LP12
Posted by: plynnplynn on 06 May 2002
Since a number of threads have made reference to the LP12 recently I thought that continuance of that theme was appropriate.
The most recent Hi-Fi+ (Issue 17) had an article on sourcing a used LP12. The following is the 'bones' of some of the more 'controversial aspects' of the article. Not my opinion - just my interpretation of what is in the articles written by Jimmy Hughes and Roy Gregory. My apologies to Mr Hughes and Mr Gregory if I misinterpret their analyses at any point.
Early LP12 - very heavy platter, one-piece ribbed sub-chassis, foam damped springs, motor mounted on cork gasket. The sound was rich, full, warm, strong and it had a powerful bottom end.
Upgrades to early LP12 made it sound leaner and incisive to match perceived wishes of the hifi world at the time. The Lingo power supply upgrade/downgrade radically altered the sound of the deck to make it a shade dry and thin. The early LP12s had the classical vinyl sound whereas the upgrades made the LP12 sound more CD-like.
Some of the changes which were made to successive 'generations' of LP12s introduced problems eg noisy motor bracket assemby. Some of the expensive changes may well have made little difference. Proper set-up of the LP12 could have made more of a difference than the changes, modifications and updates. The LP12 requires greater care in setting up that most other record decks.
Combinations of commonly installed arms and cartridges proved to be more successful/compatible than others with certain vintages of LP12. eg the pre-Valhalla LP12 with Grace G707 arm and Supex 900 had a certain magic. Upgrade to Ittok/Asak arm/cartridge didn't really work. (Ittok - rich and bass heavy didn't gel with Asak as the Asak had a tendency to lose its sparkle within weeks). The Ittok and the Ekos arms also compress the rear left spring and this can skew the suspension. Perhaps the lighter Grace G707 was better suited to the LP12!
The Syrinxs tonearm had reliability problems, the Zeta and Mechanics were too heavy and Akito and early Ekoses had bearing problems
The original Valhalla upgrade which in effect added some electronics in the form of an additional board to the LP12 to provide the motor with a cleaner supply added an electronic 'edge' to the sound. Later power supplies like the Lingo and the Pink Linnk were however more successful in this regard.
The Cirkus upgrade was perhaps the most controversial of all the upgrades - changing the sound of the deck by more than any other upgrade. It moved it to a more detailed but perhaps less involving performance. This upgrade included new bearing, new sub-chassis and new sub-platter.
Use of the Trampolin support base is also a controversial 'upgrade' and provides a less than convincing answer to the problem of positioning the LP12.
The structure of the belt used to drive the platter changed from a fairly thick, smooth and inflexible belt to one which was rougher and more compliant. Some considered this contentious.
Problems could also occur in the set-up of the LP12 due to platter/armboard misalignment which could happen in transit for a variety of reasons. Earlier LP12s were shipped with the inner platter fitted into the main bearing. A short sharp shock could cause the sub-chassis to bend at the centre bearing. A solution used was to add a strengthening beam which applied pressure to compensate for any bend in the sub-chassis. The welding itself could cause other problems.
Messrs Gregory and Hughes conclude that care in set-up is fundamentally important if you want your LP12 to sing for you. For £100 a good dealer will do that. Gregory concludes that you can't do much better than a well set-up LP12.
The next issue of Hi-Fi+ continues to look at second-hand LP12 possibilities and considers Naim's Armageddon version and Russ Andrews' Torlyte modified deck.
For the full and accurate story see Issue 17 of Hi-Fi+.
As I have never owned or used an LP12 I hope my summary does not have any fundamental gaffs.
I thought that the Hi-Fi+ article was controversial enough to stimulate some of the LP12 owners into a lively debate. Over to you.
Terry
The most recent Hi-Fi+ (Issue 17) had an article on sourcing a used LP12. The following is the 'bones' of some of the more 'controversial aspects' of the article. Not my opinion - just my interpretation of what is in the articles written by Jimmy Hughes and Roy Gregory. My apologies to Mr Hughes and Mr Gregory if I misinterpret their analyses at any point.
Early LP12 - very heavy platter, one-piece ribbed sub-chassis, foam damped springs, motor mounted on cork gasket. The sound was rich, full, warm, strong and it had a powerful bottom end.
Upgrades to early LP12 made it sound leaner and incisive to match perceived wishes of the hifi world at the time. The Lingo power supply upgrade/downgrade radically altered the sound of the deck to make it a shade dry and thin. The early LP12s had the classical vinyl sound whereas the upgrades made the LP12 sound more CD-like.
Some of the changes which were made to successive 'generations' of LP12s introduced problems eg noisy motor bracket assemby. Some of the expensive changes may well have made little difference. Proper set-up of the LP12 could have made more of a difference than the changes, modifications and updates. The LP12 requires greater care in setting up that most other record decks.
Combinations of commonly installed arms and cartridges proved to be more successful/compatible than others with certain vintages of LP12. eg the pre-Valhalla LP12 with Grace G707 arm and Supex 900 had a certain magic. Upgrade to Ittok/Asak arm/cartridge didn't really work. (Ittok - rich and bass heavy didn't gel with Asak as the Asak had a tendency to lose its sparkle within weeks). The Ittok and the Ekos arms also compress the rear left spring and this can skew the suspension. Perhaps the lighter Grace G707 was better suited to the LP12!
The Syrinxs tonearm had reliability problems, the Zeta and Mechanics were too heavy and Akito and early Ekoses had bearing problems
The original Valhalla upgrade which in effect added some electronics in the form of an additional board to the LP12 to provide the motor with a cleaner supply added an electronic 'edge' to the sound. Later power supplies like the Lingo and the Pink Linnk were however more successful in this regard.
The Cirkus upgrade was perhaps the most controversial of all the upgrades - changing the sound of the deck by more than any other upgrade. It moved it to a more detailed but perhaps less involving performance. This upgrade included new bearing, new sub-chassis and new sub-platter.
Use of the Trampolin support base is also a controversial 'upgrade' and provides a less than convincing answer to the problem of positioning the LP12.
The structure of the belt used to drive the platter changed from a fairly thick, smooth and inflexible belt to one which was rougher and more compliant. Some considered this contentious.
Problems could also occur in the set-up of the LP12 due to platter/armboard misalignment which could happen in transit for a variety of reasons. Earlier LP12s were shipped with the inner platter fitted into the main bearing. A short sharp shock could cause the sub-chassis to bend at the centre bearing. A solution used was to add a strengthening beam which applied pressure to compensate for any bend in the sub-chassis. The welding itself could cause other problems.
Messrs Gregory and Hughes conclude that care in set-up is fundamentally important if you want your LP12 to sing for you. For £100 a good dealer will do that. Gregory concludes that you can't do much better than a well set-up LP12.
The next issue of Hi-Fi+ continues to look at second-hand LP12 possibilities and considers Naim's Armageddon version and Russ Andrews' Torlyte modified deck.
For the full and accurate story see Issue 17 of Hi-Fi+.
As I have never owned or used an LP12 I hope my summary does not have any fundamental gaffs.
I thought that the Hi-Fi+ article was controversial enough to stimulate some of the LP12 owners into a lively debate. Over to you.
Terry