Skeletal vs Plinth style turntables


I am pondering a new plinth design and am considering the virtues of making a skeletal or closed plinth design. The motor unit is direct drive. I know that as a direct drive it inherently has very low vibration as opposed to an idler deck (please do not outcry Garrard and Lenco onwners coz I have one of those too) but simple facts are facts belt drive motors spin at 250rpm, Lencos around 1500 rpm, DD 33 or 45 rpm. That being the case that must surely be a factor in this issue. What are your thoughts. BTW I like closed designs as they prevent the gathering of dust.
parrotbee

02-09-15: Pryso
Halcro, do you have any idea how that tower plinth builder now has access to bolt/unbolt the motor unit or change wire with the tonearm if necessary?

Form does not seem to follow function?!?

Pryso

If indeed there is a beer fridge in there. then it is Function over Form
Dgarretson
have you considered filling the webbed aluminum casting of an SP-10 with a dense hard mixture of industrial epoxy and crushed granite(similar to Verdier) or brass powder?

Parrotbee
With regards to filling in the SP10 - Can I just suggest that you are a bit careful - why not try some lightweight damping such as acoustic foam first of all - what frequencies are you trying to damp?

Many times you don't know what frequencies, until you hear something better (in your own room) and it could be anywhere in the frequency range.
Had the TNT at the time. Brought in the SP10. The SP10 did one thing better. I changed the TNT to match it in that area. Brought in the JN Lenco. It did something better than the TNT and the SP10 in my room, so I adjusted both of them to be better. The adjustments were many to the TNT and SP10 back and forth and the cycle continued. The JN Lenco is the only TT I never touched, and if you own one you know why. The thing has no reason to sound good when you look at how a base stock Lenco TT is put together. The only thing good about it is the motor. But JN as one example, has built many versions and learned along the way. One thing that is not obvious with it, are the purpose voids built into the the plinth around the motor/top plate and the armboards. You need to look at it from upside down to understand what I mean. His table is Function over Form and the result of many adjustments to plinth and motor. I thought about building one after the SP10 then this one just kind of fell into my lap. Anyone thinking they can just make a giant plinth and drop a Lenco into it and call it a day ...well I better stop what I was going to say. Because they can do just this it. Once you have done this do a close compare to a Nantais Lenco.

The DD SP10 and I assume the Denons, Victors, etc... are different. They are self contained units. Like I said if I was curious and had time and money I would start taking it apart. Mine came from a private studio and was never in a radio station. I actually had two one at one time; one was down in the city when I was spending alot of time there.

When you are Laborataire Verdier there are many tools, people, etc... at your disposal to investigate and analyze. Go through all the proper project management phases. When you are moi...it is different.

I used to say to myself ...hmmmm looks like a hole / space there. Wonder what would happen if I filled it ? When an audiophile based on theory alone, said don't do that, its not right because of xxxxxxx, but showed no real direct experience with it himself...... ..Hell..the more reason to go and do it.

You said a few interesting things about the Platine, because the base is very much made of a similar material, by the sound of it, as the Technics Obsidian Bases or the Sony Reisinamic Plinths - both of which use 'resins and stones'.

I had the Obsidian base - I sold it to a "collector". Its a glass plinth - apples to oranges comparison with the La Platine's Granito base which is non-resonant.

One time I filled the four pillars of the TNT with Blue Tac.

see the bottom pic

The music became like it was coming from down under and I don't mean Aus and Nz.
I mean the place where the horned one lives. where it is always very hot,
The good thing from this experiment was I have so much Blue Tac now that I re-package it and give it out as Christmas gifts to audiophiles.
1,325 uses so far for it. Did you know you can clean your stylus on it?

Well some stories ...do share guys

cheers
should have waited till I was fully awake and finished my coffee before I hit submit.
sorry for the errors - extra words that don't belong.

A case of mind and fingers not in sync yet.
LOL - to edit the post in this forum database, would seriously throw out my carefully thought out paragraph alignments. :^)
l am going for my run instead.
I tapped the armpod and shelf (plinth) with a metal object whilst the stylus was on a stationary record...and the tone of both was near identical.

I was referring to the sound you get not through the speakers but just the sound of the metal itself reacting to being rung by tapping it with a metal instrument.
I mentioned the mythical perfect TT earlier on this thread.
item 2) was " Perfect dynamic dimensional stability"

We have seen on another thread here how stylus drag can slow the platter. This even where massive platters and drive systems are employed.
This drag is pulling on the arm and hence its support. In the case of a nude TT, the pod is being exposed to this force. If this heavily modulated force is sufficient to slow a weighty platter of considerable inertia, would it not also be able to "tilt" a free standing pod even, if it is substantial?

Way back in high school we were tasked with this question..
What happens when you throw a snooker ball such that it hits the front of an oncoming train. The answer is that the train slows, and with relative weights and speeds, we were able to calculated how much.