i have a tenuto gun metal mat at 5mm an Audio technica AT-600 ceramic mat which i prefer and my current mat is an Audio Technica AT665BX which is cool as it creates its own vacuum to force the record flat to itself. These mats all add their own tone to the sound,for instance i find the gun metal mat add a touch to the top end,the ceramic lifts the mid. the AT665BX is still being evaluated but so far so good. they all measure around the 5mm mark.
I can't think of a mat type I haven't tried on the mk2.
https://www.diyaudio.com/community/threads/turntable-platter-dampening.382792/page-2#post-6951314
I preferred the harder type to soft rubber, sorbothane or cork/rubber composite. The OEM sat somewhere in the middle of my preference. It is thicker and harder than the SL1200 mat, which I have not tried. My current preference is a bare POM/gunmetal platter.
Thank you! That’s quite an extensive comparison list you had.
Some Saturday spinning… Glad I got that VTA on a fly for the jelco, very convenient! Need to start working on my vinyl rig. Over the years I’ve dialed my digital stuff, now need to see what’s out there for an analog. Maybe Salas’ updated pre?…
Some Saturday spinning… Glad I got that VTA on a fly for the jelco, very convenient! Need to start working on my vinyl rig. Over the years I’ve dialed my digital stuff, now need to see what’s out there for an analog. Maybe Salas’ updated pre?…
Attachments
@Bon 's assessment that under platter damping does not effectively damp platter ringing is correct and can be verified by playing some music (CD or streaming etc) and place a stethoscope on the platter mat. The program music can be clearly heard in the platter indicating the platter is vibrating. Doing the same with the POM platter there is no audible music radiating from the platter. The stylus will hear this acoustic feedback and mix it with the signal.
There is a reason top TT manufacturers like Clearaudio and Thorens are using POM platters.
@PKI I have the Wyn Palmer phono preamp and it's a good one. Sota are selling this Wyn designed phono pre for about $500US
There is a reason top TT manufacturers like Clearaudio and Thorens are using POM platters.
@PKI I have the Wyn Palmer phono preamp and it's a good one. Sota are selling this Wyn designed phono pre for about $500US
ASR just reviewed the Wyn Palmer designed SOTA Pyxi phono stage.
https://www.audiosciencereview.com/forum/index.php?threads/sota-pyxi-phono-stage-review.45076/
https://www.audiosciencereview.com/forum/index.php?threads/sota-pyxi-phono-stage-review.45076/
I have read from many owners that the original SP10 mat is and remains the best of all rubber mats and there is a deterioration if you replace it.
For improvements (if that's what you want to get) you have to switch to other types of mat such as the Micro Seiki CU 180 or the rarer and heavier CU 500 or the Tenuto mat or the Saec SS300 or being able to spend a lot the associated mat more clamp Harmonix or for those who want to obtain a single body with the cymbal the mat vaacum of the Audio Technica disc stabilizer AT 666.
Then there will be others but usually these products are indicated which are among the best known.
For improvements (if that's what you want to get) you have to switch to other types of mat such as the Micro Seiki CU 180 or the rarer and heavier CU 500 or the Tenuto mat or the Saec SS300 or being able to spend a lot the associated mat more clamp Harmonix or for those who want to obtain a single body with the cymbal the mat vaacum of the Audio Technica disc stabilizer AT 666.
Then there will be others but usually these products are indicated which are among the best known.
I use a variety of Mats - Metal Mats are Tenuto and AT-677 and have heard the AT-666 on the same TT>TA design that Warrjon referred to. , A Ceramic Mat is the AT-600. Foam Mats are produced from Forex Foam of which 5mm has been my preferred type.
Along with these I have Traditional Rubber and Cork/Rubber Compound.
Along with the above on a TT>TA, the same design Warrjon has referred to I have been familiar with a Spot Mat design and Leather Mats.
The Tenuto in my listening environment and used on my TT's supporting structure is the one that produces the most transparent trait.
The AT 677 will add a tint to the transparency, that I refer to as a hint of Richness.
I have got a selection of AT 666 en-route at present, I have not home trialed this Mat Type, when being demo'd it in a differnet listening environment and with a TT>TA the same as mine, but mounted on a different support structure the AT 666, with Vacuum engaged was noticeably leaner in the sonic that the Tenuto it replaced.
The AT 600 adds to the perception that a Rich Tone is present, when compared to the Tenuto and AT 677.
The Forex Foam 5mm Thick Mat, adds further to the perception a Rich Tone is being produced when compared to the Metal and Ceramic Material Mats.
All the above Mats are capable of maintaining the fine details and envelope of notes/vocals being produced.
Rubber and Cork/Rubber Mats are only used for demonstrations to show how on my system and compared to the other selcted mats, that they are noticeably detrimental to the sonic and the quality of the sound being produced.
To trial this selection of mats further a Phosphor Bronze Platter is to be modified and a stacked platter assembly is to used on the SP10 MkII, that is set in a Plinth.
The Platter designs will be transferable to the variants of a Kaneta Design SP10 MkII that are soon to be ready to be trialled.
Along with these I have Traditional Rubber and Cork/Rubber Compound.
Along with the above on a TT>TA, the same design Warrjon has referred to I have been familiar with a Spot Mat design and Leather Mats.
The Tenuto in my listening environment and used on my TT's supporting structure is the one that produces the most transparent trait.
The AT 677 will add a tint to the transparency, that I refer to as a hint of Richness.
I have got a selection of AT 666 en-route at present, I have not home trialed this Mat Type, when being demo'd it in a differnet listening environment and with a TT>TA the same as mine, but mounted on a different support structure the AT 666, with Vacuum engaged was noticeably leaner in the sonic that the Tenuto it replaced.
The AT 600 adds to the perception that a Rich Tone is present, when compared to the Tenuto and AT 677.
The Forex Foam 5mm Thick Mat, adds further to the perception a Rich Tone is being produced when compared to the Metal and Ceramic Material Mats.
All the above Mats are capable of maintaining the fine details and envelope of notes/vocals being produced.
Rubber and Cork/Rubber Mats are only used for demonstrations to show how on my system and compared to the other selcted mats, that they are noticeably detrimental to the sonic and the quality of the sound being produced.
To trial this selection of mats further a Phosphor Bronze Platter is to be modified and a stacked platter assembly is to used on the SP10 MkII, that is set in a Plinth.
The Platter designs will be transferable to the variants of a Kaneta Design SP10 MkII that are soon to be ready to be trialled.
At the time of being part of a Group Buy Purchase arranged on another Forum, Forex Foam was described as being the same materials used to produce a Mat that was Branded as the DAT Mat.
I purchased 4 x Forex Foam Mats 2@3mm + 2@5mm, it is difficult to fully understand, but the 3mm thickness, did not enable the qualities to shine through that the 5mm was able.
At a Mat demo session at another home and using the resident TT, the 5mm Foam made such a impression when used on the TT. The owner and those who were present, were sharing their positive thoughts on the material, as a result of the success had, I gifted the foam mat demo'd to the TT's owner.
From a personal experience, I make it known, that if demo's are carried out for a short duration only, whilst exchanging materials, it is very easy to create a change to a sonic, in many cases the sound being presented can be referred to as improved, bit to really understand how the change is impacting on the sound, and to determine if something is really improved, there must be an extension of time allowed for the trialling period and assessments being made.
One other method that can be used, that will impact on the sonic produced and change impressions on how the sound is being effected, is by working with the Structure the TT is mounted on.
I won't go into too much detail about my main supporting structure for the equipment, but the TT is seated on to a dedicated support, of which 2 x Sub Plinths are utilised with Pneumatic Footers as the Feet and Sub Plinth separators. The TT is seated on Solid Tech 'Feet of Silence' Footer's. A substantial improvement can be achieved by trialling different materials for Sub Plinths and trying out different footers. This does not have to come with too much cost to make valuable discoveries, the rewards when hitting on the right permutation can be massive.
I purchased 4 x Forex Foam Mats 2@3mm + 2@5mm, it is difficult to fully understand, but the 3mm thickness, did not enable the qualities to shine through that the 5mm was able.
At a Mat demo session at another home and using the resident TT, the 5mm Foam made such a impression when used on the TT. The owner and those who were present, were sharing their positive thoughts on the material, as a result of the success had, I gifted the foam mat demo'd to the TT's owner.
From a personal experience, I make it known, that if demo's are carried out for a short duration only, whilst exchanging materials, it is very easy to create a change to a sonic, in many cases the sound being presented can be referred to as improved, bit to really understand how the change is impacting on the sound, and to determine if something is really improved, there must be an extension of time allowed for the trialling period and assessments being made.
One other method that can be used, that will impact on the sonic produced and change impressions on how the sound is being effected, is by working with the Structure the TT is mounted on.
I won't go into too much detail about my main supporting structure for the equipment, but the TT is seated on to a dedicated support, of which 2 x Sub Plinths are utilised with Pneumatic Footers as the Feet and Sub Plinth separators. The TT is seated on Solid Tech 'Feet of Silence' Footer's. A substantial improvement can be achieved by trialling different materials for Sub Plinths and trying out different footers. This does not have to come with too much cost to make valuable discoveries, the rewards when hitting on the right permutation can be massive.
@gninnam, hank You for your comments.
I recollect when your TT was first Purchased it is very attractive and have my own SP10 MkII finished in a Black Paint Coating with multiple layers of a Lacquer on top, I cn't recollect if it is this one that may have influenced the idea for the finish I chose.
Has the idea of a Densified Wood Plinth got your thoughts or are you holding out on the Resin Plinth, maybe a P'holz Tonearm Board might be a good addition to be used as a Trial experience.
I recollect when your TT was first Purchased it is very attractive and have my own SP10 MkII finished in a Black Paint Coating with multiple layers of a Lacquer on top, I cn't recollect if it is this one that may have influenced the idea for the finish I chose.
Has the idea of a Densified Wood Plinth got your thoughts or are you holding out on the Resin Plinth, maybe a P'holz Tonearm Board might be a good addition to be used as a Trial experience.
It's a bit off topic but it came up.
The Pyxi is not just ultra low distortion- lower than Amir shows as he didn't extract the distortion from the noise, and his S/N ratio measurements are, well, profoundly wrong due to methodological problems- but the RIAA compliance is the best he's ever measured, and it was just a random unit from a buyer, although every single unit is tested to be within 150mdB p-p 20Hz-20kHz. It also has extremely high power supply rejection, decent thermal noise and switchable input loads. Many think that it sounds extremely good.
The Pyxi is not just ultra low distortion- lower than Amir shows as he didn't extract the distortion from the noise, and his S/N ratio measurements are, well, profoundly wrong due to methodological problems- but the RIAA compliance is the best he's ever measured, and it was just a random unit from a buyer, although every single unit is tested to be within 150mdB p-p 20Hz-20kHz. It also has extremely high power supply rejection, decent thermal noise and switchable input loads. Many think that it sounds extremely good.