2. analog
  3. 1004284320

LP 12 the Extreme Phono Way-First Impressions

Well..after weeks of e-mail discussions and sleepless nights, I took the plunge and submitted my LP12 for major surgery at the capable hand of Case Ng (Extreme Phono). My LP12 was a 2 year old table with Lingo and Ekos in great condition, but poorly set-up by a former Linn dealer who shall remain anonymous. The mods effected by Casey consisted of a carbon fiber/aluminum subshassis and armboard, a new silver phono cable of Casey's own design (more on this later), and tweaks to the suspensions (new rubber grommets are the only visible change). I also purchased a pristine second hand Arkiv B from Casey at the same time, which he installed on my table and tweaked for optimum VTA, tracking force, etc. Reproducing his settings was a snap since he provide accurate caliper measurements (accompanied by digital photos of how/where the measurements were taken) to accurately reproduce tonearm height and counterweight position. The patient stayed in residence for about 3 weeks, and returned in good spirits w/ no scars.

Although the cable is still burning in, it is time to post some first imressions after a listening session with four other Audiogoners. For reference, the table sits on a Neuance shelf atop a Phase 4 Mana rack. I listened first with rubber Bump On feet, then placed the table on Aurios MIB bearings (a major pain in the a....!). Phono preamp is the Linn Linto.

Well...there is no comparison. This is hands down the best music reproduction I've ever achieved at home. Every single aspect of the musical presentation improved in spades, solidly trouncing my revious analog set up and my Muse Model 9 signature. Soundstaging, air, bass articulation and depth, top to bottom tonal "integrity", retrieval of detail, micro and macro dynamics, and last (but not least) PRAT were all at a new plateau. What is utterly scary is that the tonearm cable is still a good 30 hours away from break-in..so this can only get better.

Casey's cable is EXTREMELY well constructed (finish is MUCH better than the Grahm IC-30 I owned briefly) with maniacal attention to detail. Like in the Hovland cables, Casey uses very low mass RCA's, though his are made entirely of silver. My only quibble is that my Linto's RCA jacks are a bit too short/thin to provide good ground contact..but this was easily remedied by tightening (slightly deforming) the RCA plus. I will be posting further impressions as the cable burns in, but the investment (to my ears) thus far appears VERY worhtwhile (especially considerng that my loss if I tried to sell my LP12 and purchase a more "modern" table would far exceed the cost of the mods)
128x128alexc
hdm
1,062 posts
 
Just a quick question. I have had what I consider to be very good results (considering a relatively low cost) with 1/2" glass, which is actually 12mm as opposed to 11 mm as a support. I use it within a Target rack with vibrapods between both Target MDF shelf material and the component, as a shelf support for both CD player and integrated amp. I can do a 1/2" piece of glass for about $50 U.S. which I believe is quite a bit less expensive than the Neuance, which I have heard great things about. I have a Michell Gyrodec (older model) sited on the top spiked shelf of the Target rack and have never used the glass under it. I did experiment with both granite and marble and the 1/2" glass was clearly superior to both. Just wondering how you think it might be under the Gyrodec, which clearly sounds better straight onto the Target MDF shelf than it did on either marble or granite? Regards.

Blake
hdm
1,062 posts
 
My post above should read that I experimented with marble and granite under the turntable (on the Target shelf) and that the table sounded better going straight onto the MDF spiked Target shelf. The half inch glass has been a clear winner with the CD player and integrated, but I haven't tried glass under the turntable. Sorry for the confusion.
extremephono
123 posts
 
Hi,
I might assume that the glass (for under LP12) could be overly damped through the use of Vibrapads or because of the location of the Vibrapads. I would use a hard support like upward spikes (from Target) below the glass, and hard support on the glass/below the upper support, such as BD cones or similar. Or try directly resting the LP12 via 3M Bumpons on the glass. I also have good result with maple block (1/2") below/above the glass.

In my setup, on top of glass, the support (let's assume 3 cones), have to be clustered at least 2-3" away from the edge of the glass. If you still find found the glass effect too strong, I put 2 strips of duct tapes to damp down the glass a bit.

There's certain need to play by ear, as it also involves other system elements and overall tonal balance. Try to 'dial in' the appropriate amount of 'sparkle' into your music. Too bright and edgy, then you damp it down. If you are willing to spend $400, then e-mail me..... hehehe.
More to discover