Nottingham Spacedeck Owners in Isolation

I know that more 'Not owners post on AA, but there seems to be a few more here lately, so here goes:

I have a Spacedeck mounted on the stock plinth and further mounted on a DIY wall support made with 1000lb test angle brackets holding a 2" thick rock maple cutting board. The maple is affixed to the brackets and the brackets bolted to the wall studs with lag screws.

The rigidity is excellent, a glass of water resting on the maple will not yield so much as a ripple when I jump up and down on the floor.

That being said, I am wondering what others are using in terms of isolation with their Spacedecks. Do people find better or worse sound by not utilizing the stock plinth? I find that the rubber feet on the bottom of the tonearm and stationary pods on the Spacedeck are a bit "springy" but perhaps Tom Fletcher has incorpoated this design intentionally. Has anyone tried using after market cones/points with a Spacedeck to an improved effect?

While I absolutely love the sound of my Spacedeck/Spacearm/Shelter 501, as is, I am always looking for beneficial tweaks.
I tried my Spacedeck with "heavy kit" (highly recommended) but, per Tom's recommendation, no foam platter mat / Space Arm / Shelter 901 with and w/out the factory plinth on a 1.5" maple butcher block and can't hear any difference. I like the look of the current set up (sans plinth) and use the NA plinth under another component in a second system.

Tom said the only reason they started including the plinth is to provide owners with a uniformly stable platform, no matter what the 'table ultimately was placed on. The Space and other NA 'tables originally didn't have such plinths.
I, too, have used my Spacedeck both with and without the plinth and found no audible difference in sound. My sons, and I, like the looks better without the plinth. My wife likes it better with the plinth. I will leave to your imagination how I have it set up....

Interesting the comment about the heavy kit. I do not use the foam mat as I find it too "fat". I have used a Mystic Mat to very good effect. Also, try without the foam mat and place a circle of heavy stock paper (like the thickness of a standard business tab folder) within the indented circle surrounding the spindle. I think that may be the very best choice.

Another tweak that seems to work well is to use #4 silk beading thread instead of the stock rubber platter/motor band. It is a real bitch to get it the right length and tension to achieve proper rotational speed, but provides some improvments in clarity. The change is subtle, though, and may not prove worthwhile unless you like to fiddle-fart around with these things! :-0
David, if you like the #4 silk bead cord, try some "Spectra" fishing line of about 15-pound test. This is a high-tensile strength material that they make bulletproof vests out of. It has absolutely zero stretch. This makes it a little bit touchy in the tensioning, because you have to get it exactly right, or it will drop right off of the platter if it is a hair too loose, or won't stretch over the pulley if it's a hair too tight. But, since it has no stretch, there is no "wind-up and release" in this belt, and I think it produces a better speed consistency. It is also a very tough material, and lasts alot longer than the silk bead cord. The Teres specs a #4 silk bead cord, but I changed to Spectra after I wore my first silk cord out, and I like the Spectra better. I only suggest it, because I know you like to "fiddle fart" around with this kind of stuff.

Also, I found bad results from rubber feet. I switched to brass Audiopoints on my TT and it made the attacks and dynamics and decays alot better. I don't know if it will have the same effect on the Nottingham, but if you have some laying around, you might try them. Placing one directly under the tonearm board attachment area of the plinth, and the other 2 in the corresponding triangle arrangement worked the best for me.

I feel the less, or preferably zero, soft material under the TT, the better.