Will Origin Live Conqueror tonearm fit my Rega RP10's skeletal plinth?

Thanks, Pindac.  I think I understand what you mean regarding constraints on the sound. I've made several changes in associated components over the past two years and every new addition has made a definite improvement.  I've bought much better phonostage, amplifier, cables, cartridge...All while using the RP10 with its stock RB-2000 tonearm. I can't say whether there would be further improvement by using a "better" tonearm, but it would seem to be the logical next step.  Then again, simply because each change improved the sound while using the same table and tonearm, perhaps that means more improvements can be had without upgrading the tonearm. If HiFi equipment was less expensive it would be easier to find out! 

@lgo-jerry I am no longer using the Audiomods or SME IV.

My comments about constrained are strictly related to my assessment of the mechanical function, there is a occasion when the TT and Cart' have been the same to evaluate the Tonearms in use.

I have formed this assessment as there is a comparison carried out on a few occasions to another owned Tonearm, that I now have in use as the main arm.

Once the perceived constraint is detected, it sticks like a coloration one is sensitive to. For me it become as noticeable as a overbearing Metal Tweeter, but not as assaulting to the ears.

I also loaned the IV out to a HiFi Group Member in the market for a Tonearm to be used with their SP10 R. They did not get the impression the SME IV was right for them, and purchased a Glanz 12" Arm. 

I have become very familiar with the Glanz arm in use with both Japanese and Scandinavian Origin Cart's attached and can assure that the SP10 R > Glanz are a very very attractive marriage. 

I will also say for my sensitivities, the Glanz, is a good few steps ahead of the OL arms, where perception of freedom and not being constrained is under the microscope.

I am suggesting mechanical interfaces are the cause of the perceived constraint and taking a time out, to learn more about Tonearms that are not creating the type of constraint I am referring to, can't do any harm. If you discover similar to which I have from a particular model of Tonearm, this Tonearm, 'if selected as a exchange arm', will bring a new level of insight to how a recording can produce a sonic.

The recent investments made on the other supporting ancillaries should really allow them to shine, with their processing the source signal that is now capable of being produced. 

"I've bought much better phonostage, amplifier, cables, cartridge...All while using the RP10 with its stock RB-2000 tonearm. I can't say whether there would be further improvement by using a "better" tonearm, but it would seem to be the logical next step.

Since you have that base covered, I would consider myself good until you're ready to commit to the next level-significant outlay for a completely new setup. 

"Better" phonostage in your case means something $3-5K and capable of exploiting a $3K+ cartridge.

I would consider myself set until I'm ready to open the wallet considerably wider for a completely new setup. Dump the RP10 for a Kuzma, Feikert or whatever.

I have a Parasound Halo JC 3+, so I think I'm good there.  A different table, perhaps like a different tonearm, may only be different and not better, but one never knows without trying something else. All good advice.  Again though, if someone has changed to a non-Rega tonearm on an RP10, I'd like to hear about that experience.

@lgo-jerry As said previously, taking a time out and furthering learning can't do any harm.

I will suggest in the meantime that a investigation into Platter Mats and a Support Structure for the TT are looked into as well.

Discovering the combinations that work in your environment can be revelatory, the mechanical interfaces that are the result, can really benefit the sonic being produced.