I appreciate the beauty of the wood, not the flutes that disguise it. That’s the reason I have my Indian Rosewood plinth.
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Was the suspension adjusted and set up with the clamp in place? Marginal improvement or not, either way I reckon the best place for it is in the bin.
Why throw away even a marginal improvement? Surely if the suspension was being given a problem, it wouldn’t be an improvement but something clearly worse, no?
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Also, as mentioned on the other thread, it does its stuff at Spinal Tap volume and is 100% inaudible at moderate volume.
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Expectation bias I suspect. It’s not integral to the design, so off with it.
I respectfully agree to disagree! Pity you could not get Brazilian rosewood.
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The SRM base is certainly not integral to the design, and (given when I got it) neither was a Lingo 4.
I am absolutely aware of biases when ‘hearing’ small improvements, but it seems a poor explanation here.
We were testing over many hours (with many tea breaks) and not checking each other’s notes and doing out best to obscure things (no actual blindfolds), and the result was not what we expected to hear, and I am annoyed by the vagueness of explanations of why it could ‘work’. and don’t like extra faff of using it, and object at the margin to how it makes the LP12 look, and would rather have the smug feeling I get when I think I have detected and avoided Woo.
However, when playing loud, it works.
Coincidentally, i went yesterday to get my ears waxed for the first time at 57. After a lengthy examination, I was told not to give them any money as all was 100% well, but to come back in 3 or 4 years perhaps. I don’t think my deafness or blockages to same explain the result that I and others noted.
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Is that Silent Stage 1 and LP12 Silent Base?
Dead right. You can get clear or black from SRM.
I am not sure which one is more effective ( base or platform) - ‘more of the same improvement’ covers it.
I do think keeping big squishy things (not a description of the HRS feet, but of plenty of isolation devices) out of LP12 support, if you can, is a really good idea. LP12 requirements beyond the basics really are not identical to what a Rega or Clearaudio wants. The SRM’s use of spikes instead of the ancient rubber feet on my ancient LP12 plinth means there is probably less compliance under the LP12 than before, so only the suspension moves.
I should say that I was tempted to swap from Tres Hombres (at about 11 o’clock on the 52) to Jack Orion (at about 7:30), which would mean that there was no auditory reason to leave that puck on, and then the conversation would not have started - but where is the fun in that?
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Record clamps or weights were never meant for suspended sub chassis
decks. 
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This is my pride and joy - Kore/Karousel/Radikal/Tramp2/ARO and DVxx2 sitting atop a Project Wallmount
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Pardon my ignorance, but is that a lift/lower device for the ARO? Personally, I like to hand cue mine, but with advancing years…
Can you give details, please, price, etc?
I’m not sure how the device attaches to the armboard. If there’s any drilling involved, it probably couldn’t go onto my LP12, which has a Keel subchassis.
Thanks.
Quite true. As I say, I have heard several put on LP12s over the years and the results have always been horrible.
The item in my photo isn’t a clamp, more anti-vibration, but it is still a thing on the LP. However, it certainly doesn’t ruin the LP12, and is specifically aimed at suspended decks - there is a much heavier version for unsuspended decks.
Actually, to my dull ears and others, it doesn’t change the sound at all - unless you are listening carefully and (more important) playing louder than usual. Then, it helped a bit.
This is not a ‘night and day’ gain or akin to Cirkus-to-Karousel or Naim 82 to 52 or whatever. However, in those situations, it is a little better, and I’d have been silly to put it in the ‘Send it Back’ box just because I don’t like clamps in general or to enjoy the smug feeling from avoiding Woo.
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It is indeed a lifter for the ARO Graham55 and it was co-designed by my dealer (located in Leicestershire) and a gentleman from AO, based around a Rega lift. It does indeed require drilling (which said dealer performed), but not sure what the options would be in your case as I’m Kore-based, I expect it can be done though. Price-wise, at the time (about 18 months ago), it was about £125 from memory. I think it works very well and looks nicer than the “Aromatic” which is the other option out there. With a £1400 cart I daren’t take the chance of getting a case of the wobbles, particularly after a few glasses of vin ordinaire, so it’s just the ticket!
You’re choice and you’re money but if they do different weights then surely the results must be different too.
If your happy go for it.
Decks and their bearings are built to a specification and if it doesn’t come with one don’t add one.
And it’s something else to cause an accident faffing around.
Setting up of the suspension will have to be set with or without as any swapping about will result in performance inconsistency.
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Thank you, Jonners, I’ll have a think about that, although I’ve got very used to hand cueing my ARO after over 20 years’ practice.
I saw an Aromatic once at my dealers in London. I think that Naim must have hired Heath Robinson to design that for them! It seemed as though it would break if you so much as looked at it.
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My brain agrees with every word, but ears don’t. In any event, at conversational volumes, it has no audible effect either way.
I have never heard the equivalent HRS doo-dah for unsuspended TTs, so cannot say if it works equally well, better or not at all.
In any event, I felt sure it would provoke comment for a lot of good reasons, hence its inclusion.
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I beg to disagree 
lovely LP12 there though!
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You’re not playing fair here! You need to say what you think sounds better (than a well set up LP12).
My own view is that the LP12/ARO/Dynavector Te Kaitora Rua that I have is hard to beat (compared with a CDS II and an NAT01).
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