Just to refresh the post, since I posted it later yesterday afternoon, and it has already slipped off the 12 hr activity.
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I've had a lot of cheap Rega tweak ideas, but I've held off on trying them due to the engineering of the TTs. There are dozens of things you could do, most pretty easily to change the way this table sounds. When ever these come up on AA people say, that the P2/P3 are engineered to be one combined lightweight undamped piece.
I've thought of replacing the plinth with acrylic or double thick acrylic or corian or hardwood. I've thought of afixing an aluminum plate to the bottom of the plinth or buying a second plinth and making a plinth/aluminum/plinth sandwich Or putting a playing-card-sized piece of 1/16" thick steel between the bottom of the plinth and the tonearm nut. I've thought of gluing felt or dampening material to the bottom of the glass platter. Maybe glue same to the inside of the sub platter.
But, I keep coming back to the idea that Roy Gandy created the Regas to be flimsy and flexible not out of a desire to save production cost... but because it makes the table more lively and all the resonances are controled.
The motor being stuck to the bottom of the table does seem to be the weakest link. But dampening around it seems less effective than finding a way to separate the moter from the plinth.
Just thinking out loud here. Hope you don't mind.
"The motor being stuck to the bottom of the table does seem to be the weakest link. But dampening around it seems less effective than finding a way to separate the motor from the plinth"
Agreed ... but separating the motor is a lot more work. Perhaps when my kid has left home :-)
And I'm sure Roy didn't specifically engineer the Regas to transmit a lot of motor vibrations to the arm. It's a trade-off of the low cost. If you look at the cost of a P3 versus an RB300 there's not much money left to build a good plinth, so my guess is that is where the money is saved, and a good place to improve.
Acrylic platters need to be weighted with something (steel, lead) to be the same mass as the glass platter for rotational stability. A correctly weighted and balanced acrylic platter will be over $100 ... too much money to be classed as a tweak on a deck that cost me $300 many years ago.
Thanks for the response.
Sorry for not reading carefully enough .... and for having "acryllic platter" on the brain. It's a hot topic at present, though I'm not convinced it's worth the money.
I have read of at least one person who has housed the motor in a separate assemly and then found an appropriate length rubber band to drive the platter. I can imagine this would work well. Perhaps if you'd baby sit for a week or so ....
I agree that damping inside the motor housing is interesting .... however I'd watch out for heat dissipation in there.
If you ever feel so inclined perhaps give "my" tweak a try ... I was really surprised by the magnitude of the improvement from a 5 minute exercise.
I will say, when I upgraded my motor from the rubber band suspended motor to the glued on motor I noticed that the material left to support the motor after the motor recess had been routed out at the factory was mightly thin. You might find that something more substantial in this area -- a thin wood or metal plate that is glued to the top of the plinth that ties the thicker parts of the plinth to this thin layer of laminant might be even more beneficial.
There I go trying to make the Rega plinth stiff again.