12 and proud

[Dave Cawley]

Hi Marco, I need to see how the clamp is done, then we can make ours compatible, thread size etc?? Or send me some hi res photos, and check the thread size and pitch for me?

Or PSU is 'stiffer' or in simple language the output impedance is much lower. The easy way is to go into the rectifier, but we did not take easy way out. If you look at the scope traces, and please do, you can see the attenuation our PSU gives to the motor pules, it's the same with the strobe.

Regards

Dave

[Marco]

Hi Marco, I need to see how the clamp is done, then we can make ours compatible, thread size etc?? Or send me some hi res photos, and check the thread size and pitch for me?

Dave, unfortunately I don't have a digital camera so can't take pictures. All I can suggest is that you look at the KAB website and check for information, if available, on there. Perhaps email Kevin? You don't have to mention who you are

Failing that, we can sort it out when I next come down. I don't want to be without my clamp because I use it every day

Will we be able to get the AT headshell thing sorted out before Christmas?

Marco.

[MartinT]

Hi Muffinman

I used to have a Michell clamp with a Syncro turntable years ago (the turntable was good, the Helius arm pants). You're right, it is a good clamp and I had forgotten that it's still made. I will look out for one and compare it with the weight.

[chris@panteg]

Thanks Marco and Chris
What with two cartridges to play with, I'm looking forward to trying out a few variations.

Chris, I also have a Denon DL-160 ready to try in the Jelco arm. I'd like to hear your opinion of it when you get yours running.

Hi Martin
yes by all means i have been using an At120e and in the past i have had a linn troika and the music maker mk1 which was wonderful, i would love to try that in the 1210.

[MartinT]

Past cartridges for me have included an Ortofon MC-20 Supreme (a little polite), AT-OC7 (good detail, slightly rough treble), AT-OC9 (great all-rounder) and my current Grado Prestige Gold (good dynamics and life, slightly coloured). However, my all-time favourite is a rare Dynavector 20A which needs a re-tip that I'm tempted to get done sometime.

I'm looking forward to trying the Denon DL-160, still in its box at the moment.

[Marco]

Yes the isonoe feet do seem to be quite an improvement ,they look cool too
so far my only tweeks have been these and an srm/tech acrylic mat but i am about to fit the sumiko headshell with a denon dl160 ,in a few days i am going to order the Time step Psu from Dave then maybe next year if i can afford it the jelco arm, i really must say having owned some top belt drives in the past, that this little 1210 has been such a revelation and for the price (currently £313)
it really is a steal 'yes it does need some tweeking but compared too say the latest lp12 majik' i just can't spend that sort of dosh anymore .

i find with the 1210 i enjoy just listening music and not worrying about how much it cost compared to when i had the linn which left me broke a few times.

Hi Chris,

I know exactly what you mean as I've been there myself.

The problem with the LP12 (in any form) is that it's a flawed design from the outset (low-mass belt-drive mechanism with puny motor housed in a fairly flimsy, resonant box) so no amount of 'upgrading', whilst such fundamental flaws remain, will ever make it right, particularly if your ears are sensitive to its resulting sonic deficiencies.

Therefore spending money on Linn's whatever latest new 'upgrades', when your ears are (subconsciously or otherwise) telling you something is still wrong, will never result in genuine satisfaction because all these so-called 'upgrades' are doing is papering over the cracks. Basically, you're chasing an unattainable goal and thus end up on a never-ending spiral of continual 'upgrading' without ever being truly satisfied - you can't fix what is fundamentally broken. It's rather like pouring an exotic sauce over a cheap cut of meat in the hope of creating a gourmet dish.

However, some people enjoy the Linn's euphonic coloration (the sonic signature obtained as a result of what's wrong above) and this is what their ears have become attuned to as 'right', 'tuneful', or 'musical', or whatever other fanciful terminology the faithful have dreamt up in order to appease their conscience and convince themselves that the thousands of pounds they've spent on Keels, and other vastly over-priced Linn ancillaries, such as their tonearms and cartridges, is justified and money well spent. Any other thought is too terrible to contemplate. The reality, however, is that they've been fleeced by a very clever marketing/propaganda machine, born over 30 years ago, and amongst the gullible or brainwashed, still as influential today. Old habits, I'm afraid, die hard.

The Technics 1210 is a different beast altogether simply because its deficiencies (and there are some) are not fundamental in the way of the Linn and therefore more easily rectified. The 1210 is, conversely, fundamentally 'correct' from the outset because it is based on a highly accurate, powerful, direct-drive motor mechanism, housed in a well-damped non-resonant plinth, and thus it achieves near perfect speed stability and effective isolation of the musical signal - a prerequisite for accurate and realistic music reproduction from vinyl. All you want a turntable motor unit and platter to do is consistently turn at the right speed under normal playback conditions whilst imposing as little coloration on the signal as possible. The 1210 does this extremely effectively, as does any other high quality direct-drive or idler/rim-drive turntable, or indeed high-mass string or belt-drive turntable, (although at considerable cost). This is not simply a D/D v. belt-drive debate. It's only low-mass belt-drive T/Ts which are fundamentally flawed in the way I have described, so it's not just the LP12 that is guilty. There are unfortunately numerous other examples of the breed populating the marketplace!

The 1210s minor deficiencies (in comparison to the Linn's), such as tonearm quality and improving the rather poor rubber mat supplied, are easily rectified, and at a relatively low cost, which therefore makes it a far more viable record playing solution. Only 'badge snobs', geeks brainwashed from the 'flat earth' days of the 70s and 80s, and those with commercial agendas will think differently. If we return to my earlier food analogy: with the 1210 the 'meat' is already of the highest quality; all that is required to create a gourmet dish is the fine 'sauce' - a much easier and altogether less problematic recipe for success...

Marco.

[chris@panteg]

Marco
Absolutely spot on and all this talk of the keel being so great' but what about the drive system just watch as the lp12 starts it wobbles all over the place' then settles i think this is going to be the next upgrade from linn and it will cost around £2k or £3k whatever.

[Marco]

Absolutely spot on and all this talk of the keel being so great' but what about the drive system...

Indeed.

It was Linn, I believe, who 'pioneered' the source-first system building strategy, coined the phrase 'Garbage in, garbage out', creating adverts in magazines stating such, and cleverly incorporated it into their marketing campaigns of the day. Well it's about time they practiced what they preached all those years ago...

However I don't wish this to sound like an anti-Linn rant; it's not. There are others equally as guilty (although perhaps understandably through necessity) of championing fundamentally broken turntable building methodologies.

Marco.

[chris@panteg]

Yes good point ,i am just keen now to enjoy and get the best out of my 1210 and linn have helped keep vinyl alive also thank god that the 1210 has been so popular with DJ's ,
otherwise i may not be listening to one.

[Marco]

How very true, Chris!

Marco.