Possible turntable upgrade....


Hi All,

So it started as a simple, 'buy some new speakers' impulse. Well, that escalated quickly!

Now, I am looking at my turntable as the possible weakest link. Would love your help/advice/input/experience on whether it's time to give up on my old, beloved c.1980's Linn LP12 that I have had since the mid 80s. The deck has Lingo 1 and Cirkus/Valhalla upgrades of note.

Details: LP12 as above, Graham Phantom arm, Clearaudio Concerto cart.

System: Aesthetix Janus (brand new) pre, BAT 250SE (w BAT-PAK) amp. Tara Labs throughout (recent upgrade) including phono cables, Vivid B1 speakers (Tara The 2 cables).

So, it seems that the Graham Phantom may be too much arm for the Linn (been told Linn is better with a lighter arm) so should I upgrade the deck to build the analog around the arm and take it to the level of the Aesthetix/Vivids etc? Basically, is my money better spent on a new deck as opposed to trying to upgrade an old design such as the Linn? Is the Linn now the weakest link in my system? 

If so, recommendations would be greatly appreciated. I know tastes come into it etc but hopefully my choice of Vivids etc give an insight. Especially love to hear from anyone with a Graham Phantom arm. Price range: as low as possible to make the necessary difference, definitely under $10k. Preferably closer to $5k. Of particular interest (but little listening experience) would be Clearaudio and Transrotor. Open to all ideas. All positive input is greatly appreciated.

Thank you all.  
denjer1
I would purchase a different turntable. The Linn can be upgraded, but the upgrades are expensive and it is not a great match with your arm.

You are probably going to receive a number of suggestions, some good and some not as good.

My recommendations in your price range are 1. Get a rebuilt Garrard with a high quality plinth. 2. A Turntable from Dr. Feickert 

I have a rebuilt Loricraft Garrard with Woodsong plinth and it one of the best changes I have made.
Linn is the prime example of the suspended isolation approach to turntable design. With all suspended designs but especially with Linn the whole thing is tuned to vibrate a certain way. They talk about isolation but need a stable platform as much as anything so really its more tuned to vibrate. Naturally the arm and anything else you put on there, a mat a record clamp or even a record, becomes part of that vibrating package and has to be accounted for and tuned for. I looked into this a lot and listened to a lot of Linns and others and have been forever since very happy to have not followed this path.

The limitations and compromises you're seeing now with your table are among the many reasons I'm glad I didn't go that way. If you love the Linn sound then of course its all worth it. No different than the guy with the electrostatics or the SET or whatever. If you love it then you'll do whatever it takes to get the most out of it and it'll be worth it to you. If you can't say that though then yes that would make the Linn the weakest link.

The other design philosophy is massive, solid, suspensionless. Usually these fudge and use a suspension to some extent but not to the point where you start worrying about cartridge mass and the whole thing is floating and bobbing around every time you touch it. The dividing line, none of these type tables cares what arm or how heavy. The best give you complete freedom in arm choice.

That's the way I went. In contrast to the Linn which already is limiting your options this way you are free to get the most table you can possibly afford secure in the knowledge its a "forever" component which with your arm you will probably already be able to enjoy forever but if not then wow, you upgrade that arm you won't believe how it can be even better.

That's what I did. Was very, very happy with my Graham 2.0 for many years. Eventually got to the point I couldn't stop thinking about all those extra connections in the very fragile micro-voltage signal path. Upgraded to Origin Live Conqueror, so much better its more of a new realm than upgrade. 

Which involved not one moments thought given to how much that arm weighed, if it would fit my table, etc. Because my table instead of being a limiting factor is wide open to upgrades.

Hope this helps.
Denjer I have owned two Linns over the years and I hated both of them but they were still the best table you could buy at the time. You have to trust me on this one. Get a SOTA Cosmos and stick your Graham on it.
You will never buy another turntable. You will be in Heaven. You will be able to put your sub woofer right in front of it and blast the crap out of it and nothing will happen. You will be able to jump up and down right in front of it and nothing will happen. It now has a magnetic bearing like the more expensive Clearaudio tables. They will drill the arm board and weight the chassis for the Graham. You get your choice of wood and a dust cover if you like! They are great people and you will have the best experience with them. You should consider a better cartridge. A Clearaudio Da Vinci would do perfectly. I love spending other peoples money. I have owned at least 20 tables and the only one that compares is the SME. 
Millercarbon the only way to isolate a table is to suspend it correctly. You are right about tuning the suspension and The SOTA  does this by adding and or subtracting lead shot to a well under the tonearm board. Any table on a fixed base is only as isolated as what it is sitting on. The problem with the Linn was that its suspension had a very low Q. All you had to do was sneeze in front of it and it would start bouncing. The SOTA and the SME will not do this. You can put them on a collapsible card table and they will be totally immune to anything that happens around it. Try that with any fixed base table no matter the weight.