LP12 resolution and setup
Posted by: mmhifi on 21 July 2001
I need some opinions of experienced LP12 users
on deck setup. Is it possible to get "dramatic"(and I mean "dramatic"!!!) increase in low-level resolution by tuning suspension or something on "about" right tuned deck with spot-on cartridge setup? My problem is
I had fantastic sounding deck but after some
minor changes and retuning(and after going back to original state) it became "trivial" sounding though not very bad.I suspect cartridge but it's
virtually new(~200 hours).
on deck setup. Is it possible to get "dramatic"(and I mean "dramatic"!!!) increase in low-level resolution by tuning suspension or something on "about" right tuned deck with spot-on cartridge setup? My problem is
I had fantastic sounding deck but after some
minor changes and retuning(and after going back to original state) it became "trivial" sounding though not very bad.I suspect cartridge but it's
virtually new(~200 hours).
LP12/Cirkus/DIY Armageddon/ARO/Klyde/Prefix /Hicap
Posted on: 21 July 2001 by Manu
What have you done yourself exactly. Please explain. Is it the arm board; if it is the case, is it exacly like the Original: the hole at the right place, same size, thickness, MDF....?
With the original, it should be leveled with the plinth, this board and the plater PERFECTLY horizontal. The board and plater should be able to move 1/8" or 3.5mm in ANY direction freely. Suspension screws should be centered in the rubber busching hole. Screws fixing the arm board to the metal plate should be tight (use bigger screws if you can't tight them, but caution you tight in wood). That's some rules for the suspension only.
But there are so much other things to check, it is difficult to ennumerate.
With the original, it should be leveled with the plinth, this board and the plater PERFECTLY horizontal. The board and plater should be able to move 1/8" or 3.5mm in ANY direction freely. Suspension screws should be centered in the rubber busching hole. Screws fixing the arm board to the metal plate should be tight (use bigger screws if you can't tight them, but caution you tight in wood). That's some rules for the suspension only.
But there are so much other things to check, it is difficult to ennumerate.
Good luck, if you have more precise questions feel free to ask.
Emmanuel
Posted on: 22 July 2001 by mmhifi
Well, it's the story. I had Ittok LVII/Valhalla on deck and it made beautiful music. One day my dealer changed it to LVIII and sound immediately gone away. LVII went back but no help. Klyde
was tested at Linn and they said it's normal.
ARO was inserted,things became better but in no way like first Ittok(all manipulations - by dealer). I bought AT OC9, it bettered Klyde
but not much. Valhalla was changed to DIY Armageddon: massive improvement, OC9 began make music, Klyde not though things improved. Vibroisolation improved: massive improvement in detail and transients on both carts. 50% of original performance on OC9(though tonal quality
may be much better) and 25% on Klyde.
Such sad story. It's hard to me to beleive Klyde
is bad, but AT outperforms it all the time and I
suspect setup fault all the time...
was tested at Linn and they said it's normal.
ARO was inserted,things became better but in no way like first Ittok(all manipulations - by dealer). I bought AT OC9, it bettered Klyde
but not much. Valhalla was changed to DIY Armageddon: massive improvement, OC9 began make music, Klyde not though things improved. Vibroisolation improved: massive improvement in detail and transients on both carts. 50% of original performance on OC9(though tonal quality
may be much better) and 25% on Klyde.
Such sad story. It's hard to me to beleive Klyde
is bad, but AT outperforms it all the time and I
suspect setup fault all the time...
Posted on: 22 July 2001 by Phil Barry
My experience is that an ARO installed and setup by former Linn dealer/self-proclaimed Linn expert is immensely better than an Ittok VII set up by current delear/self-proclaimed Linn expert.
If the ARO didn't bring some bliss, something is wrong, and it's probably setup.
Best of luck.
Phil
Posted on: 23 July 2001 by Rockingdoc
How can you tell if your dealer is any good at LP12 setup? Sometimes mine comes back sounding good, sometimes not.
I'm usually quite capable, and feel sure that the mechanics of an LP12 are within my abilities. I would be able to spend much more time tuning than the dealer could reasonably afford.
I obviously don't have a Linn jig (any DIY ideas).
I want to join the ranks of LP12 tweakers, but searches on this forum and elsewhere have not provided me with a clear list of set-up instructions. Where is the definitive set-up site? Why don't Linn post one?
I'm usually quite capable, and feel sure that the mechanics of an LP12 are within my abilities. I would be able to spend much more time tuning than the dealer could reasonably afford.
I obviously don't have a Linn jig (any DIY ideas).
I want to join the ranks of LP12 tweakers, but searches on this forum and elsewhere have not provided me with a clear list of set-up instructions. Where is the definitive set-up site? Why don't Linn post one?
Posted on: 23 July 2001 by Mark Dunn
Colin et al:
However, to get the best out of an LP12 takes some experience. I'm not saying there's an 'art' or any black magic, just that like so many other activities, practice makes perfect.
I was actually Linn factory trained on the LP12 but I've have found that the most often touted set-up points, like springs and 'P' clip are only about 60% of the puzzle. The correct tightness of *all* of the nuts, bolts and screws makes a big difference which is especially noticeable as the arm, cartridge and motor supply get better, - which is logical, I suppose.
Also, for those with an ARO, the tightness of the ARO's base to armboard interface appears critical. As the armboard is somewhat compressible, I tightened the base as much as possible with the supplied spanners (known as wrenches for those here in the U.S.), left it to settle for a couple of days and then retightened. The base turned over one half a turn more. Leaving it to settle after that made no difference.
Best Regards,
Mark Dunnn
However, to get the best out of an LP12 takes some experience. I'm not saying there's an 'art' or any black magic, just that like so many other activities, practice makes perfect.
I was actually Linn factory trained on the LP12 but I've have found that the most often touted set-up points, like springs and 'P' clip are only about 60% of the puzzle. The correct tightness of *all* of the nuts, bolts and screws makes a big difference which is especially noticeable as the arm, cartridge and motor supply get better, - which is logical, I suppose.
Also, for those with an ARO, the tightness of the ARO's base to armboard interface appears critical. As the armboard is somewhat compressible, I tightened the base as much as possible with the supplied spanners (known as wrenches for those here in the U.S.), left it to settle for a couple of days and then retightened. The base turned over one half a turn more. Leaving it to settle after that made no difference.
Best Regards,
Mark Dunnn
Posted on: 24 July 2001 by Hermann
Hi mmhifi
look at this link. There is a setup description that may help.
http://www.sondek-turntable.com/index.htm
enjoy it
Hermann