A Copernican View of the Turntable System

Dear Halcro, Very sorry to hear about your insomia but hope
that those painkillers are effective. Now Lew mentioned somewhere that he gets his best ideas just before going to
sleep. If we can put your both in bed together some huge
Heureka may come out as a result. I of course mean pure intellectual cooperation.
The possibility to get an heavy armpod for $40 looks even more promissing than the start of the MM thread. Is there
any chance that such an arm pod can be made from granite?
The kind from Lithuania is , as I already mentioned, unbelievable beautiful.

Regards,

Dear Lew, I am not familiar with USA price(s) for the Reed but in Germany (www.audio-markt.de) the Reed 2A is 2440 Euro ( basic version) while, for example, Raven 10.5 cost 4000 Euro. Not a bargain but still a 'decente price'.
For those with, uh, the 'French connection' even cheaper.
As far as I know there is no importeur in France (yet).

Regards,

in-shore, halcro is correct in the 3 points he makes. my mandate when i designed the pod was to have as much adjust-ability on-the-fly as possible. i can adjust azimuth and sra on-the-fly. i also wanted to standardise on armboards, as i have a micro seiki table as well with a number of armboards and arms.
i have done all of that with my pod.
as mentioned in an earlier post, the only concern that i have is my extended cantilevered armboard for the davincci. i will be making a new board, shorter and thicker at the post end for more contact area and less overall flex.
i have another pod, similar to the the one pictured, almost completed. it will not have the adjustable sra, but thr rest is the same. it's for my second table. i'm looking forward to installing my moerch up4 on it.
i'll post pics when it's done.
don

One nice thing about the cantilevered armboard is that one can fine tune the spindle to pivot distance without having to shove around the huge main weight of the whole pod. I think this is a tremendous advantage in obtaining mm accuracy. And I don't know why there would be any danger of tipping or even tippiness; the weight of the main body of the pod would easily be many multiples of that of the cantilevered armboard cum tonearm. Another advantage is that one need not accommodate the vertical shaft of the tonearm in the main body of the pod itself (as Henry has cleverly and probably expensively done); it can hang there in space next to the pod, so you can easily fiddle with tonearm ICs, etc. And finally, such a set-up would be very cheap to make and require the minimum of machine skills, IMO. All you need is a brass cylinder, perhaps threaded at the bottom for "feet", a threaded hole in the top dead center of the cylinder to affix the cantilevered armboard(s), and probably an alu or brass or bronze or wood or whatever armboard with a hole at one end for bolting to the cylinder plus a hole at the other end sized to fit the tonearm in question. I really am enthused now; I would make that brass cylinder as large and heavy as possible. Note also, thou plinth-less ones, the size and mass of the bass on that Da Vinci and how the base of the tt is an exact match to the bases of their armpods, so as to provide similar levels of isolation/coupling to the shelf. This is the way it should be done, even if the Da Vinci is "showy".

Halcro,

Pictures, I can do one better and send you a sample of my work to try in your own system if you like. I am familiar with your tables and some of your tone arms.

Briefly, my pod design is from the top down where most of my time was involved, mass loading is the second stage of the pod.
Henry I understand and appreciate the effects of solidity and stability has, however in my view regarding tone arms its not always a good thing to direct couple that arm to metal plates and hunks of metal.

Don I extend the same offer if you are interested.

Sorry for being vague I can explin in more detail with a p.m.I have to cut this short, road trip.

Regards Mark