Albert Porters after market panzerholz plinths

Perhaps trounced was too harsh a word, but in fact the Technics won out. The judgement and final conclusion were made after many weeks of care listening, discussion, and evaluation by a diverse group of individuals, not a weak one in the bunch who is prone to be swayed by group opinion. Many different kinds of records and music were auditioned, audiophile quality or not, from old blues recordings from the early fifties to the latest release of high quality recordings of Baroque and classical music. No opinions were formed on the basis of listening a single favorite track from the latest Janis Ian release. No one in our group "works the room" to extract an opinion from someone else that is in agreement with their own. Certainly Albert, above all, seeks comment and opinion from his friends to help clarify what exactly is happening with his system.

The original poster wanted to know what opinion people had of the Porter Panzerholz plinth and that is what he got from me.

John

The Panzerholz plinths sold by Albert are designed strictly to damp vibration from the cogging action of the powerful DC mother which by necessity is in communion with the platter and the rest of the chassis. In no way is there a claim that it will isolate the cartridge from vibration external to the turntable. The designer has no control over external forces and the plinth is designed to give the user a compact and self contained (as well as aesthetically pleasing) solution to the problem of noise intrinsic to the motor itself without him having to resort to the aggravating hair-shirt method of placing the armboard in a physically detached position from the rest of the turntable.

John

Dear Slipknot1: Pathetic was for Jlsemrad that bring to the thread an audio item that has nothing " to see " with the TT subject, I wonder what he want it to explain ( I don't care at all any more. ).

+++++ " Rule number one " +++++

btw, maybe those rules were " writed " by the AHEE and I don't always follow its rules. Even I don't always follow what I learned into the AHEE, remember?: " thinking out of the basket " .

If I need it or ask for I always like to share my experiences with out hide anything even if goes against me or against my audio item designs.
I can't be in other way or change that attitude.

Example, if you ask me something: what do you prefer? that I give a nice answer only for you be " happy " or you want to hear what I have to say about?

Do you know something?: time ago my audio friends call me to meet me at their homes along other persons to heard his system and give my opinion along the other people opinion. Through the time these same audio guys now call me for the similar " job " but along no one: just me ( private. ). You know why?, exactly that's why.

Regards and enjoy the music,
Raul.

Jlsemrad, Interesting idea. Perhaps the reason that Raul likes the outboard tonearm pod with his plinth-minimal SP10 is related to isolating the tonearm from undamped resonances created by the motor. Still, I think the tonearm and bearing need optimally to reside in a closed system with each other.

I owned the Walker Proscenium with Black Diamond arm, the upgrade air suspension (yes Walker were available without), Prologue platform, latest version silver tonearm wire, two tonearm termination blocks both (RCA and XLR), the latest pump and of course, the Walker Ultimate motor controller.

The Walker was plugged into a dedicated 20 amp circuit separate from my digital. Porter Port plug (of course :^) and a very expensive top line power cable.

This rig was (and still is) one of the finest turntables ever made, I owned it for many, many years and the last upgrades were done here at my home by Lloyd Walker himself with help from Fred. It just does not get any better than that.

At the time of the test my electronics were Aestheitx Io and Callisto with every possible upgrade (including some that were not yet released to the public). World class equipment regardless of what Raul or anyone thinks of it.

The Walker was tested with three phono cables, two were RCA termination and one was XLR.

This test occurred over many, many months with dozens of participants. Raul was here for only a few hours so he has no idea what all went on. All together there were 15 or 20 from my own group, two reviewers, three audio manufacturers and various visitors invited from Audiogon.

The Walker was played as a system since the arm cannot be removed and we tried three phono cartridges and multiple tonearm cables in an attempt to hear every possible variable.

There was no agenda other than continual search to learn and work to improve my reference system. It's always been that way and will continue.