Dinohyus Hollandi wrote:Isolating the Planar 3 (including the stock rubber feet) always left me with a feeling that there was more but that "more" was somehow restrained inside the table. At first I thought that there must be vibration going back into the turntable, so I added more isolation. That only made it worse: there was a certain "flatness" or "deadness" that I couldn't quite put my finger on. The table wanted to boogie but couldn't. So I removed the extra isolation and rubber feet and placed the table on regular cone-shaped aluminium spikes on the top shelf of my audio rack (a Solidsteel contraption that is extremely low on WAF but high on dealing with resonances, isolation and supporting your stuff). And presto: boogie, swing, PRaT, spaciousness, air and all other associated expletives were there. It's that "Blimey!"-moment when you stop reading your book and look up to check if a bunch of musicians suddenly were beamed into your listening area. Apparently the turntable couldn't get rid of its internal vibrations and the spiked feet were somehow able to get rid of that.
thank-you for the superlative description!
So, the problem of TT support is more complex than I thought and I think I have a better understanding now. In my need to isolate the Rega Planar 3, I assumed that you only had to stop energy going into the deck from the floor and up the stand into turntable and through the cartridge. I have some feedback in my system. (Although, I'm not sure how much of a problem it is, I know it is there.) So I thought that isolation was the main thing to aim for in choosing turntable support. Now that you raise the issue of the need for coupling in order to drain unwanted energy away from the turntable.
My question is then – how can a turntable support design deal with this contradiction? How to isolate and
couple at the same time?