A Copernican View of the Turntable System

Dear Thuchan, I agree with you. There is absolutely no objection from my side against personal taste or preferences.
I have mine too ...;-) ...
That is as long as they stay what they are - personal tastes and preferences.
But if "leaders" or "gurus" do take (and sometimes postulate) their personal preferences as "facts" or "proof", then this is a different story.
None of us is or even can be objective - far from that.
Our tastes and consequently our way to listen to music is highly individual and thus subjective a priori et ad decretum.
A simple reason why I prefer abstract, scientific, non-individual ( colored ...) ways to encircle electrical and mechanical aspects in audio components.
It's kind of "Kritik der Vernunft". No worries, I won't go for another excursus in philosophy.
Science and abstraction is always in conflict with "wishful thinking", "personal experience" and "faith". Even I sometimes wished it weren't.
Not only in audio.
Cheers,
D.

Oh Lewm - you diagree I assume. I will ask Dertonarm if he can send you a Vector, maybe one for Raul too. It helps a lot...I did not find out yet how many are necessary :-)

I aquired a very nice Technics MK II and I am considering building a plinth around it. Does anybody know which one might be suitable for two arms (9" and 12") and has tested against other approaches?

... into the West.

Do I hear Annie Lenox warming up ?

Rauliruegas, in your prior post I am afraid that you lost me. I can't really make out what it is that you are trying to say.

Dear Thuchan, Not sure I understand just what it is that I might disagree about. I don't feel very contrary about anything except maybe outboard tonearms.

As far as mounting two (or more) arms, it's just a matter of allocating enough space surrounding the actual chassis on the surface of the (slate, in this case) plinth. I designed mine with a lot of flat surface area and no traditional "hole" over which to place a tonearm mounting board, so I am restricted to using surface mount tonearms. (Tonearms that do not have a vertical shaft that needs to reside below the level of an armboard, e.g., Triplanar, Reed, Grandezza[?], Dynavector DV505, RS Labs RS-A1.) So the tonearms are mated firmly to the entire mass of the slate with bolts that go all the way thru the thickness of the slate, which I think is a very good thing for sound quality. If I were to start over, and I may in fact do so, I would re-design my slate plinths along the lines of Steve Dobbins' plinths and also the Saskia. If you look at those, the discrete tonearm board is held firmly to the main plinth by a single large bolt, so it is well anchored but can rotate in space outside the confines of the plinth surface entirely and therefore has a wide range of adjustment to accommodate various sizes and lengths of tonearm. The Dobbins plinth for his new direct-drive turntable, The Beat, is very well thought out for two tonearms. Beautiful and beautiful sounding, in fact. (Heard it at RMAF.)