Linn Bedrok LP12 Plinth Upgrade

davey, Thank you for complimenting my system.  I presume you refer to the Sound Lab-based system.  As you may know, I also have a pair of fully functional Beveridge 2SW speakers in my second system, augmented below 80Hz by a pair of TL woofers I built myself.  I feel like a parent to both systems, and I love them both equally but for different strengths. 15-20 years ago, I got interested in vintage DD turntables, in part because the best ones are rare to find and collectible, and in part because I wanted to get away from belt drive turntables.  Along the way since then I also picked up a Lenco idler and modified it extensively. I am quite happy enough with what I have. My first real TT was an AR XA, back in the 70s.  Since then I have owned a Thorens TD125, a Transcriptors Reference (not super good but extremely fun to watch), a SOTA Star Sapphire Series III, and finally just brefore the DD conversion, a Hyperspace, which only became excellent after the addition of an outboard motor controller. My experience with the latter TT showed me that my Sapphire was not very good in several aspects, smearing piano decay and conveying vocalsl. Maybe there was something wrong with it. In any case, I have sworn off belt drives and especially spring-suspended belt drives. On the other hand, one of the finest TTs I have ever heard was my neighbor's Dohmann Helix. Go figure. So, while I am staying away from springs, I am quite impressed with the Minus K platform built into the Dohmann. Also, I heard an LP12 serving a system at the RMAF many years ago, and it seemed to be quite good. I got involved on this thread only because I was curious about the materials used to create the Bedrock and why it had to cost so much. I re-plinthed or heavily modified the original plinth for all of my DD TTs, except the Kenwood L07D.  So plinth materials is a subject that interests me.

@lewm I agree, plinth material is an interesting subject. I recently changed out my original Afro fluted plinth from the 80’s for a new Linn Oak plinth with the various mods like the corner bracing etc., the new plinth has two benefits for me: One is that it is much more aesthetically pleasing and two, it does sound slightly better. The Afro plinth was the last piece remaining from my original 80’s era LP12.

The new Bedrok plinth does not look as aesthetically pleasing to my eyes, but i can see why the extra rigidity would be beneficial. Only issue is the price asked, which I frankly think is way over the top. ( Due partly I believe to the fact that Linn are outsourcing this part).

Until you personally experience waiting SEVERAL MINUTES for a very heavy platter to drop into it’s bearing well, you cannot imagine how impressive it is. 

Its not that impressive to me.

My TT has a 26kg platter and it takes about 3-4 hours to seat, including constantly hand spiinning the platter when replacing the oil for that time - and it's an inverted bearing.

Check out the Vertere TT - you can turn the bearing upside down and the spindle will not come out.

@dover

You are talking about newer more refined engineering with your Vertere and years more thought in engineering so l would expect that too.

@elliottbnewcombjr was talking about a 50 year old Thorens TT that cost probably £150 or even less back then, so a comparison is not really a big deal here.

To Elliot…..

The unique six spring suspension (not compression), massive plinth and over engineered 8mm sub-chassis were always the reasons for the bass response in the Logic. No matter which MK model owned with or without the centre spring mod for heavier arms, the models were notably oblivious to footfall and vibrational feed back. The ‘secret’ is the configuration of the 6 spring suspension.

The bearing was also well engineered for its period and noted in reviews at the time. The three point six spring suspension as far as l know has never been used on any other TT. The DM101 beast is built like a tank.

dover

I’ve never seen any Vertere model, that kind of precision is beyond impressive, it’s downright scary.

The fit of the posts of the SME, Acos Lustre, JVC-Victor tonearms are all similar: snug, mated, properly aligned while making refined adjustments.

My 12.5" long tonearm from Russia, the post is not tightly fit, goes into it’s base plate very easily, like the Linn arm does in that video. They think it’s ok if it’s held in place by a set screw. I had them modify the base for 2 set screws (enhanced inconvenience, eh), and I added a layer of very thin tape around the post, a much finer fit, stays aligned while adjusting it’s height (with it’s built-in micrometer which is a nice feature).