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I'd like to think I've moved past the platter as interface?

Removing it somewhat from the playback chain, via use of a spotmat type/variant (which for me unlocks greater musical joy). [Though my cast aluminum platter still did have a tiny signature that could be read above/over/through the mat (largely ameliorated with simple/judicious two stage damping)].

I see the interface of a record to a mat as primary, and thus platter material employed, as being secondary. Subordinate to whatever overall/general design imperative is employed (mass, appearance, ease of manufacture, etc.).

The constancy of the search for magic bullets, in analog, may yet never cease to amaze me. No experience with acrylic as platter, though certainly have given it a spin as chassis (myself found it lacking [but entirely welcome as an ingredient in my hybrid plinth (two years now)]).

To me, pre-selecting or designing by/for material only (magic bullets), is a dead end street. I only use materials that make music, makes no matter to me what they be. How much or how little they cost. Their cool factor (or lack thereof).

At this point, I would be quite remiss to not assert my desire to market a mat. As of this moment, really don't know if it will come to pass? But respect for the integrity of the asylum compels me to note that in future, I may actually have a dog in the/this hunt (nipplemat.com).



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  • I'd like to think I've moved past the platter as interface? - Elmo 05:19:45 04/21/07 (0)


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