My friend decided to make a custom armboard for his Obsidian Plinth. The reason is that the original armboard position is still too high for Victor UA-7045 tonearm to make the arwand parallel to the record surface. I don't know why Technics made it like that (it's very bad). The Drive is lowered down in the Obsidian Plinth and tonearm must be lowered down too, but it's not. For example the Victor US-7045 must be lowered down in the armboard for 7-12mm. Victor has VTA on the fly, but even at the lowest position it is not low enough. Here is the Victor UA-7045 on temporary armboard that will be replaced with a custom made armboard soon.
SP10mk2: OMA Graphite plinth vs.Dobbins plinth
According to the price lists they are in one category, but anyone could comment on quality/performance? At the moment i use big Teak Wood plinth (just $750) custom made in Taiwan for my SP10mk2. Looking for upgrade in the future. I use my sp10mk2 with Reed "12 tonearm now. Doest the plinth actually makes a big difference in sound? My stand is well damped with glass, metal and sarbothane in between.
1) Oswald Mill Audio graphite slate plinth (single layer) $2750, double layer looks fantastic but cost $3500
2) Steve Dobbins famous custom plinth cost $2650 including three Stillpoints feet and automotive show quality paint in black or white. Design has changed many times, still hard to find any current plinth picture online.
I know there are Albert Porter's and Artisan Fidelity quality plinth available, but i don't like the design (i mean just how it looks) for SP10.
1) Oswald Mill Audio graphite slate plinth (single layer) $2750, double layer looks fantastic but cost $3500
2) Steve Dobbins famous custom plinth cost $2650 including three Stillpoints feet and automotive show quality paint in black or white. Design has changed many times, still hard to find any current plinth picture online.
I know there are Albert Porter's and Artisan Fidelity quality plinth available, but i don't like the design (i mean just how it looks) for SP10.
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@chakster Wow your CU 180 is really like new, the asking price has been adjusted!!! My instead was so opaque and full of stains before but after so much cleaning I brought it back as if it were new. after SH10B3 base and tonearm panels have been developed originally to create the correct synergy with EPA 100 arm and SP 10 II; if you want to apply other arms you will need to work on the height of the tonearm panel to adapt everything. |
I would keep in mind that the "CU" mats made by M-S are expensive not merely because of their association with M-S but also because they are made of copper, which is very expensive these days. I recently had a copper platter sheet made for my Kenwood L07D by a very good machinist who is very reasonable in his charges; it ended up costing $700, more than $200 of which was the cost of the copper sheet that he started with. Well worth the expense; it replaces the stainless steel platter sheet that is standard on the L07D and seems to do a much better job of blocking EMI, even though SS is supposed to be a pretty good shielding material. I too also use an SAEC SS300, which I bought from Raul years ago. It's on my TT101 at the moment. I am not sure what it is made of and would be curious to know, but it's not pure copper. |
chakster, do you, or others here, have any experience with the AT-666 mat? It was designed to add vacuum hold down but I recall reading of some using it just as a replacement mat. Raul in fact recommended it with the Technics SP series as a mat only. It weighs 1.4 kg. Also may be easier to find than the CU mats and for much less money. With some of these heavier mats I'd be concerned not only with start-up torque but possible excessive bearing wear. |
- 119 posts total