Ct, For what it's worth, I built two plinths of the type you describe. Both from slate slabs, and I was motivated not only by the principle that there should be a rigid association between tonearm pivot and bearing/platter but also by the simplicity of the design. Simplicity is a virtue when you work with slate, because it is so tricky to cut slate without having a disaster. On the other hand, my favorite Einstein quote is to the effect that the solution to a (physics) problem should be as simple as possible, but NOT simpler. As a result of my perhaps too simple plinth design, I am limited to tonearms that bolt to the top surface of the plinth and which do not require a pass-through for a vertical shaft. Thus I have a collection of such tonearms: Reed 2A, Triplanar, Dynavector DV505 (two of the latter, in fact), RS Labs RS-A1 (the funkiest but actually sounds great). Both my Denon DP80 and my Lenco L75 reside in such plinths. For my SP10 Mk3, I did revised the basic idea so as to accommodate removeable tonearm mount boards, made of slate or aluminum. Yet the Reed 2A is king of the Mk3. And the Mk3 plinth uses constrained layer damping; the bottom half is solid cherrywood.
For the TT101, I took the base QL10 plinth and extensively re-vamped it with heavy alu supports below deck to stiffen it and with an alu arm board to replace the supplied particle board one. I further stiffened the tonearm mount by bolting the alu "board" through to a heavier piece of alu below deck such that the wood of the QL10 is squeezed by the alu arm board from above and the stiffening alu support below. We shall soon see whether the TT101 will continue to function reliably when I re-install it in nude form into this plinth.