Ah ok. I’ll be interested in what you find and the cure 
I think a black fluted plinth is possibly the only plinth I might be tempted to change to in future. Your Stiletto does look amazing but the corners look a bit sharp.
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I believe I have seen people posting on here, about using a ‘longer’ (Naim) SNAIC with a Prefix. Guess it was a special order maybe…?
I guess so. I think 1.25m for a Snaic is tops according to Naim though. That really limits where you can place your TT/Prefix and amp if you are powering it from the amp. I suppose the only real option to move the tt away from the pre is to use a hicap which gives you the extra interconnect length. You still have to find somewhere for the hc though, at least it’s small’ish.
I liked my original no -fluted black ash for being 100% purposeful. There are lots of beautiful non-fluted wood too - and that’s just on this thread.
Visually, the fluted Stiletto hasn’t grown on me yet, but I expect that it will.
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My first LP12 was unfluted light oak. I hated fluted plinths at the time as looking old fashioned. My current of the last 11 years is fluted Afromosia. It wasn’t what I wanted originally but it was the right spec at the time and I considered changing it to unfluted black. Now, I couldn’t imagine not having a fluted plinth. Whether it has grown on me or I just changed I don’t know.
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Yep, just confirms that using a snaic longer than 1.25m will make bad things happen.
That looks stunning, great job 
In the past Graham…
Paul, It is possible to re-route the 5 pin SNAIC differently and diagonally to the cable exit in the plinth and this will gain you about 7cm of length which should help you.
Anyway, not withstanding the necessary Fraim re-deployment, I’m pleased you like how your LP12/Aro sounds and the Prefix will settle down in the coming weeks after it’s ClassA service I am sure.
KR,
Peter
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Some clarification if I may: The top plate when brought separately as in the picture, or when attached to a complete LP12 brought from the factory, is bent, deliberately, so as both KJC and Diggy have said. However, the degree of bending/amount of bending can vary quite a lot and is dependant on getting a good, non resonant fit to the plinth it is being fitted to.
The fit of the top plate in the motor corner is crucial to sound quality! Other areas, like adjacent to the arm board, or by the switch are still important, but less so, relative to the motor corner.
It is also fair to say that generally greater dishing of the top plates is more often the case with older pre-corner bolt top plates. Linn introduced the corner bolt to make life easier for retailers fitting top plates and setting up LP12s, as many were not inclined to try and improve the fit as it can be quite a job 
. As a consequence of this, sound quality could vary and the corner bolt introduction really helped in improving consistency of set up and sound… Provided that the corner bolt is not over-tightened of course! 
IMHO and in summary, getting the top plate correctly fitted is absolutely key to LP12 sound quality.
KR
Peter
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That’s the easy bit.
Moving boxes and changing connections and playing with cables has helped a lot in making the buzz quieter, but the job is not done. So far…
RCA-BNC adaptors are a good temporary measure, but really not great for SQ (no surprise).
The Superline can’t be within 50cm or so of the Radikal OR the Supercap, but being close to the preamp itself is no problem.
A Lingo 4 worked best plugged into my house mains, withe the rest of a dedicated radial supply. The Radikal doesn’t like that at all and it contributed a lot to the buzz - much better in a socket from the radial.
The Radikal works fine on the floor - early indications suggest that not being on a shelf at all means it benefits from some isolation under it, but the use of the RCA/BNC adaptors means I am not drawing useful conclusions about that sort of finer detail yet.
After lot of trials, the Supercap is quietest on a shelf, but as low as poss.
The CD player can go on the right (above various power supplies) without audible effect, but the 52 can’t.
Getting anything sensitive close to an olive PS is more of a problem that getting equally close to a DR version.
Having the cables between 300DR and its PS largely on the floor seems to have no audible effect, but deliberately bad cable dressing creates/ exacerbates exactly the sort of hum/ buzz that we are targeting.
Touching the Ekos headshell has no effect.
I am surprised that the Radikal seems so much more sensitive (and willing to hum) than the Lingo 4’d LP12, but the fact that the hum is now is much quieter suggests that it is, and that more faffing about will probably fix the problem completely.
More relevantly, my Superline seems to get quieter for a shift of a few mm and a few degrees in orientation. I don’t remember it being even nearly that sensitive before the multiple movements and unpluggings it has endured in the last few weeks.
It is thus possible that I have 3 causes for SQ problems here - as well as (a) what seems to be greater sensitivity to placement generally when using a Radikal, and (b) the dubious trade-offs in that Phonopipe arm lead and its odd RCAs, I may have (c) a fault in my Superline.
I think that I have done all I can do until Infidelity visit on Thursday.
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On my LP12 serial number 1454708 you can see the round outline of the bolt top corner left underneath the top plate.
If you mean a dimple from the top it’s too tight.
My deck doesn’t have the corner bolt. 
So how would this affect the playing of a disc?
This seems to be turning into a bit of an Odyssey Nick
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