@richardbrand Thanks for taking the time!
I still do not understand the 4 Hz. Table rotation is 30 RPMinute = 30rp/60s = 0.5 rps = 0.5 Hz. Off center record spinning should be correct 2x revolution (thanks for this!) so record wobble frequency is at 1 Hz, not 2 Hz.
If the test tone 3150 Hz frequency is sampled with a measuring frequency of 4 Hz, so 4 times per second, one gets 8 data points per revolution: 2 at minimum speed/tone frequency, 2 at maximum speed/tone frequency, 4 at in between speeds/frequencies. That then measures the precision of the average speed, how close the platter rotates to the normative 33.33. Given that there is no perfect record, one has to take the wobble of the record out to assess the actual TT performance.
It also suggests that the % metric is derived from a Fourrier transformation of the received tone signal. Then I can see how you can look at maximum deviation above and below 4 Hz in the transform. It appears that it is critical to make the distinction of tone frequency and measuring frequency.
The deviation above 4 Hz in the transform is microspeed variation of the TT.
Re tone variability of 3148–3152 Hz, so delta of 4 Hz, that is <1 cent (800 cent = 1 octave = doubling of frequency). In sequence, indistinguishable, even to trained musicians. On a good day, I can do 3–4 cents when tuning. <1c is in comma territory, and if that would be objectionable, then any equal tempered piano would sound bad. [It does, but that is my personal dislike of the instrument and preference for HIPP baroque music].
Well familiar with interference. Easy to generate on a violin. Interesting concept re flutter affecting sustained notes. However, considering a perfect TT, direct and reflected sounds are also out of phase due to different travel distances. The phase difference has nothing to do with flutter, only with direct vs. reflection, plus there are various reflections (side, floor, ceiling, back wall ...). Not sure I buy that rationale, but a fun thought experiment.
Additionally, in classical music, sustained notes are smeared with vibrato (as opposed to note shaping with messa di voce in HIPP baroque playing). So any microspeed and reflection variation is lost due to the dreadful vibrato sauce.

