Can an old Thorens Table be "Over Dampend" to the point where sound is adversely effected?

Dear @atmasphere : """  not using damping materials on the arm in such a way that the performance is compromised. For the most part, common sense. """

it's clear that we can't overdamp a TT plinth, as you said maybe only change its frequency resonance.

The key word in all this critical main analog audio damping subject is: " compromised ".

If the damping impede the " free " horizontal/vertical tonearm motion or increment its friction movements then we are in serious trouble but if damping in a tonearm does not contribute against its task then we can't overdamp it.

Same for a cartridge, we can't overdamp as a fact we need and want an innert cartridge other than the stylus/cantilever precise movements ridding the LP grooves.

The arm board mated to the tonearm is of vital importance and here what we need is " serious " coupling in between.

A TT platter can't be overdamped neither, what we can have here is a bad damping but can't overdamp it. We need here an innert TT platter with out compromising its function.

All these damping theories and facts move on according to quality performance at each single link in the audio system chain and what the owner is accustom to or according his music/sound priorities and knowledge levels.

For many of us maybe to much damping could means words as: dull, reduced stage, lower transparency and the like but for other of us this is what we are looking fr because could be nearer to the live event in a near field listen  scenario.

Regards and enjoy the music,
R.

Sure

Springsteen, love it when someone gets right to the point, thanks.

This is one of those discussions where only a few of the participants are in learning mode, and the rest of us find an opportunity to trot out our own pet beliefs.  Such is the nature of this hobby, and it's fine.  So, here's my opinion: You can divide turntables into two types, those that were designed to be acoustically inert in the first place and those that were designed to flex in some sort of controlled mode that theoretically would contribute to the "sound" of the whole system, in a positive way (Linn, for example) or would improve isolation from the environment.  The latter group includes all suspended turntables. And all of the latter group would be sensitive to aftermarket modifications of either the suspension or the suspended parts of the table.  Obviously, if you add damping to the sprung chassis, you increase its mass, and this has a secondary effect on the suspension, because it's "seeing" a bigger load.  Conversely, if you impede the action of a spring suspension, that too will have an audible effect.  All of the foregoing can get to be very complex, if one were able to see it as an engineering problem.  This is why I have grown to prefer unsuspended turntables designed from the outset to be acoustically as dead as possible, which usually means high mass.  Like Atma says, this would include the system from tonearm to armboard to plinth.  Halcro did some great things with massive external "pods" for mounting the tonearm, and that seems to work fine, too.  For turntables in this category, we don't need no stinkin' damping, at least no additional damping beyond what is inherent in the structure.

The funny thing is that even a solid lead plinth can steal the life out.