Cant believe no one mentioned this:
A dryer sheet tucked into your cleaning cloth (helps keep down the static) I use the same cloth that one uses for cleaning musical instruments. I also use a product called static gard, get them at your local grocerey store and they work great (at least for me). I also use a very fine horse hair shoe brush and plain ol' purified water- I never use any soaps- detergents leave behind to much crap.
Also an excelant vibration mat is a stuff sold at Lowes, I believe it's called sorbothane, it looks very much like a floor runner and can be purchased by the linear foot to your liking, it's about 1/2 thick, gray in color, cuts very easily (with a sharp razor blade) it's the same hi-quality industrial stuff used for people who stand on concrete all day- it really works very good. You can find it in the carpeting section.
Another very good dampener is a stuf sold at http://www.partsexpress.com
look for a material named dynamat, comes in various types and sizes. I use it to dampen speakers in custom boxes and it works as well as anything else I have ever tried- just costs a tad more.
Cool idea on the three "super balls" YBA uses a tripod design for all their gear, odd how some people think a like.
And the tripod principle has a bit of engineering proof behind it too.
For those with serious rumble problems and /or in need a a very good phono pre-amp see here- http://www.partsexpress.com/pe/showdetl.cfm?&DID=7&Partnumber=245-876
A bit of history:
Phonograph records have three basic problems:
1. It is physically impossible to press them with ridges that end up allowing low frequencies to come out at the same reproduction level as mid and high frequencies. Bass compensation is therefore needed during playback.
2. Records produce a certain amount of hiss which is covered up in post-production by boosting the gain of the high frequencies before pressing. Counter-EQing during playback compensates for this.
3. Magnetic cartridges produce a weak signal, which must be boosted to match the rest of the amplification, and this too is done during playback.
In the mid-1950s, the RIAA (Recording Industry Association of America) established compensation standards. The resulting RIAA preamp has been built into every hi-fi and stereo amplifier with phono or turntable inputs since then. A separate RIAA preamp is necessary when you are connecting a turntable to a source player that does not have one built in.