying that they might try it I guess no one sees much benefit in my method. Banquo, I am sorry I came across as dismissive and curt, my bad. What I should have said was that it seemed off topic for me as my point was to address damping the TT directly, not the shelf underneath it. And, although my TT sits on a cast iron book-case that weighs hundreds of lbs and is surrounded by a fairly effective air-borne vibration absorbtion structure I am still trying to improve the quashing of environmental vibrations. In that regard your suggestion was certainly germaine and useful Gary |
Hi Halcro: "With the Technics SP10 models (as Chris has shown)..... it is possible (and preferable) to fit custom long tube spikes to the underside of the platter surround itself whereas it is exceedingly difficult to do with the Victors?" I just received my broken victor and I have the spikes that Chris fabricated for the sp10. They are 1in in diameter and they fit perfectly with the victor, right where the screw holes are for mounting it to a plinth. Given that they were a great improvement on the sp10, it might be worth a shot for your victor. No worries, Gary. My suggestion was probably just a solution looking for a problem. If your rack works, then it's probably best to leave well alone. Having said that, the springs are a cheap tweak to try and easily reversible. They do require a good deal of weight to properly load them though. |
Hey Gary, I am most impressed with your methods for damping the 'cage' of the Victor and I did say that I would try this technique if and when....I had solved the problem of the mysterious 'feedback' I can sometimes induce? Unfortunately......in testing Ecir's suggestion for a 'disc' under the Victor....I used the 1.8Kg Micro Seiki Cu180 platter mat as the 'disc'.....and accidentally 'blew' the phono section of my Halcro DM10 with the 'feedback'!!?? So I discovered that this does not solve my particular problem and.......I will not be able to conduct any further experiments....let alone listen to vinyl.....for some time to come?! :-( A curse on your collective heads I say! |
Henry, I left open the side vents and around 40 - 50% of the bottom vents. I have monitored the heat on the TT and it is normal. It never gets that hot in my room (central a/c) so there is enough cooling to handle it. As for your feedback blow-out - I look forward to reading the responses before I venture a wild-ass-guess. Gary |
Hi Banquo, Thanks for your concerns. You're right about there being space to fit Chris' long spikes under the Victor. I feel like an idiot for not seeing that before?! It is now possible for me to design a circular aluminium frame cut and welded out of 10mm thick flats into which I can just 'drop' the Victor. After I get my preamp back with a working phonostage.......that may be my next project. Plenty of scope for rigidity, levelling and isolation in that concept I think? |
Dear Halcro: That " circular aluminum frame " you are talking remember me what I did it with my Denons: instead that " circular aluminum frame where drop the Victor " my frames were from natural marble that was seated on the AT pneumatic footers and the Denons goes freely supported by three tiny tiptoes like ( I tested metal and non-metal materials here. ) that goes under the Denon/Victor circular metal top frame ( where comes the the TT controls/switchs. This is a very tiny/thin surface for the tiptoes can stay in equilibrum but is more easy this set up that what we can think. I still have those beautiful frames and maybe in the near future ( waiting for my Victor. ) I could try it again and see what happen. Btw, those frames work as a giant/heavy/non-resonant( 40kg. ) arm board. Well, something a little different but I remember it works very good too. regards and enjoy the music, R. |
