At first, the isorel base was simply a protection against the risk of electrical contact, causing a resonance box on the LP12. Linn later modified the isorel base with a less resonant Bakelite base, then Trampoline 1. Linn then released Trampoline 2, designed to make the LP12 less dependent on solid supports. Trampoline 2 in thick aluminum fixed by 10 screws reinforced the LP12's rigidity. Opinions vary according to experience and sensitivity. Personally, Trampoline 2 suits me with the LP12 on a light, rigid Audiotec-type stand; the listening range from bass to treble is clearly more defined and ample. I had tried the lp12 position, without the mini rubber feet, on 3 and 4 firmer cones, but ended up abandoning the spike principle.
Can the Linn Trampolin 2 be detrimental in some circumstances or merely superfluous?
- Thread starter retseldrib
- Start date
Gratitude to this thread's contributors. I was really happy with my LP12 (Greenstreet chassis, Vinyl Passion top plate, Mober motor and supply, Karousel bearing, InSoles, ARO and Troika). One of the few Linn parts still remaining was a Trampolin 2. The deck is on a glass wall mounted shelf.
Reading the thread, I tried raising the deck off the Trampolin feet by supporting the deck on 4 small MDF blocks (leaving the Trampolin on for now). OMG, what a revelation. Played side 1 of The Wall, phenomenal, bass became rock solid and seemed to go an octave lower. imaging was better and the dynamics better, kick drums sounded like they were in the room. I am a convert to the solid hard foot mounting of the Linn, and can't believe how much the Trampolin sprung base was affecting the sonics.
I'll probably leave the Trampolin on minus the rubber feet as it certainly increased the rigidity of the frame.
Reading the thread, I tried raising the deck off the Trampolin feet by supporting the deck on 4 small MDF blocks (leaving the Trampolin on for now). OMG, what a revelation. Played side 1 of The Wall, phenomenal, bass became rock solid and seemed to go an octave lower. imaging was better and the dynamics better, kick drums sounded like they were in the room. I am a convert to the solid hard foot mounting of the Linn, and can't believe how much the Trampolin sprung base was affecting the sonics.
I'll probably leave the Trampolin on minus the rubber feet as it certainly increased the rigidity of the frame.
SONDEKNZ
Kiwi, now living in Hangzhou, CHINA
Many thanks for reporting back, Martin.
What impresses me most is that you actually tried this stuff - as suggested earlier in the thread - and permitted your ears to decide.
Your comments concur with my own findings and mirrored by @MVV , @John and others above: that the LP12 suspension - springless or sprung - works superbly well, as long as there is nothing impeding the plinth's vibration "drain" system.
Well played - and great outcome!
SONDEKNZ
Kiwi, now living in Hangzhou, CHINA
I gravitated to bolting brass cones to a modified Linn Solid baseboard with the goal of draining motor vibrations from the deck to a Symposium Segue absorption platform. Rubber feet impede the the vibrations from exiting the deck.
What a honey of a deck!
retseldrib
pfm Member
I presume that the grey plinth is also on spikes?I gravitated to bolting brass cones to a modified Linn Solid baseboard with the goal of draining motor vibrations from the deck to a Symposium Segue absorption platform. Rubber feet impede the vibrations from exiting the deck.
John
Rack’em Up!
Yes, the Symposium Segue absorption platform sits on spikes and replaced the Mana float glass that was there previously.
retseldrib
pfm Member
Just removed the sorbathane plinth and the glass plinth just leaving the dedicated Project Isolation Platform
I will report back on my findings later
I will report back on my findings later
seyles
Retired Child
I have a Tramp2 fitted, seemed to improve things for me as my LP12 is on a heavy sideboard, this was compared to the hardboard base and standard feet.
Eventually I'll get it on a wall shelf and I will try the solid/cone methods as described on this thread; I'll keep the Tramp2 base on and remove the feet from it (I like the solid aluminium mounting and have a Hercules PSU and small children).
Eventually I'll get it on a wall shelf and I will try the solid/cone methods as described on this thread; I'll keep the Tramp2 base on and remove the feet from it (I like the solid aluminium mounting and have a Hercules PSU and small children).
SONDEKNZ
Kiwi, now living in Hangzhou, CHINA
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I bought a new Majik late last year and I own a Valhalla back in 1984. In those pre-internet days, there were always rumor's that it sounded better without the baseboard though I never try because of the exposed PS board. Mind you, the new standard baseboard is make of aluminum.
My whole system is sitting on a massive built-in bookcase on 1 wall. Based on the advise of fellow fishes last year, my new LP12 was sitting directly without baseboard on the cross beam of a old magazine rack which is lying on its side. It's light weight, made of wood and the footprint fits perfectly. Its kind of like a mini Linn jig. I have 2 dedicated TT stand but I did not use it because of space issue. This setup enables me to access the underside of the TT with minimum risk of electric shock because there were hardly any exposed AC joints. So far, I haven't found the need to fiddle with the suspension rather than the initial adjustment . I am presently surprise that the new LP12 is quite stable compare to the old one and musically enough for my old ears.
Last but not the least, I want to post a picture (from the download file) but had problem doing so. Please advise.
My whole system is sitting on a massive built-in bookcase on 1 wall. Based on the advise of fellow fishes last year, my new LP12 was sitting directly without baseboard on the cross beam of a old magazine rack which is lying on its side. It's light weight, made of wood and the footprint fits perfectly. Its kind of like a mini Linn jig. I have 2 dedicated TT stand but I did not use it because of space issue. This setup enables me to access the underside of the TT with minimum risk of electric shock because there were hardly any exposed AC joints. So far, I haven't found the need to fiddle with the suspension rather than the initial adjustment . I am presently surprise that the new LP12 is quite stable compare to the old one and musically enough for my old ears.
Last but not the least, I want to post a picture (from the download file) but had problem doing so. Please advise.
Sue Pertwee-Tyr
Accuphase all the way down
Rather than spend >£200 on the Tramp2, I’d be tempted to put it towards a more expensive plinth, namely the Booplinth. That extra rigidity pays dividends.
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retseldrib
pfm Member
I would with all of these things but its getting someone to fit them for me.
EDIT - Just seen that there is a dealer Audio T within an hour or so of me for fitting but that is a lot of money for a plinth.
Have you got one? Do you agree with the review - better than a keel and radikal put together - thats a claim and a half?
Sue Pertwee-Tyr
Accuphase all the way down
I haven't got one, but somebody I know has, and rates it very highly. I'm inclined to agree with them. I do intend to get one for my LP12 in due course.
retseldrib
pfm Member
Just removed the sorbathane plinth and the glass plinth just leaving the dedicated Project Isolation Platform
I will report back on my findings later
I am reasonably sure that the LP12 sounds better with the sorbathane and glass plinth in between.
Removing the plinths - an vice versa - took around 15 minutes to do so.
Without the extra plinths I had initially thought everything sounded tighter but when I turned the volume up to my normal (loud) level of listening the bass became very full to the point that I needed to reduce the volume. With the plinths back in place I was able to listen to the LP12 at my normal louder volume.
My rack is on spikes but extremely heavy and rigid of course so am not sure if this was the cause?
When I get the time I will try the experiment again but with another set of ears.
NickofWimbledon
pfm Member
It’s funny you should say that…
I am a happy owner of a Stiletto with a Skorpion baseboard and a Keel and a Radikal, after decades of LP12 ownership. Having heard LP12s with various power and sub-chassis choices, including changing a very old Linn plinth for a newer cherry one some years ago, I am convinced that plinths do affect SQ.
However, I am not convinced that any plinth change (even one as radical as going all aluminium) is as big a gain in SQ as going from Kore to Keel or from Lingo to Radikal.
Other ears may give other results of course.
retseldrib
pfm Member
I have a non corner braced 1981 plinth/ top plate and original base board with a majik sub-chassis, Karousel and lingo 4; have decided to get a new cherry plinth with top plate and base board (fixed or otherwise), a kore and get my Ittok upgraded with new bearings and a rewire.
Its interesting that you noticed a sound quality change going from an old to new plinth - can you remember how it changed? Thanks
NickofWimbledon
pfm Member
I’ll do my best…
IIRC , big and/or fast bass stuff was less vague (and so more effective and pacy). Taking my speakers off spikes and putting Gaias between them and my bouncy wooden floor had a cruder effect, but not a wholly dissimilar one.
There was a real but less obvious improvement in (say) Joan Baez’s highest bits - the stereo image stayed cleaner and higher-pitched voices, strings and woodwind all tended to get sweet (if you see what I mean) only when appropriate, not (when compared to CD) applying some degree or other of the same tint to lots of different music.
Add a bit more of both effects to a reduction in the sort of background noise that you only notice when it leaves (and makes more detail audible) and you have my best stab at what a Stiletto sounds like. The foot doesn’t tap any less and conversations still get broken up by sudden musical distraction- just as they should - but the proportion of your favourite music that is a bit clearer AND a bit more enjoyable on vinyl goes up.
if you regard the pre-Cirkus and Valhalla sound as what you buy an LP12 for, Karousel, Keel and Radikal may all be be equally pointless. In that case, my guess is that a better damped plinth (with corner bracing?) could still be an improvement, but not a dramatic one (unless your plinth is a bit wonky or the feet a bit knackered). You might not like it any more at all.
If instead you want to keep what an LP12 does, and a Gyrodek or Technics doesn’t quite do, but you also want less noise, less bass bias, better stereo image, cleaner and faster bass when it is on the vinyl and so on, I still wouldn’t change my plinth without first at least thinking about sub-chassis, power supply and bearing. However, if you have got those things just how you want them, a change of plinth can make sense too.
Otoh, even if it didn’t sound 0.01% better, there are a lot of beautiful plinths out there. I’d have no shame changing a plinth just because looking at the new one pleased me.
In your case, the fact you have Karousel and Lingo 4 (both excellent imho) suggests that what you want from an upgrade is pretty similar to what I wanted a while ago. What is more, the lack of corner braces would encourage me to change - a lot of older and unbraced plinths are a fraction smaller as I understand it (making some possible future changes problematic at best) and they can warp fractionally (my first black ash one was by the end a couple mm off square just from time in a living room.