Plinths? Much of this discussion has me wondering.
Plinths are constructed in so many different ways that I believe it is impossible to generalize about their sonic contribution. Many earlier designs were a simple box (open inside). More recently most seem to be made with solid materials. And the variety of materials is almost endless -- particle board, MDF, ply, Birch ply, solid hardwoods, glued strips of hardwood (like cutting boards), Corian, Obsidian, slate, marble, granite, composite (like some Kenwoods), glass, acrylic, aluminum, stainless steel, lead, etc. Then there are composites or combinations of these materials, as with constrained layer damping. Setting aside dimensions, each material has its own resonant frequency. So how can the "sound" of plinths be lumped into a single category?
Even a "plinth-less" table must have some means of support for the motor, bearing, spindle, platter, and arm (be it separate or attached). And those support materials also have their own resonant frequencies.
So what I really wonder about is if those who now find favor with plinth-less designs have simply eliminated the sound of unmusical resonances in whatever plinth material they experienced with a plinthed table? If so, does that mean ALL plinth designs are inferior? Or simply that the plinth they did hear was not the best material choice? And further, would a better material choice result in favoring that over their plinth-less example?
I certainly respect comments by Raul, Halcro, etc. but I also respect those of Albert Porter, mikel, J. Weiss, etc. I remain confused! ;^(
Plinths are constructed in so many different ways that I believe it is impossible to generalize about their sonic contribution. Many earlier designs were a simple box (open inside). More recently most seem to be made with solid materials. And the variety of materials is almost endless -- particle board, MDF, ply, Birch ply, solid hardwoods, glued strips of hardwood (like cutting boards), Corian, Obsidian, slate, marble, granite, composite (like some Kenwoods), glass, acrylic, aluminum, stainless steel, lead, etc. Then there are composites or combinations of these materials, as with constrained layer damping. Setting aside dimensions, each material has its own resonant frequency. So how can the "sound" of plinths be lumped into a single category?
Even a "plinth-less" table must have some means of support for the motor, bearing, spindle, platter, and arm (be it separate or attached). And those support materials also have their own resonant frequencies.
So what I really wonder about is if those who now find favor with plinth-less designs have simply eliminated the sound of unmusical resonances in whatever plinth material they experienced with a plinthed table? If so, does that mean ALL plinth designs are inferior? Or simply that the plinth they did hear was not the best material choice? And further, would a better material choice result in favoring that over their plinth-less example?
I certainly respect comments by Raul, Halcro, etc. but I also respect those of Albert Porter, mikel, J. Weiss, etc. I remain confused! ;^(
