Screw-down reflex clamps vs. record weights

I like my clever clamp from Clearaudio. Goes on and off quickly and holds the record firmly in place on an acrylic platter. I plan on trying the same clamp if I get a Traveler.

Thanks for all the contributions so far.
I have to specific points which may help to concentrate the discussion.
When you replace a screw-down reflex clamp with a record weight, you are giving up a clamping system that specifically seeks to take advantage of the two obvious ‘evacuation routes’ for vinyl resonances, through the platter surface and through the spindle/main bearing.
Record weights do little to bond the record to the platter, so they presumably are not in the business of optimising resonance-damping through this interface. On the other hand, the platter is still there and the record is still in contact with it to some degree. So it is in contact with whatever mat you have on the platter or whatever surface the manufacturer chose to give it - Isodamp in the case of an SME platter. Does the nature of this material make any difference to the functioning of a record weight like the Kuzma Ebony? I don’t know what material is on the top of the Kuzma XL platter, but presumably this must be compatible.
What about the spindle/main bearing evacuation route? All clamps and weights have some contact with the spindle, and thus potentially could make use of this to evacuate resonances. Is the Kuzma Ebony - or any other record weight, exotic wood or otherwise - designed to optimise this channel or is it instead designed to minimise contact there, so as to favour absorption of resonances by the weight itself?
Grateful for any reflections on these points.
Thanks,
Peter

I have two clamps: a Clearaudio Twister and an Orsonic DS-200G. I also have two weights: a Clearaudio Statement and an Oyaide STB-MS. On both of my turntables the weights sound obviously better. The clamps create a "gleam" accentuating the upper midrange. The weights are much costlier but much better. I would that it were otherwise: I'd pocket some cash. Empiricism is your friend in this hobby. Try a few for yourself.

Hmm. After posting the above, I decided to take a dose of my own empirical medicine and do another sound-check of my weights and clamps. I hadn't compared them since I added a Minus-K under my rebuilt Lenco, so the landscape might have change, I thought. Indeed. My Oyaide is weight-adjustable from 200g to 440g. My Orsonic clamp weighs 200g. So I reduced the Oyaide to its lowest weight in order to eliminate the sonic differences from mass alone, and focus the differences in mechanisms--spring-loaded spindle clamp v. gravity weight. Of course, the difference in materials remained. Guess what. The Orsonic clamp sounds more open and natural than the Oyaide weight. When I add more weight to the Oyaide, the bass-weight increases and the image becomes somewhat denser, but the presentation becomes less open. Syntax might be on to something. I'll have to investigate further. Just thought I'd pass it along.

The XL mat is some kind of rubberized textile that is bonded to the top of
the platter. As far as what's best, screw-down clamp or weight, I don't
know- certainly, as I indicated above, Kuzma himself doesn't insist on a
screw down clamp for his own product (although sells the ebony weight as
an alternative).
FWIW, the Stillpoints has these little moveable plates on the bottom , facing
the record label, with some sort of resonance absorbing properties, which
are its raison d'etre.
There is a definite sonic difference between the Stillpoints and the factory
clamp- if I had to choose straight up, without adjusting the system as
described in an earlier post, I would probably choose the factory screw
down clamp. If I compensate for the sonic differences as I have by
changing the x-over and woofer gain, as well as overall system gain, and
note the exact settings for repeatability, that would probably be a fairer
'test.'