John
Rack’em Up!
Not an LP12, it’s just wrong.
Previously happy LP12 owners who moved on.....
- Thread starter ex brickie
- Start date
I like the details to match. Both these decks have new lids with the current logo so current logo on the armboard too and no skirt on the plinth.
John
Rack’em Up!
No wooden armboards screwed to a kite shaped subchassis.
I have no idea what you are talking about?
Brown Bottle
UTB
Not an LP12 owner but admirer of the look and sound. I have to say though non fluted looks much better to me.
Cheers BB
Cheers BB
The fluted classic LP12 is seriously nice. I used to have one with a black Ittok II and Valhalla. I 'upgraded' to a new black plinth LP12 and stupidly sold off my old fluted one for pocket change.
I really wish I had kept it. It would look and work really nice with my Nait 2. But I really have no need any more for a Linn...
I really wish I had kept it. It would look and work really nice with my Nait 2. But I really have no need any more for a Linn...
SONDEKNZ
Kiwi, now living in Hangzhou, CHINA
Much as we LOVE our hot-rodded, springless, fluted LP12, when it comes to appearances...
I prefer the flute-less plinth.
I prefer pale, non-grainy plinth finishes
I prefer the original LINN logo on the armboard.
Very soon, our perfectly good, fluted plinth is getting a complete makeover. Once completed, it will be a one-of-a-kind.
(Perhaps another thread...)
I prefer the flute-less plinth.
I prefer pale, non-grainy plinth finishes
I prefer the original LINN logo on the armboard.
Very soon, our perfectly good, fluted plinth is getting a complete makeover. Once completed, it will be a one-of-a-kind.
(Perhaps another thread...)
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per-Sony-fied
Me in another jacket
In this instance I prefer the fluted but only due to it's unfair advantage of being at the forefront of the image & thus looking larger. Whilst the non fluted deck isn't my kind of wood, a bit to rich & dark, almost cherry like of which I purchased one before the current plinth I own. Decided I didn't like it so sold it. So thumbs up for the fluted here.Hedge your bets ;0)
It's not dark in real life but the grain is a bit much. It's a nutty looking plinth. Was a bit of fun, an experiment.
I like a wood plinth, as opposed to solid colours, but I'm not that fussed about it any more. As long as they're clean and tidy. Years ago I always fancied a piano black plinth but I have one here and I've gone off the idea. Going to sell it.
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John
Rack’em Up!
I was assuming that was a Linn arm board on your LP12 screwed to a kite shaped third party sub-chassis. Linn has moved away from that approach realizing how important a rigid connection between the bearing and tonearm is. Rega is doing the same with most every one of their decks as well. I imagine that Linn logo is a requirement of the Linn Police;-)
I don't think it's that they were wrong before, more that their philosophies and the balance of the deck have changed. People were rigidly bolting the armboard to the sub-chassis decades ago but it made the sound worse. Obviously they didn't think so but Linn did and I agree with them. But things change. I disliked the Cirkus bearing when it first came out but on an alloy sub-chassis I think it's ok.
A modern LP12 is quite different from an old one and context is everything. Both of my LP12s use the small wood screws for the arm-board. I know the direction greater rigidity takes you and I don't want it.
SONDEKNZ
Kiwi, now living in Hangzhou, CHINA
On this basis, it does raise the question around the similar joint between cartridge and arm.
If a slightly lossy joint sounds better between sub-chassis and armboard - perhaps a slightly lossy joint between cartridge and arm would deliver similar results?
ORIGIN LIVE and a few others have compliant cartridge mount products that do just this.
As one who has been working hard to remove lossy joints, I can't see the sense of this type of lossy cartridge mount platform - but confess I have not heard one.
[Trying to keep an open mind...
]
John
Rack’em Up!
Not sure what you mean by “people rigidly bolting the arm board to the sub-chassis”. Are you referring to modifying the arm board to attach the arm board to the sub-chassis in a manner not recommended by Linn?
I think the reason why Linn used the wooden arm board and the small screws was because it reduced bearing noise from getting into the system. The better bearing designs allowed them to go with a more rigid connection between the bearing and tonearm. The Cirkus and Karousel bearing work well with that rigid connection and make the deck more tuneful and allow you to hear more of what’s going on with the music.
The newer Linn Majik, Kore and Keel offer that rigid connection. The old stock steel and original Cirkus sub-chassis do not as well as some of the 3rd party products. To me they seem like a compromise in performance that both Linn and Rega have realized.
It's a balancing act and depends on what you want your record player to sound like. Lots of people make more rigid turntables than an old LP12 but they don't sound like the LP12. If that's what you want, fine.
The bottom line is that the standard LP12 has sounded the way Linn want it to sound at any given point in time. That sound has changed, in some ways for the better but maybe not in all.
freefallrob
pfm Member
The first rule of LP12 club, is you must have a fluted plinth
.
.That’s me blackballed thenThe first rule of LP12 club, is you must have a fluted plinth
freefallrob
pfm Member
Don’t worry, I don’t even have an LP12 (I have a Rega P9) but I have impure thoughts about fluted plinth LP12’sThat’s me blackballed then
tpetsch
...The rhythm has Control
I agree, a more refined LP12 is a less tuneful LP12, it's fundamental bones can only be taken so far before the weaknesses of the 50+ year old design & dimension restrictions begin to reveal themselves as an overall inadequate foundation for the more modern and tighter tolerance upgrades.