When I first read about this platter mat, I thought the same thing. But, I was intrigued and figured that for around $50 it was worth a try. So I bought one and like it. I tried with a clamp and without a clamp on my Basis turntable. Here is an excerpt from the manufacturer:
Let me start by dispelling a few myths about clamping:
First, a clamp is needed to flatten out warps. Well, it may flatten mild warps at the center of the record, but the outside will still be wavy unless you also use a periphery clamp. What actually happens in practice is you get voids under the vinyl, so some parts of the record are in contact with the platter, other are not. In any case, forcing a warped record flat is bound to strain & distort the shape of the grooves so you will get an inconsistency across the record. I find most good setups will play moderately warped records with no problem.
Second, clamping is necessary for good bass. For those that may say clamping a record improves bass, I say think again. Bass is more bloated so may appear increased. Again, all you are hearing with a clamp is colouration & reflections.
Third, a clamp is necessary to prevent record slippage. I had set up a measuring device to test this theory, played a whole record side @ 2g with a Paratrace stylus (much drag) to find to my surprise no movement occurred.
Enter the Reso-Mat. The idea with this mat is to have absolutely no influence on the record. It sits on cones with minimal contact with no clamping. Vibrations from the stylus are free to dissipate in the open air with no reflections. There is nothing to dampen the record either.
The net result is a super clear dynamic portrayal of the music with extreme detail retrieval. Treble that seemed harsh or sibilant on some recordings is greatly tamed. Modern recordings done in the digital domain are rendered listenable....& I have a pile of those which I am now rediscovering! Bass becomes cleaner & more distinct. If a deep bass note is present, and your system is capable of producing deep bass, the floors will still shake.
Another effect of this mat is to increase the noise floor. Not only are the cones stopping reflections from the record, but also minimising noises from the environment & drive mechanism of the turntable, be it motor or bearing, from getting through to the stylus. Less external noise has the effect of opening & widening the soundstage.
I have to say this mat represents a good time spent in R & D with different cone materials. Wood was rejected, for instance, as the bass disappeared! The material used for the cones gave the best results over a wide range of materials. The mat has been extensively tried in the field, & all testers have rejected their traditional rubber/acrylic/cork/whatever mats & clamp is favour of the Reso-Mat.
Got to say that
First
this is taken too literally. The clamp is to reduce warps, not flatten. They are to hold the record more rigidly. "Distorting the shape of the grooves"? You have pictures to prove this? If the record is warped then it stands to reason that some grooves are already distorted. The record was made in a flat condition - stamped.
Second and Third
this is superfluous bull. "Again, all you are hearing with a clamp is colouration & reflections." Where is the starting point for this statement? What is the "0" point? Have you used RtR sub masters to compare to the various mat/weight/clamp material configurations as a basis?
You are seriously mentioning slippage? Not worth a comment.
Having spent many working days (in succession) listening to many different materials including cork, glass, felt, metal, leather, acrylic, rubber, synthetics, cardboard (different types) in any material we could cut a mat, both with weights, a clamp and nothing at all. This was tried on LP12's, JBE, Pinks, Regas, Thorens, Technics and Michells. (we had retail stores under the umbrella with agencies for all the previous)
The one thing I can say is that no one thing suits all, mat wise. A clamp was preferred in more than 68% of the cases with different mixes of mats and turntables. Having been a party to the launch and marketing of one of the most successful accessories and longest lasting in manufacture ever, the Michell clamp, you had to try it for yourself. If it wasn't for you, fair enough.
Michell tried his turntables with a number of different "pointed pods" materials on the Reference series including plastic and aluminium etc.. When at Thorens I tried numerous configurations.
I am not decrying the Reso-mat, I am only saying that Bull doesn't inspire me.
Approaching things from a purely physics point of view, which I think is too blinkered in thinking, or just to be different and controversial. You might get the top end right at the expense of other frequencies and visa versa.
As an aside, I shall only go off topic enough to say that PIO1980 knows my thinking on mat design.
What do you think PIO1980, shall we publish those drawings for all to see?
Regards
Pete
