New aftermarket plinth for Technics SP 10 MK2/MK3/R from Acoustand

I have to disagree with Atmasphere about marrying dissimilar materials in turntable plinths.  If the dissimilar materials are squeezed together, this is called Constrained Layer Damping.  The fact that the two materials will have different resonant frequencies is the strength of the whole idea.

Yes, but a better description of what Ralph is repudiating is the term "bimetallic dampening" which is slightly different from constrained layer. This is where two unconstrained materials with similar but slightly different resonant characteristics are combined to dampen.

Johnathan Carr uses this technique in his top cartridge designs - in his own words in some cartridges he uses bimetallic dampening and asymmetric layout to deal with unwanted energy.

Another common example is copper mats placed on top of an aluminium platter that rings - net result dead platter.

The negative side to this practise is that when you pass energy through the junction of 2 materials some energy passes through and some energy gets reflected back - to the stylus at worst.

So to get true bimetallic dampening with minimal backward reflection you need to use 2 materials that are very similar in their properties.

Example - using aluminium and acrylic/plastic, because the 2 materials are significantly different you would potentially get high dampening, but terrible reflections backward.

Dear @rich121  : Looks that you don't care but even that I  have to tell you that the FR 64/66 are undamped dynamic balance tonearms and througth that and to set the VTF that tonearm use a spring mechanism that per se rings as a " bell " developing additional distortions. Many audiophiles love those heavy overall tonearm/cartridge developed distortions not me that always I'm trying to achieve at minimum every kinf of distortions in my room/system to achieve the best quality performance I can..

In the other side and due that you will have a plinth for 2-3 tonearms I already gave you an excellent alternative through those Technics  EPA 100 and MK2 tonearms.

Now I want toshare with you another great additional alternative with one of the best pivot tonearm ever amde it by Micro Seiki with its models MAX 282 and Max 237 / same vut different arm wand length.).

This MS comes with a unique and wonderful tonearm bearing mechanism due that's is giroscopic bearing, comes with slected damping and it's a dynamic balance  design with no spring to set the VTF but a mechanism that just does not adds distortions and you can own or choose its 3 arm wands ofered:a J shaped headshell removable and 2 straight arm wands ( one for high compliance and the other forlower compliance a heavy cartridges. A beauty for say the least because its quality build precicion is second to none. I owned too as the FR too.

 https://hifi-wiki.com/index.php/Micro_Seiki_MAX-282

R.

This is an old difference of opinion between me and Raul.  I like my F64S.  It is by far the best tonearm for my Koetsu Urushi.  I don't hear any of the phenomena that Raul describes, and I think I am using it in a very low distortion system, as vinyl goes. However, I like and respect Raul in every way.  We have more in common than in controversy.  I am not at all saying that the FR64S is superior to or even equal to the MAX282 or the EPA100, in part because I have never owned or heard either tonearm. I am only saying that the FR64S coupled with a non-FR headshell is excellent for low compliance cartridges.

Dear @lewm  : Yes a diffrent opinion due that as you said:

"  in part because I have never owned or heard either tonearm. "

To have an overall opinion on tonearms and how good are those tonearms we need first hand experiences with several tonearms and several cartridges at all levels.

I was lucky enough in that critical issue and as you can see in my Agon virtual room/system in that time I had mounted 10 different top tonearms with 10 different cartridges, yes something " crazy " but all those gave me the opportunity to make " thousands of comparisons about and learn with. Btw, in that time too other that those 10 tonearms I owned other 11 ones and over 100+ every type of cartridges.

I remember that I sold my SAEc 506/30 and the 8000 because were way resonant and sold too my Audiocraft for not been totally stables and found out at least 2 really good Audio Technica tonearms.

Yes, a lot of fun with and learning lessons.

R.

Raul, While it is true I do not own either of your two beloved vintage tonearms, I do own other tonearms that one could regard as good. So my judgement that the FR64S is also very good is not made without any comparators.  Further, like you, I own many cartridges of all types and with both high and low compliance.  I do have experience mixing and matching tonearms and cartridges and listening to them on either one of two low distortion systems.  And finally, the weakest argument is for me to say that I am not alone in liking the FR64S.  As you know it is very popular among the cognoscenti, and it could be said that you are the outlier for saying it is defective.  Factually, I challenge your continued assertion that it is "undamped".  The spring loaded VTF adjuster is packed with grease. The arm wand itself is internally dampened.  And yadayada.  I don’t think for a minute that I could change your thinking.  Nor could you change mine. My opinion won’t change unless or until I actually hear the problems with which you are concerned.  Keep in mind that I use an 18g Ortofon LH9000 headshell with my Koetsu. I do not even own an FR headshell.  I previously used the FR64S with an Acutex LPM320 cartridge in a lightweight headshell, and the ensemble sounded excellent, surprisingly (because of the ultra high compliance of the Acutex, you would not think it would work). I have read that the FR headshells are not so good; maybe that was the source of your discomfort. Anyway, let us move on from this sidebar.