There are other suggestions being proposed for different mounting methods.
The Shelf is very useful, learning the options to securely fasten it to the mounting position is a Top Priority (mine is anchored using fastenings with a 250Kg Loading Capacity). Adding weight to a Shelf is a concern, but if all is prepared for properly the support structure will show a improved sonic with immediate effect.
I have used a Shelf for the TT, the Shelve has had Tiers added and had an alternative configuration where a Sub Plinth was Suspended from the shelf.
The shelve is no longer used for Vinyl as a Source, and is now used for another Source.
A Shelve has not enabled my TT, in my listening environment to perform as well as it does on a structure produced from multiple tiers and a variety of materials.
When assessing a impact on the sonic, there are perceptions that are noticeable and subtle.
Usually when working with a Vinyl Source, the Bass is the most immediate to show a difference.
A Bass can have a looseness and presence to the point, the Mid's and Highs are being suppressed.
Working with a Structure can increase the perception of a Loose Bass, or Tighten the Bass, producing a cleaner edge and speedier decay.
Tidying up the Bass to have a Cleaner Edge and easier to define the speed of the decay, will also start to produce a coherence across the frequencies, where the Mid's and Highs are noticeably projected.
It is the toying with the improved coherence of the frequencies and projection, that allows for a tuning of the Soundstage, Width, Height and Depth are able to seemingly increased in dimension.
When the above is discovered footer changes can have a substantial or subtle impact on how this coherence is being perceived.
The next stage is more difficult as a compromise is usually required, a Trade Off is the only option, once the most attractive sonic to the users unique preferences is being discovered.
When the Structure is capable of resolving the perceptions that are being referred to above, analysis of the sound being produced, will also show Detail and Dynamics are present, and if the structure is produced to a type, that has a very effective interface into the listening environment, the Envelope of the Notes/Vocal will also be perceived.
Deciding on what is to be lost for the gain of another, is each to their own, 'What's your Poison'.
When done to a particular standard, there is no returning to 'what was'.
When done to a particular standard, there is usually bewilderment wondering what would it take to better this, how much monies will be needed to have a assembly of devices that will improve on this.
My experience is that when a Structure has been able to show the above sonic is present, it is at this stage with Vinyl as the Source, that substantially benefits the Tonearm that is in use. It might also be discovered through trials of other TA options, that the in use TA, is proving to be the weakest link in the Trilogy of Devices dependent on the supporting structure.
I ended up Swapping out a SME IV and AudioMods Series Five for being noticeably the Weaker, in comparison to the New Option discovered as a Performer.
