A Copernican View of the Turntable System

ArmPod Instructions - 1,2,3

This is for those that have been reading this thread, are interested in trying this out, but may need some help with it.
I have put together a short document to help with it. You are welcome to it - just send me an email and I will forward you a copy.
It covers.

1) How tall does the armpod need to be.
2) What shape do you want your Arm Pod to be ?
3) Acquiring materials
4) Tools for Holes
5) Drilling Holes on Metal
6) Assembling the ARMPOD

Thx for the pre-edits and feedback Banquo.

This project rates a 3 / 10 difficulty - about the same as assembling IKEA furniture, will cost you $100 and can get completed in a weekend. You can even get someone else to do the drilling of holes for you. I bet you will be so happy with it (sonically) that you may not even want a more expensive one unless you need some eye candy.

I was going to put some bullets into a post here but quickly realized that wasn't going to cut it.

Cheers Chris

I tend to disagree regarding the space between the musicians on stage. My estimation is that with every added gain stage, the apparent body of every individual instrument, becomes bigger. I confirm that the perception of ambience becomes more impressive also and the music surrounds the listener.
But these bodies starting to touch each other closing the empty space between them. This fact alone is enough to put me in doubt about the validation of my (monoblock, batt. PSU, single stage, DHT, with Hytron OOA) active line stage and so, I've disconnected it permanently in favour of a buffered pot. These days I'm in search for a high output cartridge, in order to investigate if this apply also to the phonostage and is worth to retire my (dual-mono, batt. PSU, current mode, with Tele CCa) active pre-pre.
Some speakers don't like this approach, sounding dry & empty, as like they loosing harmonics. But at the same time, the depth, illumination, clarity and especially the definition of every instrument & every single note, becomes unveiled & exposed and maybe not so appealing in their nudity. In my search for an antidote, I've found the VDH "The Mountain" interconnect between pre/power (RIAA/power in my case) that recovers the presence by attaching importance to the substance of each note.
Regarding the armboard, I'm taking Lew's side & just watching your findings for the moment. I believe that we are not capable of integrate it to the bearing's chassis due to our limited knowlege about interactive materials & mechanics & thats the reason we accept the isolation as the only way (but is not the right one).

Dear Geoch - regarding your comment on the armboard. This thread has really nothing to do with our knowledge on this or that - the thread is about people in this hobby trying something and letting their ears decide if it sounds good to them.

To them it has provided priceless passion and satisfaction.

Do you not trust your ears ? For amount of effort and time this takes to setup your response is well "just watching your findings " ?

All high end manufacturers use this concept.

Dear Ct0517,
Of course it sounds great, the best we've heard till now, e.t.c. But still, it is just a way of giving a fight with what we have, and the results are quick and the success is great... And we are in danger to follow the wrong direction because of this.
Please let me apologise. It was not my intention to provoke or showing disrespect. I admire no less than you the experimentation.

Geoch,

I see your reservations and hope you ultimately resolve them to your satisfaction. However, in line with Ct0517's comment, I would stress that your ssuggestion that "our limited knowlege about interactive materials & mechanics & thats the reason we accept the isolation as 'the only way' (but is not the right one)" is off the mark.

No one is suggesting that this is the "only" way. Those of us who have tried it do, however, suggest that it is "THE BEST WAY WE HAVE EVER TRIED AND/OR HEARD."