What is turntable “liveliness”.

@ghdprentice If you are able to detect a reduction in smearing, which I usually refer to as being able to detect Micro Detail, Micro Dynamics and a Envelope of a Note or Vocal. This is a valuable place to be when wanting to know how resolving the Vinyl Source is.

This detail production is extremely valuable and when perceived as being present, is a justification for the monies outlaid on various upgrades over time, or the extensive investigations and trials undertaken to create the perception.

During the development of a TA, I was party to, there was always a earlier guise at hand to compare the progressive works with. It was quite amazing at times, how a older guise, that had already seriously impressed and been instrumental in creating a change to ones own equipment in use, could be perceived as being quite wanting, as it was noticeably smearing details and the envelope, when compared to the latest design under trial. 

Note: The experience of producing impressive resolution is commonly found by working out the best mechanical interfaces and when something new and quite attractive is found, for most much of the investigation for betterment stops.

The Signal Path is a fragile necessity, and when the mechanical interfaces are close to optimisation, the Signal Path will be the failing for the realizing the full potential of what is already achieved for the resolving qualities of the source.

I have encouraged other to and have myself  worked with the Signal Path, from Wand Wire, through to Pre-Amp' and can assure anybody, that as a simple effort, exchanging the RCA Connection to Low Eddy Types on both Cables and Amp' Chassis, will allow much more to be perceived as a imagery, in relation the sonic produced, a veil 'will' be lifted, if the mechanical interface on the source is optimised, a treatment of the Signal Path will produce a Night and Day difference and the discovery will not be wanted to be changed.

Extend this experience to trialling different Wire Types and the personalisation to attain a sonic that really meets ones unique preferences begins.

My suggestion for a Wire Type and being a vociferous advocate for these wire types are well known within this forum.  

So assuming a turntable has low noise and decent speed control, how can it sound any different than another with similarly low noise and speed control?  Using the same tonearms and carts of course.

That is for you to find out after you have compared a variety of TTs in your home system.  Speaking for myself, if you don't already "believe", it would be a waste of time to convince you, but I do think that your own experience will eventually teach you.  The trick is that you need to compare two like turntables (drive system, speed constancy, etc), perhaps two identical turntables, mounted differently from each other, in order to get the point.  So, a Linn LP12 is not a good starting point, because it is quirky in so many possible ways other than what we want to focus on.

FWIW, to appreciate most of the nuances of a TT system one must develop some serious listening skills, especially if you are dealing with high quality TT's and arms. Cartridges and phono stages are quite a bit easier to differentiate. IME audiophiles with those skills are few and far between, many are just plug and play types buying endless tweeks endorsed by merchants or reviewers! Or so it seems. :-)

@ossicle2brain 

Thanks for your comments. To answer your question, I think you need to spend time with some quality turntables maybe at a couple levels. The difference is like day and night, once you have heard the profound difference in sound, you will turn the question around and start examine the design elements that create these differences.