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Do record clamps make a positive difference?

lp12's weren't originally designed to be used with one piece subchassis either, but hey presto....
 
Fair point. Linn used to actively promote the idea that the arm board had to be only lightly coupled to the chassis - these days they have done a complete U-turn on that idea...
 
Fair point. Linn used to actively promote the idea that the arm board had to be only lightly coupled to the chassis - these days they have done a complete U-turn on that idea...

Really? What do you mean by lightly coupled?

With a new arm board those three screws can be tightened very tight. Are you suggesting Linn recommended the arm board be loosely attached?
 
In Linn's LP12 dealer setup instruction guide they state that the three screws should only be lightly nipped up. In addition, in the past, I have attended a number of Linn demonstrations where the Linn rep stated that the purpose of the three small screws was to allow a 'lossy' coupling between the armboard and the chassis.

This isn't new information - Linn used to claim that improving the bond between the armboard and the chassis sounded worse - people were experimenting with bolting and gluing the two together 30 years ago.
 
I think the biggest problem with a record clamp is that it attaches to the spindle, which is directly joined to the bearing and inevitably creates some noise. If the record clamp can help flatten warped records allowing them to play, they are useful in that specific case, otherwise they probably just introduce more noise.
 
I never heard any noticeable difference on my Systemdek IIxe and agree with the earlier post that it's drowned out by other factors in the set up (eg spindle oil being something I heard make a positive difference when set to the correct level using decent TT bearing oil).
 
lp12's weren't originally designed to be used with one piece subchassis either, but hey presto....

I would guess that the previous use of a fibre-board arm board and the somewhat crappy pressed steel sub-frame, was simply a compromise based on time and cost.

Later when engineering resource was assigned to improve the design, they came up with a more rigid and inert one piece solution, which is machined from solid billet.

So you get improvements to the design, albeit at a cost.
 
My take will be that if the clamp comes with the table, use it. If not, don't bother. Even on my table the Immedia RPM2 which comes with it's own clamp, I have tried different clamps of heavier mass and concluded stock clamp is the best in terms of having a more balanced presentation and not sacrificing musicality.
 
I would guess that the previous use of a fibre-board arm board and the somewhat crappy pressed steel sub-frame, was simply a compromise based on time and cost.

Later when engineering resource was assigned to improve the design, they came up with a more rigid and inert one piece solution, which is machined from solid billet.

So you get improvements to the design, albeit at a cost.

Which is my point exactly, an LP12 isn't a fixed thing, but a moving design target and what may have been 'the law' 30 years ago need not be the case today.
 


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