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"they still don't know why great violins sound great"

My favorite theory is the water/river theory. That the wood Stradivarius used, was floated to the mill by river. This soaking in water, setting up an identifiable change in the wood, that he used. I don't know the changes to the wood that the theory proffers. But I found the theory romantic.

"You don't want the plinth to vibrate"

During my listening session yesterday, I asked of myself (suggested?). That perhaps to my ear and eye, some measure of elasticity need be present in the plinth material. Some complinance. Sans some compliance, I'm beginning to feel that some notes become quashed. Timing and ..... shall we say the music's 'fusion' (?) can become a tiny bit screwy (in a suspensionless design).

The acrylic is very, very interesting. It has many great strengths and laudable attributes. But after four days. I feel my plinth future is somewhere else. Whether I add a lamination of mdf to the current acrylic (or a different piece), or go back to the previous mdf plinth, and add a lamination of ..... acrylic. It's possible that different thickness', sizes or shape of acrylic might be an improvement over the large 1 1/4" slab. But I don't personally feel the interest in exploring.

I do get the feeling that the idlers and belts do benefit from different plinths. Have different needs. Whatever their ultimate make-up. From all that I've seen and read here, I would liken the
Lenco plinths to .... a finned heat sink.

No easy answers, no easy paths. Well .... I could just buy a Lenco, Rega RB, Denon, and a pile of Birch ply :-)

Thanks, Elmo.

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