I haven't seen those comments. I certainly think the LP12 has a unique sound and that the springs have something to do with it. A while back I noticed that all of the Stack Audio LP12 parts are listed as 'out of stock' on their website. Turns out he's dropped all of his LP12 products but the reason is interesting. Theo is obsessed with reducing colouration and primarily employs damping of one sort or another to do it. He realised that the LP12 is inherently coloured and if you reduce that colouration too much it stops being an LP12!
I think this is exactly right. The RP10 I had was less coloured than an LP12 but it also sounded less like real life. With a well sorted LP12 it's easy to lose yourself in the feeling that you are listening to real artists and real instruments. Most systems don't do that.
The main reason I don't want to try anything else is that my LP12 sounds great. The last two changes were upgrading the Minos to Zeus and getting a Rega Ania Pro cartridge. It's all just clicked into place. It wasn't bad before but it sounds so right I don't need it to be any better or want it to sound any different.
Yes. Sad to see that Theo is pulling out of LP12 bits and bobs. His Alto sub-chassis really is a thing of beauty.
I can agree with you about the unhealthy removal of playback "colourations" - to a point.
For example, I prefer CLASS-A tube amplification with minimal feedback. To my ears it adds some flesh and blood to my music.
I dick around with different amplifier operating points and various feedback approaches enough to understand how these variations impact sound.
Triode-operated tubes with a smidgen of Global Negative Feedback just sound more lifelike - versus other solid-state offerings - to me, but perhaps not to others.
The problem with the colouration reasoning relating to a turntable, is the PSU.
A lesser PSU - one that cannot maintain constant speed - adds more colouration than most people realise.
I do accept that some might enjoy this colouration. Fine with me - but I do not.
Each time my speed control has improved, my LP12 playback has improved - dramatically!
Which brings us back to the mushrooms: IMHO, the springless approach using silicone mushrooms is all about improving speed consistency, at the micro-level.
It's not about changing the sound or getting rid of the (infernal) bouncy platter - that's just a sideline benefit!
- and it's certainly not about removing the superb LP12 suspended isolation.
From all the ink that has been spilled about the springless LP12 - across this and many other forums - I think most are beginning to get that now.
Next time you are in Hangzhou Mr Pig, you are cordially invited for a listen...
Mushroom soup with no added colouring!