SP10 Mk II vs Mk III

Well it’s denser then wood but not as dense as slate. ART made a footer type thing with it that had a brass insert, I still have a couple floating around. I would say make it thick enough that the overall weight of the plinth is significant or do what ART did and add brass to it. My concern would be that IIRC the graphite is somewhat brittle and may be chipped easily.

I just got my SP10 today and will be putting it in a slate plinth at some point in the near future..:-)

Cpk, If you beat me to it, let us know how it sounds in slate. My slab is sitting on the floor in my living room, but a little thing like needing to write a chapter for a medical text is keeping me away from installing the SP10 into it.

Lewm, if your slab is cut then you will most likely beat me to the punch. I still have to get mine cut...

I have a Monaco Grand Prix Turntable, with a Graham Phantom, I have a Technics SP10MkII in an Oswalds Mill Audio slate plinth (by far the best plinth material for any DD or idler drive). Both tables with the same arm and cartridge display almost identical sonic characteristics. Black background, amazing speed control, fine detail retrival, strong bass. What they both do not do is speed and dynamics like an idler. My Stainless steel Garrard Inspiration, again in an Oswalds Mill Audio slate plinth eclipses both the superb DD's, by a margin. In terms of musicality, speeed, dynamics, soundstage, and bass, I have only heard Mr Fremers Continuum, compete. Mine has a touch more groove noise in between tracks, I think? I now use the Garrard 501 on a wall shelf with Symposium rollerblocs in between. My arm of choice now after trying almost all the major contenders, is the RS Labs A1!

I've listened to the MkII for close to 30 years now- one of my best friends bought his new. It is very nice, but at least in the case of his machine there is one flaw that both of us have noticed- the plinth does not include the mount for the arm, which is on a separate surface.

It happens to be a fact of good 'table engineering that the platter bearing and the base of the tone arm must be as rigidly coupled together as possible. The better the coupling (and overall deadness) in this area, the better, and its the sort of thing that you hear immediately.

IMO/IME, a plinth that was designed for the MkII with this in mind would yield huge results, assuming that it was in fact rigid enough and dead enough.