嚦嚦二世
LP12 SE is probably a LP12 equipped with a keel sub chassis and a Ekos SE tonearm as well as a new baseboard

regarding PS for a turntable, an article I read said the origin live PS kit(may be applicable to other TT PS) keeps stable current to DC motor, and entertains extra power needs caused by extra drag force induce by stylus when playing loud passage of a song.....something like that, I am not sure i understand that correctly or remember that correctly....maybe that's why the expensive PS(be it lingo or ....etc) can make better sound and different sound...?

regarding supports for LP12, english suggest light table or wall mount support.....some said never use heavy rack under LP12.....any experience/thoughts to share?

Dennis told me that the father of designer of LP12 used to work for Rolls and Royce. Therefore, he knows very well how to design the best bearings and platter for LP12.
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Blue-ray,

How does the father working in Rolls Royce related to the son making bearings? I worked for a well-known engineering company but my son is a musician, knows a zilch about engineering.

And is Rolls Royce well known for bearings? I was told the chassis for Rolls Royce was from Volvo and the suspensions from Citroen.

CP,
The most popular weg site for Linn LP12 fans are as follow:
I copy an abstract for your reading.

http://www.n.mackie.btinternet.co.uk/linn/tlp12faq.html#history

"There used to be another saying that " Hamish Robertson who designed the Ariston RD11 was by nature a drinking man and not an entrepreneur. There came into his life a certain Ivor Tiefenbrun who suggested that his fathers' firm, from memory I think was called Castle Engineering, could machine parts for the Ariston turntable. Hamish accepted the offer and soon the product rolled of Ivor's production line."

When Dennis told me that, I have reason to believe that Castle Engineering was one of Rolls Royce vendor which supply parts to Rolls Royce. I recall form my mind that I used to read an article on the net which saying something how it related with Rolls Royce. I couldn’t find it this time.
Dennis , please supplement the missing part. Thanks.

Blue-ray,

Picture showing Jack Yan Tiefenbrun (second from right), founder of Castle Precision Engineering (Glasgow) Limited and Textile Engineering Company, and of course father of Ivor Tiefenbrun.

Castle is a subcontractor of Rolls Royce, National Nuclear Energy Authority, British Aerospace ...... supplying tools, production jigs etc. There are quite a number of these precision engineering firms just like the plastic die & mold making shops in Tsuen Wan back in the 70's in Hong Kong. Just one precision lathe or milling machine will do the job. Of course nowadays we all talk about CNC, jig borer etc. But even the machine shop in my son's school has a 5-1/2 axis CNC jig borer. What I'm saying is there is nothing special about Ivor Tiefenbrun having a connection with such shop nor will this add any credibility to Linn as all other turntable manufacturers are using this kind of shops. The success of LP12 does not lie in its bearing or its machining quality.

I have replaced the stock power cord of my Hercules powered Linn LP12 with a DIY cable made of 5N pure silver wires terminated in IeGO pure silver AC plug. The external tonearm cable for the Ittok has also been changed with a DIY silver/gold alloy one with silver Bullet plugs. Now, the combination has lifted the performance of this turntable comparable to a Lingo powered LP12 with Ekos. I still could not figure out why the silver power cable has advanced the overall performance of the AC motor to another high level in sound quality? This has not been my illusion or imagination but evidence supported by lengthy and repeated listening. I am looking forward to finding a suitable tonearm wire for making a continuous length of cable running from the cartridge tags to phono plugs to see how much performance I can further improve to the Ittok?

KXX123, How does the silver power cable improves the sound of your LP12? your LP12 looks very nice. What cartridge/phono combination are you using?

:-)
http://www.stereo.net.au/forum/uploads/post-1288-1161416062_thumb.jpg

uat, nice setup.

At the moment I am using an AT OC9 cartridge on that particular turntable with a Salience phono stage. I think the Salience surpasses the performance of the Era Gold & ESP combination and others in many respects.
The silver power cable improves upon the stock cable in every area, especially the overall transparency and solidity, minute details in the treble, mid band clarity and expressiveness, bass power, control and definition and better imaging and sound stage. It seems the silver cable alone advances the performance of the stock Vahalla LP12, to such extent, that you may think a Lingo is being used instead and the huge improvement is beyond my expectations. My modification/upgrade with the power and tonearm cables might not be approved by many Linn owners and dealers but any one who has the courage to explore will find it rewarding after all.

kcc123

I am not a "linn-factory-approved-only" believer, but still find it quite interesting to hear a power cable brings such huge effects on valhalla power supply....while silver tonearm cable improves sounds of the system is within expectation.

how do you support your LP12?

I used to use a Target stand for the deck but I have recently put it on a different equipment rack with a 20mm. piece of slate on top. The slate is a natural material composed of multiple sedimentary layers and is denser and stable than wood. It has properties which are ideal for damping and insulation purposes and considered by many to be superior to marbles and other stones. Now, even World Designs has come up with a Slatedeck Plinth for the Garrard and Lenco turntables. I am still evaluating it at the moment but the impressions have been good so far.

I always hear that the LP12 should be placed on light weight support(rack), I am not sure whether this only applies to UK users where they usually have wobble wooden floor instead of concret floor we have in HK. Some LP12 friends in UK suggest Ikea LACK coffee table, I use it and find the sound of LP12 more"relax" but lost some speed and bass attack......Of course the quality of LACK is a factor that downgraded the sound of my LP12 in some ways. The question is whether LP12 should be place on light weight rack based on what theory?

Whether the LP12 should be placed on a light weight stand /wall shelf or a stable & high mass platform is open to debate and it will provoke endless arguments due to different perspectives, perceptions and believes or whatsoever. I am open- minded and adventurous enough to try to find out the truth, without any bias, which has been bordering us for years. But at the end, I may still not know the answer because of many subjective and objective issues within different circumstances. I am looking forward to any rational response from someone who is more knowledgeable and able to resolve that.

I am of the view that all equipments should be placed on solid stable support. The suspension of the LP12 itself should be able to deal with any vibration that couldn't be filtered by the rack. At least I found the LP12 sound better on my old solidsteel rack (which is also occupied by other heavy components such as power amp) than on a light weight coffee table

Hi, Linn fans, may I join the club for some experience sharing. I did not start my Linn LP12 adventure for long, only about a year ago. Previously being a Thorens and SME fan but owning a Linn LP has always been my goal since the young days. It is of course a dream to own a brand new set but not without cutting deep to the bank account of no less than $100K. Whether you consider it worthy of the money is up to individual consideration. I've however turned to the 2nd hand market in UK and been successful in acquiring quite a few good condition LP 12's for myself and my friends, with Cirkus bearing upgrade, even a Rosewood plinth and a much sought after late version Ittok VIII. There was ample supply of LP 12's at end of last year, but stock seems to have run dry beginning early this year. Of course, the 2nd hand LP 12 and the tonearm when received will need to undergo major servicing and overhaul before putting to play. The process includes changing to a Hercules PSU, replacing with a new motor, new armboard and tonearm cable, fresh black oil and if found necessary replacing the suspension springs as well. The total cost of a reburished LP 12 system is still more attractive than a brand new one. The existing LP 12 in my system has the Cirkus bearing, Ekos I tonearm upgraded to the II spec and an early version Lingo PSU. I am using the Ortofon Rohmann phono with the T1000 transformer and EAR 834P phono amp. So far, I am happy with the sound coming out from it but certainly will continue with the ongoing fine tuning.

I am using LP12. Sound is superb midband performance and clean, extended treble, taut bass.
Someone say LP12 is not good for the bass than hard turntable and suspension springs should be turn often, but I don't agree.
In my case, I turn the suspnsion springs once in one year ago when I install the new torname. I belive that if the springs is turn finish in good position, it is no need to turn again if your LP12's torname no any change.

boy168 hing,
Don't forget the grommets are made by rubber and the weight are uneven!

Just my two cents.

et2 hing,

I already solve the problem about the weight uneven. It's work on LP12. but thanks your two point.

boy168 hing,

Well done and did you solve the deform problem of rubber?

No, but don't care about this. I think it's only a little thing to effect the sound.

Note: Some people is 太過于鑽牛角尖, it will let themself only focus machines/parts. And lose to enjoy music.