Nice to be the first to comment. Nice to see an old turntable that has been looked after as I do with mine. I have a couple of Linn decks with the pre cirkus white bearing and I can say that they are still as smooth as silk
They are wonderful decks and it was so great to have a table brought in that had not been "audiophiled" by Itch & Scratchy. Thank you for taking the time to comment and please both subscribe and tell others about my channel.
My LP12 was made in 1985, sold to me in 1986 by Stereo Design in San Diego. The owner retired, and the business closed several years ago. My recollection is that the owner personally came out to my house to set up the turntable. I don't think he supplied the original box. I went through two Valhalla boards. They have a tendency to fry themselves after awhile. I now have the Lingo 4 power supply.
It is not so much "fry" as that the larger capacitors simply fail (I talk about this all the time on all equipment) and some of the traces fracture. No biggie. Good move with the Lingo. Thank you for taking the time to comment and please both subscribe and tell others about this channel.
Lou, as always I'm loving your video! I am very curious as to what, specifically do these Linn LP12 turntables provide as it actually provides for sound quality. How do they compare with that Rega Planar 1 you've referred to in our past "discussions".
Oh, I won't even show the Planar 1. That plastic platter drives me nuts and for a little more, the Planar 2 is a much better value. Now, compared to a LP12, you have to go up quite a bit in the Rega line to challenge the LP12 but now we get into the murky waters of used, vintage, modified, and the whole ball of wax of going to a palm reader. That's why I am doing various videos (and some have not quite caught onto my dark humor) about turntables and such.
@@audibleeleganceinc Understood and enjoyed. I've been trying to engage others participating in discussions to describe for me, the noticeable improvements in actual sound > ears, when they go upscale in turntables? I'm content with my $500 TT with an Ortofon Blue. I want to know who hears better with what? Is the increase in cost a valuation for the price-point? I get few definitive responses. Imagine that. What's the "upper limit" for a stereo system's clarity, detail, soundstage etc... and at what point does one enter into the law of diminishing return?
@@zizendorf Ah, my favorite target: Diminishing Returns. Yeah, the Sistine Chapel could have been done with paint rollers. Sounds, absurd, doesn't it and it is. That's because accounting principals have no place in valuing art. Now, whether one wishes to further the art, or not, well, that's a personal choice based upon other needs and wants and that is perfectly ok. If you are not listing to music for rhythm, pitch, and emotion, well, they all sound pretty much the same I suppose with some having more bass while others have more treble. But note: How many people talk about the wonderful MUSIC they heard at a wedding reception. It has plenty of volume, bass, treble, you name it. Simply put, you don't and that's because most bands simple don't have much talent. So, if you have not been given a straight answer, it's because they are not likely listening to the music musically. That is a brutal upcoming video where I take no prisoners.
@@audibleeleganceincLou, I am pretty sure that if we’re in close proximity to one another, we’d enjoy each other’s company! Not only do I like how you think, I typically agree! My thing’s the music! Went to the final symphony performance of the season last night. As soon as it was over, my plans were set for this morning. Listened to Beethoven’s 9th last night and now am trying to emulate what I heard. My goal first and foremost is to re-experience the joy. (Well, that is the whole theme of the 9th!). Well, the joy is in the music. And while it sounds great, it’s consistent failure to replicate the sound of that concert hall last night. Ironically, that failure isn’t disconcerting! The music remains beautiful and my system gives its best effort! Satisfied? Yes It’s a beautiful symphony! I look forward to your upcoming topic!
@@zizendorf The magic of music reproduction is that you can listen to who you want, when you want, in the comfort of your own home. Engineers like Edison made it possible to do that from people long past. However, that is where it ends. Live performances are the reference of enjoyment. Now, for classical music, it was the case that once the composer died, so did their music. That's why I enjoyed the St. Martin in the Fields recordings with original instruments and sizes of the orchestra, which were quite smaller. You get the flavor they imagined.
Looks well cared for, the arm cable doesn't appear to be original. Black bolts were introduced in 1981 as part of the Nirvana suspension upgrade, so the deck was supplied with them. The Ittok LV11 was designed and manufactured in Japan to Linns specifications. The designer was Mr Ito, and the arm was introduced at the second Las Vegas trade show, hence Ittok LV11. Incidentally linn referred to the arm as the It...tock. Hopefully the Ittok counterweight was removed for shipping, as recommended by Linn to avoid bearing damage.
Excellent comments. It is a stock LVII cable which I personally modified to the Naim standard of BNCs. He's an Angel of a customer who lifted the inner platter, removed the counterweight, and blocked the suspension at the arm board. Thank you for taking the time to contribute to our channel and tell others about it. There are 132 videos with over 200 more planned. Bound to be something for everyone.
Greetings Lou. I have heard about these tables my entire audio life but have never heard one. I hope I can get by before you sell it to give it a listen. You know the reason I am not in the market, but it is just curiosity.
Okay, the Linn LP12 of the 1980s is one of the best turntables ever designed, and made; and a bit expensive. Thank you for the important tip about the position of the dust cover. Anyhow, from what I've discovered what matters most to the playback of the sound of music is the phono cartridge. I believe that a cartridge, a very good MM, or even a medium priced MC is the determining factor; and it is no less than 40% for successful playing back of a vinyl record. There is also the factor of accurate speed from a motor, and its consistency of the three main speeds of 33.3, 45, and 78 RPM if it is available. Furthermore, another factor is a simple one, but is not considered as much; the turntable to be as level as possible. From the total of four turntables I have, three different ones are connected to my main audio system. I am very familiar with how much work, and that includes trying to find a needle in a haystack to find the correct screws, and bolts! I have the 4th, a Rega Planar 3, early 1980s, that I bought as mostly a plinth, and I restored, repaired, and later upgraded this turntable. A installed a used Linn Basik Plus tonearm, and leveled the tonearm stay/lifter (semi-circled platform); I carefully bent it to a level position. Previous owner drilled a large hole for the tonearm's post close to the spindle's centre; and that's why I was not able to install a Rega RB Tonearm. Instead, I searched, and asked vinylengine for advice; and I installed the Linn Basik Plus Tonearm. Then I mounted, and aligned a new Audio Technica AT95E MM cartridge. I installed the new SRM Tech PLATTER ISOLATING KIT FOR REGA TURNTABLES", and the SRM TECH PLATTER DAMPER; that I bought from the Canadian ebay. Recently, I installed the Rega 24V Motor Upgrade by myself. Rega Planar 3 T. works as it should, and sounds wonderful.🔉🎵🎶
Well, thank you for your comments and taking the time to detail quite a bit. While I disagree on the importance of the cartridge in relationship to the table and arm (which I had regularly demonstrated for years with 9 LP12s on the floor) your general approach is sincere and is not an uncommon view. I just showed a couple of people today even the importance of the turntable mat and promptly trashed one in performance. It was made from cork. Maybe on some other table but certainly not an LP12. Please be so kind as to pass on the word about this channel and do subscribe if you have not yet done so already.
@@georgeanastasopoulos5865 I have an upcoming video on the heritage of the LP12 from the perspective of other tables, particularly vintage ones. Someone pressed my button today and I simply had to unload 40 years of experience. I focus on the bearing which is, in my experience, the heart and soul of a turntable. I think you will enjoy that one as we exchange views and ideas.
Keep your oily fingers off the belt, wear cotton gloves when handling it. The LP 12 is fine to be operated with the lid up or down, I have one, it makes no audible differerence and neither do speaker oxygen free cables or most other audiophile woo woo pretenses. re the turntable low level audio output, physical electrical connections are always a potential source of distortion at low levels because of the diode effect, so have as few connections as possible.
Ah, this table was scheduled for certain things after this video which included a new belt, grommets, springs, cartridge and replacement of the BNCs back to RCAs. As for audiophile woo woo tonearm cables, I have only heard once where it was actually better and that was years ago with a Supex 901E+ Super, a cartridge from yesteryear. Otherwise, no relevant difference and certainly not for the cost. As for the lid position, when I had 9 LP12s on the floor for demo, I showed that difference so I beg to differ. So, it seems to me that while your comments can serve others usefully as they are mostly correct, not fully understanding what was going to happen was a bit presumptuous. If you intend to teach, I would suggest the approach of asking questions first rather than preaching. That said, I do appreciate the motivation to comment and I appreciate your efforts.
Nice to be the first to comment. Nice to see an old turntable that has been looked after as I do with mine. I have a couple of Linn decks with the pre cirkus white bearing and I can say that they are still as smooth as silk
They are wonderful decks and it was so great to have a table brought in that had not been "audiophiled" by Itch & Scratchy.
Thank you for taking the time to comment and please both subscribe and tell others about my channel.
My LP12 was made in 1985, sold to me in 1986 by Stereo Design in San Diego. The owner retired, and the business closed several years ago. My recollection is that the owner personally came out to my house to set up the turntable. I don't think he supplied the original box. I went through two Valhalla boards. They have a tendency to fry themselves after awhile. I now have the Lingo 4 power supply.
It is not so much "fry" as that the larger capacitors simply fail (I talk about this all the time on all equipment) and some of the traces fracture. No biggie. Good move with the Lingo.
Thank you for taking the time to comment and please both subscribe and tell others about this channel.
Lou, as always I'm loving your video! I am very curious as to what, specifically do these Linn LP12 turntables provide as it actually provides for sound quality. How do they compare with that Rega Planar 1 you've referred to in our past "discussions".
Oh, I won't even show the Planar 1. That plastic platter drives me nuts and for a little more, the Planar 2 is a much better value.
Now, compared to a LP12, you have to go up quite a bit in the Rega line to challenge the LP12 but now we get into the murky waters of used, vintage, modified, and the whole ball of wax of going to a palm reader. That's why I am doing various videos (and some have not quite caught onto my dark humor) about turntables and such.
@@audibleeleganceinc Understood and enjoyed. I've been trying to engage others participating in discussions to describe for me, the noticeable improvements in actual sound > ears, when they go upscale in turntables? I'm content with my $500 TT with an Ortofon Blue. I want to know who hears better with what? Is the increase in cost a valuation for the price-point? I get few definitive responses. Imagine that. What's the "upper limit" for a stereo system's clarity, detail, soundstage etc... and at what point does one enter into the law of diminishing return?
@@zizendorf Ah, my favorite target: Diminishing Returns. Yeah, the Sistine Chapel could have been done with paint rollers. Sounds, absurd, doesn't it and it is. That's because accounting principals have no place in valuing art. Now, whether one wishes to further the art, or not, well, that's a personal choice based upon other needs and wants and that is perfectly ok.
If you are not listing to music for rhythm, pitch, and emotion, well, they all sound pretty much the same I suppose with some having more bass while others have more treble. But note: How many people talk about the wonderful MUSIC they heard at a wedding reception. It has plenty of volume, bass, treble, you name it. Simply put, you don't and that's because most bands simple don't have much talent.
So, if you have not been given a straight answer, it's because they are not likely listening to the music musically. That is a brutal upcoming video where I take no prisoners.
@@audibleeleganceincLou, I am pretty sure that if we’re in close proximity to one another, we’d enjoy each other’s company! Not only do I like how you think, I typically agree! My thing’s the music! Went to the final symphony performance of the season last night. As soon as it was over, my plans were set for this morning. Listened to Beethoven’s 9th last night and now am trying to emulate what I heard. My goal first and foremost is to re-experience the joy. (Well, that is the whole theme of the 9th!). Well, the joy is in the music. And while it sounds great, it’s consistent failure to replicate the sound of that concert hall last night. Ironically, that failure isn’t disconcerting! The music remains beautiful and my system gives its best effort! Satisfied? Yes
It’s a beautiful symphony!
I look forward to your upcoming topic!
@@zizendorf The magic of music reproduction is that you can listen to who you want, when you want, in the comfort of your own home. Engineers like Edison made it possible to do that from people long past. However, that is where it ends. Live performances are the reference of enjoyment.
Now, for classical music, it was the case that once the composer died, so did their music. That's why I enjoyed the St. Martin in the Fields recordings with original instruments and sizes of the orchestra, which were quite smaller. You get the flavor they imagined.
Looks well cared for, the arm cable doesn't appear to be original. Black bolts were introduced in 1981 as part of the Nirvana suspension upgrade, so the deck was supplied with them.
The Ittok LV11 was designed and manufactured in Japan to Linns specifications. The designer was Mr Ito, and the arm was introduced at the second Las Vegas trade show, hence Ittok LV11. Incidentally linn referred to the arm as the It...tock. Hopefully the Ittok counterweight was removed for shipping, as recommended by Linn to avoid bearing damage.
Excellent comments. It is a stock LVII cable which I personally modified to the Naim standard of BNCs. He's an Angel of a customer who lifted the inner platter, removed the counterweight, and blocked the suspension at the arm board.
Thank you for taking the time to contribute to our channel and tell others about it. There are 132 videos with over 200 more planned. Bound to be something for everyone.
Greetings Lou. I have heard about these tables my entire audio life but have never heard one. I hope I can get by before you sell it to give it a listen. You know the reason I am not in the market, but it is just curiosity.
Tom, this one has been sold but I have another one serviced. Maybe that one.
Okay, the Linn LP12 of the 1980s is one of the best turntables ever designed, and made; and a bit expensive. Thank you for the important tip about the position of the dust cover. Anyhow, from what I've discovered what matters most to the playback of the sound of music is the phono cartridge. I believe that a cartridge, a very good MM, or even a medium priced MC is the determining factor; and it is no less than 40% for successful playing back of a vinyl record.
There is also the factor of accurate speed from a motor, and its consistency of the three main speeds of 33.3, 45, and 78 RPM if it is available. Furthermore, another factor is a simple one, but is not considered as much; the turntable to be as level as possible.
From the total of four turntables I have, three different ones are connected to my main audio system. I am very familiar with how much work, and that includes trying to find a needle in a haystack to find the correct screws, and bolts!
I have the 4th, a Rega Planar 3, early 1980s, that I bought as mostly a plinth, and I restored, repaired, and later upgraded this turntable. A installed a used Linn Basik Plus tonearm, and leveled the tonearm stay/lifter (semi-circled platform); I carefully bent it to a level position. Previous owner drilled a large hole for the tonearm's post close to the spindle's centre; and that's why I was not able to install a Rega RB Tonearm. Instead, I searched, and asked vinylengine for advice; and I installed the Linn Basik Plus Tonearm.
Then I mounted, and aligned a new Audio Technica AT95E MM cartridge. I installed the new SRM Tech PLATTER ISOLATING KIT FOR REGA TURNTABLES", and the SRM TECH PLATTER DAMPER; that I bought from the Canadian ebay. Recently, I installed the Rega 24V Motor Upgrade by myself. Rega Planar 3 T. works as it should, and sounds wonderful.🔉🎵🎶
Well, thank you for your comments and taking the time to detail quite a bit. While I disagree on the importance of the cartridge in relationship to the table and arm (which I had regularly demonstrated for years with 9 LP12s on the floor) your general approach is sincere and is not an uncommon view. I just showed a couple of people today even the importance of the turntable mat and promptly trashed one in performance. It was made from cork. Maybe on some other table but certainly not an LP12.
Please be so kind as to pass on the word about this channel and do subscribe if you have not yet done so already.
@@audibleeleganceinc Thank you for your reply, and further explanations.
@@georgeanastasopoulos5865 I have an upcoming video on the heritage of the LP12 from the perspective of other tables, particularly vintage ones. Someone pressed my button today and I simply had to unload 40 years of experience. I focus on the bearing which is, in my experience, the heart and soul of a turntable. I think you will enjoy that one as we exchange views and ideas.
Keep your oily fingers off the belt, wear cotton gloves when handling it.
The LP 12 is fine to be operated with the lid up or down, I have one, it makes no audible differerence and neither do speaker oxygen free cables or most other audiophile woo woo pretenses.
re the turntable low level audio output, physical electrical connections are always a potential source of distortion at low levels because of the diode effect, so have as few connections as possible.
Ah, this table was scheduled for certain things after this video which included a new belt, grommets, springs, cartridge and replacement of the BNCs back to RCAs. As for audiophile woo woo tonearm cables, I have only heard once where it was actually better and that was years ago with a Supex 901E+ Super, a cartridge from yesteryear. Otherwise, no relevant difference and certainly not for the cost. As for the lid position, when I had 9 LP12s on the floor for demo, I showed that difference so I beg to differ.
So, it seems to me that while your comments can serve others usefully as they are mostly correct, not fully understanding what was going to happen was a bit presumptuous. If you intend to teach, I would suggest the approach of asking questions first rather than preaching.
That said, I do appreciate the motivation to comment and I appreciate your efforts.