I am not certain if this goes best under vinyl or diy...I think there is more passion under the vinyl section though ;D
I havent begun my build yet and have been doing some research. There are lots of questions in time but for now perhaps I could open the debate about a limited number of questions. I am looking to get as many opinions as possible and find the points of intersection (if you know what I mean).
1. Rebuilt plinth surface - what material should the deck be mounted to?
- slate - nice, expensive, difficult to work with - got to get it cut, depends on where the slate comes from etc
- mdf - not popular abroad
- hardwood or ply...seems quite popular
- other options: thick aluminium, glass, perspex, concrete or any combination of the above
- I have read the shindo deck consists of layers of rosewood with grains going in alternating directions
2. High mass construction or medium mass
- I have read a number of times that high mass or high mass constrained layer damped sounds dead. A lot of builders find a mounting plank suspended withinin a box on squash balls for instance has a nice lively sound
- On the other hand shindo decks are really massive
- I gather leaving sufficient ventilation room for the motor is important
http://www.google.co.za/imgres?safe=active&sa=X&biw=1229&bih=789&tbm=isch&tbnid=PmMyIp0ClJME0M%3A&imgrefurl=http%3A%2F%2Fwww.woodsongaudio.com%2Fsmoothgallery%2Fgallery_garrard.html&docid=a5IS1ngq3hnedM&imgurl=http%3A%2F%2Fwww.woodsongaudio.com%2Fsmoothgallery%2Fassets%2Fgallery%2Fgarrard%2F301_skelton2.jpg&w=700&h=365&ei=lJvzUsLFH4SshQfq2IDIAw&zoom=1&iact=rc&dur=562&page=1&start=0&ndsp=18&ved=0CFgQrQMwAg
Could easily put what amounts to a box around the skeletal plinth design
3. Tonearm isolation
- should the tonearm be mounted on an island somehow mechanically decoupled from the board on which the deck is mounted or coupled.
- I have seen both
- I can also think of arguments for both
I havent begun my build yet and have been doing some research. There are lots of questions in time but for now perhaps I could open the debate about a limited number of questions. I am looking to get as many opinions as possible and find the points of intersection (if you know what I mean).
1. Rebuilt plinth surface - what material should the deck be mounted to?
- slate - nice, expensive, difficult to work with - got to get it cut, depends on where the slate comes from etc
- mdf - not popular abroad
- hardwood or ply...seems quite popular
- other options: thick aluminium, glass, perspex, concrete or any combination of the above
- I have read the shindo deck consists of layers of rosewood with grains going in alternating directions
2. High mass construction or medium mass
- I have read a number of times that high mass or high mass constrained layer damped sounds dead. A lot of builders find a mounting plank suspended withinin a box on squash balls for instance has a nice lively sound
- On the other hand shindo decks are really massive
- I gather leaving sufficient ventilation room for the motor is important
http://www.google.co.za/imgres?safe=active&sa=X&biw=1229&bih=789&tbm=isch&tbnid=PmMyIp0ClJME0M%3A&imgrefurl=http%3A%2F%2Fwww.woodsongaudio.com%2Fsmoothgallery%2Fgallery_garrard.html&docid=a5IS1ngq3hnedM&imgurl=http%3A%2F%2Fwww.woodsongaudio.com%2Fsmoothgallery%2Fassets%2Fgallery%2Fgarrard%2F301_skelton2.jpg&w=700&h=365&ei=lJvzUsLFH4SshQfq2IDIAw&zoom=1&iact=rc&dur=562&page=1&start=0&ndsp=18&ved=0CFgQrQMwAg
Could easily put what amounts to a box around the skeletal plinth design
3. Tonearm isolation
- should the tonearm be mounted on an island somehow mechanically decoupled from the board on which the deck is mounted or coupled.
- I have seen both
- I can also think of arguments for both
