New Maplenoll Ariadne owner needing advice

Crem1, are you sure your broken hose barb is metric? A 1/8" pipe thread is very very close to 10mm X 1.0, and all the fittings on my Athena are 1/8 pipe. This is taper thread, so it gets tight after a couple of turns, but keep going, gently.
cxprestige--longtime athena owner and inveterate tinkerer...

charlie
i will look at the barb tonite and see of i can find a source. Some of my instrumentation guru's at work might have a source.Surprised at mcmaster-carr response. Always had good success with them

I know nothing about this table, but do know about mortite. When fresh it's one product, but quickly dries out and is entirely different in a few months. It is not a stable product.

Olimanmojo: Thanks for any help you and the guru's can provide.

Stringeen : You are spot-on about mortite. It is for that reason and others I applied Roma professional modeling clay #2 that never drys out the way mortite does. I happen to have had two , 2 lb. bricks about 10-15 years old that were as "fresh" when opened as when I bought them. Thanks for your concern.

One nagging concern of mine as I hear of your progress is about all your attention to damping. I'm not here to tell you what's right. I don't think there is such a thing, but I would bear in mind that there seems to be an inverse relationship of damping of resonance to evacuation of same through rigid undamped coupling, two examples of this being Rega and Mapleshade. The profuse use of lead on the 'Noll reflects the choice of relatively rigid damping as opposed to sorbothane or even paint. I'm guessing that the application of clay will have effects that are perceived as positive, but possibly at the expense of clarity and dynamics. After you've gotten used to the sound of your "new" 'Noll, you may want to try removing the clay and see what you hear. In the mean time I wouldn't assume that more is better in every application. My intuitive sense is to prioritize evacuation first and then damping/isolation down stream such as in isolating the platform that the table sits on from the stand that it in turn sits on. It's a subtler example of focusing on rigidity within a table/arm and having the whole thing then suspended.