I’ve recently got my CB and Olive amp sets serviced and have been trying both sets separately, then mixing pieces to see what gives the best possible result with my 79’ fluted afromosia Valhalla LP12 (Cirkus / Steel chassis / RB1000 / 2M Bronze). Then to complicate matters the Valhalla needed repaired but instead I took it as an opportunity to scratch an itch by trying a ‘geddon type supply. I wish I’d done this years ago as it has transformed how the deck sounds and definitely made it more suitable for the CB amps but probably even more so with the Olive amps. A great learning experience and does highlight the need to very carefully match your LP12 spec to the rest of your system. Finding the sweet spot makes the music flow just so effortlessly!
And the fun part was, as the friendly dealer was keen to demonstrate during many happy visits there, the moment a (Klimax) Radikal was introduced to an older/entry/mid level LP12 deck, it seemed the whole critical matching thing of everything else on the deck became almost marginally relevant only.
It blew my mind, then again going in that Radikally different direction would involve spending more extra on the LP12 than I did on the whole system, yet, interesting nevertheless.
I was over at my dealer last week. (To collect our new Innuos Zen Mini mk3 + LPSU) Anyway, noticed there was a new LP12 fluted plinth being worked on, in their workshop.
I’m not sure if the phone camera photo conveys enough detail. The key thing I noticed - in the detail, close up - was how well made it was.
This walnut fluted plinth was exceptionally well finished. I would say these newer fluted plinth are probably better. They are machined and finished to a higher standard (compared to back in the day). The flutes are beautifully crisp. Everything is really square and accurate. I’m guessing modern tooling is better.
A quick peek underneath also shows the corner bracing detail looked a little more solid.
The bottom section of the plinth is left plain wood. Unlike the original ones, which are painted black. For me I prefer the black finishing. But, accept that’s a small point.
The sweet smell of walnut wood was also evident.
Having seen one close up now, happy to stay loyal with my 1986 original fluted afromosia
The thing I find disappointing with the new Linn plinths is that they don’t typically continue the same plank of wood round the corners. Hence, this results in a discontinuity in the grain pattern at the corners. This is most obvious when viewed from the top. This is one point that Chris Harban got right on his Woodsong range of plinths. I believe Simon Price is doing the same on his Simplinth range.
Really nice visit again to my friendly Linn dealer today, finally after all restrictions. For coffee, maintenance and to have some bits & pieces installed that I had collected for a while now:
New belt, some bearing oil and bounce adjustment. Ammonite Audio black arm collar instead of the thinner silver original one. Jelco tonearm cable, the nice one that matches the arm. Ortofon MC-3 Turbo cartridge installed. Feels like a finished project, sounds and looks good now!
Some pictures from today during the no-hum-test, before the base went back on. Mine is on the left in the first pic, and second pic is a close-up.
That’s the Jelco TS-550S, successor of the SA-750D. Slightly improved and with Linn-geometry. Only made for a relatively short time before Jelco closed their doors.
Looks so different from the two Majik arms in the picture. Krane in the middle and the Linn-spec Jelco SA-250ST on the right. The TS-550S is a step up over both.
It’s Cirkus, Akito 2B/Adikt 2 with upgrade T cable, Lingo 2, Trampolin 2, service history with two long term careful all Linn system owners.
It’s shortly going for Karousel/Service and potentially in future an AT VM750 SH (although against some peoples opinion, the Goldring 1012 based Adikt 2 suits the arm perfectly well)