Bob Edwards
pfm Member
Seeing how many optional parts there are for the LP12 these days, and how much discussion there has been regarding them, and seeing all the references to "Tigger's Broom," makes me wonder: What makes an LP12 an LP12? Alternatively: When does a Linn LP12 stop being a Linn LP12? From what does "Linn-ness" come?
I'd suggest a combination of the single-point bearing, the spring suspension, and belt drive as a starting point. Prior to the Keel and Kore I'd have added a replaceable armboard; obviously not now. I'd also suggest that Linn-ness comes from a degree of synergy between the bearing, suspension, and drive system.
But really - is a "LP12" that's built from a Stiletto plinth/top plate, with an alternative subchassis and main bearing (like Edmund Chan's, just to pick one), etc., really a Linn without a single Linn part in it? From a legal perspective, it's obviously not a "Linn LP12." But from a musical/sonic one?
I'd suggest a combination of the single-point bearing, the spring suspension, and belt drive as a starting point. Prior to the Keel and Kore I'd have added a replaceable armboard; obviously not now. I'd also suggest that Linn-ness comes from a degree of synergy between the bearing, suspension, and drive system.
But really - is a "LP12" that's built from a Stiletto plinth/top plate, with an alternative subchassis and main bearing (like Edmund Chan's, just to pick one), etc., really a Linn without a single Linn part in it? From a legal perspective, it's obviously not a "Linn LP12." But from a musical/sonic one?