Support table or shelf for turntable

Managing resonances is probably 90% of turntable design (speed issues the other 10). I couldn't get my Linn LP12 to stay in perfect tune so I abandoned vinyl as a result. I did learn quite a bit about setting it up but in the end gave up on the wall option, and it was my only option at the time.

In hindsight it probably did sound very good, but occasionally it could sound great.

To this day I believe that a well designed suspension is the way to go for sonic freedom. Thanks, Ed Villchur! Unfortunately I was able to find a Pink Triangle or Alphason Sonata etc

I remain sceptical about non suspended decks but I haven't heard the latest Regas. Its just that life moves on, and I don't have the time or energy to constantly have to adjust my setup. Besides, my wife thinks I'm strange enough already! How I envy those of you who have audio loving partners!

cd318,

My current view is a TT’s support system that can handle all of the earth’s forces and then, the room demands, the natural opposing forces within the room, the acoustic feedback is more important than the TT design. Frankly, how the room acoustics tame certain, mainly, low frequencies are of invaluable support to a TTs performance.

For if all of the above is addressed, most any TT will work well. There maybe a few acceptions.

To the OP, brick mortor, I assume is the same for cinder blocks...have contents that allow for ’movement’....IE: it is formulated to be somewhat flexible. Then I ask myself why? You could say to yourself, this is pretty 'extreme'? Just remember, TT's are very 'extremely' sensitive reproducers.

Happy Listening.

Even if you don't have fault lines under you, even if you live on Australia, one of the most geologically dead places on the Earth, there are still seismic movements as the crust rides atop the mantel, as large trucks rumble down highways, as industry does its thing. The Earth is a noisy orb.

And Slaw, I just went back and re-read all your attacks on me after my last post. Man, you're a handful, aren't you? 
You're basically telling me that if I'm not listening to my system at every opportunity, if I'm not trying everything I suggest, then I shouldn't contribute..
You are rather aggressive with me, no? 

What exactly did I suggest that was incorrect? Am I leading people astray?
Doubtful.

You seem to have a chip on your shoulder that I didn't thank you endlessly in the first thread we interacted on. If I have slighted you in some real way, please let me know and I'd be happy to apologize. I'm not a big fan of animosity.

I believe that isolation from the environment is important in audio, (as it is in engineering / photography / quantum physics etc). 

With turntables you can also get all kinds of internal resonances generated by the deck itself.  We/the manufacturer can try to damp down resonant peaks generated mostly by the bearing, motor and the stylus / vinyl interface. This is why springs (damped/undamped) are often preferred to sorbothane in decks where isolation seems critical in high performance. Springs can isolate further (< 10 HZ ) than sorbothane. As can air bladder systems.

With loudspeakers we can often get massive internal pressures in the box itself (big smile from the open baffle fans). These pressures do nothing to help the cone do its job. No matter how much we tighten everything down, or increase the panel thickness we seem to merely add to the problem by shuffling the resonances around. Usually into the critical midband where these resonances can be most annoying. This noise often gets worse and worse at high volumes where its is almost as loud as the music. 

Its encouraging to see more and more manufacturers starting to tackle these issues, and not just the high end stuff. Even a no nonsense company like ATC acknowledged these issues by changing the shape of their cabinets.