Vintage DD turntables. Are we living dangerously?

Hi Chris, Hi Chris, Hi Chris, Hi Chris, Hi Chris, Hi Chris,Hi Chris, Hi Chris, Hi Chris, Hi Chris! (Now, that was easy.)

I really like your spiked SP10. I think that makes a lot more sense to me than just letting the bottom cover sitting on footers. Some may called it plinthless but I consider the SP10 chassis as a metal plinth (the real RAW turntable is the DD motor and platter) and having it rigidly spiked to the platform makes a lot of sense to me. Hey, at least it sounds good to you. I am familiar with the bottom cover of the kind used on the TT81 or TT101 as all my TT71 from QL-7 and QL-A7 (which are all sold) use the same kind of bottom cover so I am really curious about the sound when the TT101 is rigidly spiked to the platform. I think Halcro needs an adaptor ring to do that experiment. I look forward to sonic report in the future.

Let me comment on your Youtube video here: Cool!

_______

Ha Ha Ha – Love your sense of humor HiHo !

Thx for making my long work week seem shorter now.

Better to comment on the whole "NUDE" thing here.

NUDE

I have my TT101 in its original plinth up on Aurios (similar to roller blocks) which are attached via a blob of clay to tip-toes which sit on brass cups. I don't have room for a second tonearm in the back but if I did, I would go for that free standing armpod on isolation.

Halcro, My TT101 will do the stop and reverse trick but not with the mat and record and center weight. Then it just slows down to a crawl but still moving forward. It doesn't worry me as I can't see how anything is being hurt. Could be wrong of course.

Gary

Dear Geoch,
if you are using a Cu 180 g mat you may balance the directness by putting a very thin felt mat on top of it. The combination of both mats enables an absolutely harmonic sound. You will not trust your ears anymore, believe me...

best @ fun only

Dear Thuchan, yes you have right and I absolutely agree but ... the point of my reluctance about using anything soft, realised by my worries of a possible removal of the LP by elasticity when the stylus drag makes it's demands, but also because the very thin felt mat needs to glued upon the copper in order to stick there and not on the LP's downside everytime that we have to change the record. Another thought would be that by using a soft surface in contact between LP and platter, we break the continuity of flow for the resonanses which created by the needle upon the LP and we just damp instead of drain them. This method poses the danger of returning the resonances to the needle but as vibrations this time. Any way I've tried your suggestion and I like the sound. It is only that (like the isolated armboard) it does not conform with my general outlook regarding the resonance treatment. I still have some reservations about the possibility of making a second wrong decision in order to fix a problem that arise by a first wrong decision ie: to balance a mistake that we can't comprehend all of it's parameters, by throwing to the game a second mistake.