Springs under turntable


I picked up a set of springs for $35 on Amazon. I intended to use them under a preamp but one thing led to another and I tried them under the turntable. Now, this is no mean feat. It’s a Garrard 401 in a 60pound 50mm slate plinth. The spring device is interesting. It’s sold under the Nobsound brand and is made up of two 45mm wide solid billets of aluminum endcaps with recesses to fit up to seven small springs. It’s very well made. You can add or remove springs depending on the weight distribution. I had to do this with a level and it only took a few minutes. They look good. I did not fit them for floor isolation as I have concrete. I played a few tracks before fitting, and played the same tracks after fitting. Improvement in bass definition, speed, air, inner detail, more space around instruments, nicer timbre and color. Pleasant surprise for little money.
Previewnoromance
Yep. I do know what I am missing, and I don't miss it.Even when electronic manipulation of the system response is "transparent" (and I will believe that when I hear it), the subjective impression of the listeners I have been around is that they are not pleased with the SQ, compared to using no equalization on the very same system in the very same room.  Measurements do not coincide with the sense of verisimilitude that is after all what we are all ultimately seeking. I have attended several such demonstrations, and the net impression of other listeners and me is turn off the EQ. On the other hand, in your particular room with your particular equipment, etc, perhaps the results are different; I can hardly say otherwise. You can go your way, and I will go mine.  It would behoove you to recognize more often that you are expressing your opinion based on your own experiences, rather than to speak as if you are presenting the gospel.  This is not to say I don't advocate and implement room tuning to get the SQ I am after.  But I am sure that my room that satisfies me would not measure perfectly flat across the audible spectrum.
@mijostyn- What you stated is exactly the issue that I am facing with springs and it is true for any electronics as it is true for a turntable. For any component, if you want to get the resonance frequency to somewhere below 3 cycles then you are working with a. softer springs in general, b. they are loaded to the max around 97-98% of the spring capacity, c. each spring is carrying the same load. Satisfying these conditions underneath any load let alone a heavy amplifier or a very fastidious turntable is going to be extremely difficult. That's why I keep looking for a tool which gives the CG location of a given component and/or something when attached to a spring shows the load that it's carrying.
Without those tools/guidelines embedded in the product even Minus K or Stacore platforms are not going to be very effective....
Beside this load adjustment issue you have to deal with the type of the platform that hosts the component. You need to make sure that it doesn't adversely impact the tonal balance.
It is because of these issues none of the products or ideas on the isolation currently available in the market provide a plug and play solution, in my opinion....
Thanks.


twoleftears, 800 volts and 250 amps and you should be in great shape.

Lewm, you and none of those other people obviously have not heard a system like this. I would love to have you over for a quick demonstration and don't forget I am a fellow ESL lover. I am talking everything from Beethoven's early string quartets to Nine Inch Nails. If you think your system images now, I can make it image a lot better. If you think you have decent bass now, I can make Ron Carter materialize in your listening room. Any system you have heard was either set up incorrectly or it was using a sub standard unit without the necessary processing speed or resolution.  
Ron Carter is already in my room.... Imaging is so good the sound exist independantly of the speakers....

And "liveliness" is a quality in acoustic linked to among many factors with the reverberation time and synchronisation and participate among at least 5 others characteristics to define the mysterious fact of "timbre" in acoustic...

I dont know if a computer program can modify the reverberation time in a specific room with a specific varied content ....Playing with frequencies he can compensate to a certain degree but using it positively for a set of ears in particular in the perception of timbre, i think that it cannot....

The " liveliness" of my sound result from my playing and work among other factors with this reverberation timing....The guide was my ears.....Ordinary ears by the way.... The myth of bat ears is a bad joke by some to discredit the use of our "biased" ears in audio, ears with which i listen to music without being able to de-biased them to this day...I know that computer formulas can make the room perfect for non biased and perfect ears tough....But not for mine Alas! :)

If someone designed a big void room especially and only for music and for a crowd, a set of law applies very well and straightforwardly...

If someone want to accomodate a small Room with an already disparate acoustical content (furnitures, coofins, books etc) for a pair of specific ears, using these biased ears is for me necessary.....Laws under the guise of computer algorithm will lack something and will miss some fact to work with like reverberation time for a particular set of ears(mine) in a small ordinary room and not for the crowd in a big musical hall....Reverberation time for example cannot play the same role in these 2 different locations....

Liveliness is not reducible to transparency for example....

By the way i am not a scientist, only a nut without money who create his own heaven by homemade device only.....

I succeed to my satisfaction..... :)