Thank you.
It’s about the only part of my original deck since 1987.
I still have the plinth, top plate, lid, and crossmember.
But every time Peter Swain comes to visit something changes. 
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I have had my Linn LP12 for about 40 years. I think that the hinges for the lid are all that’s left of the deck that I bought from Howard Popeck of Subjective Audio in Camden 40-odd years ago.
But I’m buying a second one, brand new!
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My fruitbox has a slightly faded afromosia plinth with a few little imperfections. The platter is also faded and it’s looking worn. But I prefer it that way, not sure LP12s are at their best when they’re all shiny.
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I remember that shop, it was near Mornington Crescent tube! As a student, I use to gaze in the window, looking at all the stuff I couldn’t afford. I think Howard died only recently.
Is that unusual to have the Ittok reaching below the armboard?
I don’t think that I’ve ever seen that before.
Yes, I read that too. He was a lovely man, but voluble, one of a kind certainly!
I think that he gave up retailing hifi, and went into importing/selling audio exotica.
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I think it’s just the anlge I took the pic from Graham. It’s a normal-sized Ittok LVIII (very late).
I believe there is a finish on the platter. Varnish or another type of coating, so the story goes. Each time I adjust suspension(I do my own set up) , move kit around to accommodate another add to stack, I use cloth gloves to handle the platter. Oil from your skin will leave a blemish, and it gets worse over time. The platter was purchased new a year prior to the picture, as I was building another table for someone.
Scott
I think that Linn once sold 12 inch Ittoks for transcription purposes, and that Capital Radio in London used them, mounted on those Technics SP - 10 beasts!
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I am so very, very pleased for you about this .
best wishes
Ian
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Thanks, Ian!
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The inner and outer platters are made from an alloy initially is quite sensitive to UV and changes colour/darkens over time. The platters are sprayed with a lacquer in an attempt to protect them from oxidation, but what happens is when new, and certainly the effect is more pronounced for the first six months, the lacquer is sensitive to fingerprints. Yes, oil from your skin, and this causes a chemical reaction/oxidation of the lacquer which if left results in a darker area where the fingerprints have been left, surrounded by a halo which is much lighter. They can be quite annoying when the outer platter when revolving and looks a bit like a strobe 
. So my advice is anyone buying a new outer platter or maybe a Karousel upgrade is to try and handle these items, using a cotton glove thus avoiding getting fingerprints on these surfaces. Plus if you realise you have put any fingerprints on the platter when handling it. Make sure you remove them as soon as possible using a cotton glove or lint, free cloth.
Ordinarily, when I sell an outer platter or a Karousel I’ll give the new owner, a cotton glove, so as they can avoid leaving these marks! I reckon I’m ordering a new pack from Amazon monthly 
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I have cotton (wine waiter’s) gloves now, but too late, sadly.
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I guess that my 1981 LP 12 is now immune from these effects… 
Even my 2018 Cirkus Inner platter as well… 
Pretty much Ian , but it is still good practice to remove fingermarks when you see them
Mainly it’s a cosmetic thing of course, but not where the inner and outer platters contact each other. That interface needs to be as flat as clean as possible for best sound quality. If you have a finger or thumbprint on either of those surfaces, then the lacquer will become raised very slightly degrading the quality of the contact between the two surfaces and this will impact on sound quality.
As you may know, people do rotate the inner versus the outer platters in a process known as clocking to find the best contact and sound quality. 
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I leave my LP12 well alone. The outer platter only comes off for transportation.
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Not even for the occasional birthday “clean”?
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Nope. A quick dust with a clean/new paint brush is all it needs or gets.
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