Wood seems to be "in" with tone-arm manufacturers these days, and probably for good reason. I truly enjoyed reading the Reed site in which it compares different woods with sonic evaluations I've used light & rigid wood and alternative metal armboards on my particular turntable, and I must admit that I preferred the wood.
However, although I appreciated my light wood armboard, it didn't nearly make the same kind of sonic difference as changing over to a higher quality DC motor, or isolating noise caused by the motor (they all make noise) and/or the bearing. My turntable has been refined to be DEAD quiet (I mean stethoscope-dead-quiet; audiophiles might just be surprised (or shocked) how many expensive turntables today don't pass the steth test), or tweaking the suspension so that it not only acts like a filter for the motor, but also has a controlled bounce which limits lateral movements (which f's up timing) ... or which rack or mount dissipates mechanical energy best on which the 'table sits ... the list goes on ... I can think of a bevy of other items & issues surrounding turntables & arms that make FAR more of a sonic difference than the simple introduction of wood ... but hey, I'm only basing this on my very own experiences.
That said, it's interesting to note that my particular turntable uses a rigid and light kiln dried mahogany for the plinth ... certainly not your typical oil platform metal monstrosity that's so in vogue these days ... and even more interesting, unlike most metal monstrosities, instead of aluminum, my 'table incorporates extremely hard high carbon steel throughout, and a relatively heavy brass sub/platter.
Look, I don't give a rats behind if the arm is worth $35k, but I certainly understand, without reservation, that if you're going to spend $35K for this arm, you better mount it on a very high quality and very quiet turntable, or it won't sound like $35k arm to my ears. But then again, one can say the exact same thing about all quality tonearms.
tb1