Looks like one of those small round spirit levels that seem popular. They’re all over Ebay, Amazon etc.
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Mmm wonder why it’s left on the board - hopefully not whilst it’s playing 
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Apart from looking untidy, it must surely add unwanted resonances to a carefully set up LP12/Aro, unbalance the suspension & cause the TTs performance, to be substantially underwhelming…
Add this to the incorrect mounting of the speakers on the Solid Steel stands & well, the whole system must sound a complete mess…
Oh, @anon70766008 , what’s to be done with you?
Graham, sincerely hope you don’t mind a bit of fun at your expense, on a dull, wet Monday morning.
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It’s a genuine query Graham - I’m not taking the p**s like others
Just curious as had not noticed it on first glance
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It is indeed a spirit level. I picked it up for about a fiver on eBay. (I was just checking, after the event, that Peter Swain had set things up nicely.)
And no, it doesn’t sit there when a record is playing, but the LP12 has a Keel/A subchassis, so I suspect that it wouldn’t upset things if it were left there.
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Much appreciated Graham
PTP Lenco now finished. Not sure about that motor directly above the 552 so I’ll probably swap it with the Artimis SA-1 (from which I pinched an idea or two) currently on the PS stack but access us more awkward there and I want to try a few options for feet and alternative mats. It has wooden drawer knobs as feet for now and the original rubber mat.
The plinth is two 35mm bamboo boards sandwiching a 12mm thick sheet of Corian, all bought cut to size so I just needed to make the cutouts for the motor and bearing plates and screw it all together, layers excluded, they’re loosely dowelled but it’s mostly gravity and a little shellac. I’ve used Silly Putty under the top plates, I reckon something that flows, albeit slowly, but is rigid at high shear and will shatter when struck with a hammer is just the the thing to maximise vibration transfer to the top board. The idea of the Corian layer is mainly decorative but it might just provide a bit of a barrier between vibrations from the environment and those generated in the deck, if it doesn’t it still matches the look to the Artemis.
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How do you find the Korf tonearm? Am looking to get a heavy mass tonearm and this is on the list.
I loved it with both my SPUs and a Lyra Phonopipe, with which it was preferable to my Schröder Reference. The Proteus was maybe better with the Schröder, sounding a tad analytical on the Korf, both used on the Artemis.
Early days with it on the PTP but it seems even more at home, especially now I’ve moved the Lenco motor from above the 552.
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Do you use the two arms at the same time at different outputs to liszen for differences?
I’m with @Skeptikal on this…I got rid of my carbon brush after getting the AT. Lovely little thing.
On the cleaning side, it has greatly improved several, in fact many records that I bought s/h.
Blimey, only just noticed how long ago the post was. Think I already posted before!
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@steviebee
Can’t get too much of a good thing I’ve used them and nothing else for 40 odd years. 
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Seconded. Thoroughly appreciate the advice to try the AT. I bought one shortly after that post. Nicest cleaning brush I’ve ever used. Way nicer than the carbon brush things. I also meant to post thanking @Skeptikal about it, and forgot!! 
Thank you Skeptical.
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@gthack
Most welcome and glad it’s a success.
If it’s not widely known it gets rebuffed like most of my recommendations. 
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Which is the AT, I’m looking for an option to reduce static too.
Unlike @Skeptical I use mine dry & wet (for cleaning up old records)… it’s really good for both.
So good I’m thinking of buying a second - keep one for dry, one for wet.
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@steviebee
The one on the left of this picture is my 40 year old one it only got retired when I used it wet on two albums given to me as presents so had to buy a new one for daily use.
I’ve got a couple of spares in the drawer too. 
You couldn’t imagine this unravelling.
Yes wet on old stuff but I don’t buy old stuff so use a clean one dry.
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