A Copernican View of the Turntable System

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

Concrete armpod indeed!
Why not Audpulse?

Here’s the design:-
A sand and cement mix (3:1 or 4:1 is fine) is available in any hardware store in small plastic bags.
Now for the mould…..select any hollow metal tube section from 100mm diam. (4”) to 150mm diam. (6”) cut to the height required at the seller’s yard.
This metal tube will become the ‘finished’ external surface of the Pod (permanent formwork) so select the material and finish you wish to achieve.
Stainless steel may be linished or polished, copper or brass can have a clear sealer applied, aluminium can be anodised natural or black or can also be powder-coated any colour or painted in an automotive workshop with 2 pack polyurethane to any colour.
A PVC tube from plumbing suppliers is really cheap, but as the concrete cures, it emits quite a lot of heat and the danger becomes one of ‘buckling’ the softening plastic mould?
That’s why ‘wall thickness’ of the hollow tube should be reasonable. Not less than 1mm I should think?

Place the tube on a flat surface lined with heavy weight plastic building sheet (we don’t want the bottom face concrete to stick) and add water to a quantity of the sand and cement mix.
We do not want the mixture to be wet and runny as the higher the water content, the greater the shrinkage and we don’t want the concrete separating from the metal mould?
A nice, dry mix will be perfect to pour into the mould.
Screed off the top of the mix level with the top of the mould, with a metal or wood ruler edge and then place a weight on top of the mould till initial cure has occurred…..we don’t want the concrete to slip out from the bottom edge of the mould?

After 24 hours, initial cure has occurred and the mould can be lifted off the plastic sheet and placed anywhere for the final cure to take place…….30 days is ideal but 21 days may be OK if you are in a hurry.
Now for those who have a tonearm that is all surface fixed, place the tonearm base on the top surface of the finished pod close to one edge (this is for 9” arms which possibly won’t get close enough to the turntable edge if the arm were located in the centre of the 6” diam. Pod) and mark the location of the holding screws. Drill these positions to accept standard plastic plugs and hammer these into the concrete.
Do the same in the base of the pod for the 3 screw-in spikes which you can source from various suppliers.

Voila…..your armpod is ready!

Now here’s the good bit…….for those with vintage tonearms or modern arms which have VTA towers or DIN connectors underneath the arm…..you need to position block-outs in the permanent mould BEFORE pouring the concrete mix.
The phono-cable block-out can be another metal (or plastic) tube (12mm or 1/2” diam.) which will extend from top to bottom of the mould (the cable will exit under the armpod) and be permanent.
The VTA block-out will be made of Styrofoam (cut to the correct size and depth) and taped to the inside face of the metal mould (the cutting of the Styrofoam need not be super accurate or beautiful but needs to be OVERSIZE.
The Styrofoam will be burnt out of the mould after curing of the concrete and we don’t want to be hacking concrete out of the mould because the VTA tower ‘misses’ by 2mm?

Most vintage arms rely of nuts to clamp the arm between a turntable ‘baseboard’.
In this situation, you can either…..finish the concrete lower in the mould to accommodate a 1/4” metal plate cut to size or…… even easier…..add the 1/4” metal plate to the top of the finished armpod and fix IT to the concrete via screws into drilled plastic plugs.
This metal top-plate needs to be drilled for the VTA tower and fixing nuts as well as the holding-down screws…..but this should be a piece of cake for any metalwork shop or indeed any DIY hobbyist at home.

Now for the comments and barbs……..
What do you think?