I’m just chiming in to make you feel worse again, I’ve heard the pair that Richard March has in his shop (RPM Analogue) a couple of times, he’s asking £2100… and he’s right to, they’re fabulous, worth every penny… they are very tidy though.
Yep, and his are in stunning condition, cosmetically and functionally. I’d imagine spares are expensive for them.
I did check with Celestion at the time and they were willing to refurbish the faulty woofer.
Now this is a much more credible post. No one of the decks are a direct copy of the other, they are all an development of the same ideology… The LP12 and RD11 were co developed, although as far as I can see, Linn made a few improvements to the fit and finish quite early on, with a much nicer plinth and generally better finish all round. I suspect this helped cement it’s place as a luxury product for almost fifty years and going… of course the continuous improvements have kept it alive and well, but if it came in the plinth of an RD11, nobody would want one, because they look like they’ve been knocked together from cheap off cuts.
The fact is he’s turntable where ok yet many produced better and well tempered where the best around with sound engineering Sold my LP12 Aro lingo after listening to a well tempered as I felt it was average at best lived with a Rega for a decade or two now own a wtt
Well no, because the parts mostly ARE interchangeable between any LP12, the only “DO NOT MIX” being a Valhalla PSU with a Karousel bearing because of insufficient clearance. No part of any LP12 is interchangeable with an AR XA, because it’s a different deck. You’re clutching at straws here to win a pointless argument. My point/question remains, there are many three point suspended decks out there, many of which came between the AR XA and the LP12, so what makes the Linn a “copy” of the AR and the others not, other than people wanting to have a pop at Linn of course? And as for banding about phrases like “blind Linn LP12 fanboy”, really, it’s the anti Linn brigade that are more obsessive. it really is bizarre, what is the agenda?
Right, my original point, is that Linn are no more guilty of this than the likes of Thorens, in fact the Thorens was a lot closer to the AR deck. In fact Linn did the suspension differently, it’s tuned to damp acoustic vibrations from the speakers rather than footfall and the like, the Linn is actually terrible with footfall because the suspension reacts to it and wobbles all over the plate, but it does do a great job of damping out surface born vibration from speakers. And here’s another thing, Linn, who are accused of trying to lock retailers and customers into their platform, have the most open platform of any turntable manufacturer, you can fit practically any arm, and they don’t seem too bothered about the huge variety of third party modification either.
Well, I’m not a fanboy either and I definitely don’t “blindly accept one company’s gear as superior to another, nowhere have I said or implied anything of the sort ever, that’s just your blind assumption. like you I own a lot of Linn gear, but I own other stuff too, and I’m quick to criticise Linn when I don’t agree with a policy, or I think a product is just poor, and I have done, quite openly.
Precisely!
