I need HELP with my LP12 based system

for anyone who is a music lover/collector in vinyl, and aquires more than just drips and drabs of audiophile releases, a 'suspended chasis' turntable is a 'must have'. the linn, along with select models of thorens, have proven their 'worthiness' for decades.....we can check back on the high mass acrylic stuff in 30 years.

The best you can do, it to go away from that coloured, completely overhyped LP12. There are two ways, listening or believing. Sorry, no offense. I know, I could it write more gently, but then I need 200 lines.

Following Mcrheist's post I went to my nearest Linn dealer to hear the current spec LP12 yesterday. They are a long-standing Linn dealer in London who are still very active in analog. They claim to dismantle, measure, inspect and rebuild every new turntable they receive from the factory and, if you believe forum posts, it's said that Linn send their trainees to this dealer for training in set-up. The dealer was very confident about being able to get the best possible performance from the LP12.

The table was fitted with Akiva/Ekos with Lingo and Linto PSU and phono stage, through Magik pre/power and Akurate speakers. Initially I heard the system with the Magik cd player. It sounded slightly solid-state "hard" but had good deep bass extension and it didn't have that characteristic in which negative feedback makes vocalists sound short of breath.

Switching to the LP12, I initially noticed good tonality, detail and resolution. However, as the tracks built in complexity and ampllitude it was harder to hear individual instruments in the mix - the lead part dominated with micro-dynamics being lost. Also, compared to cd, there was significantly less bass energy and extension. All audio involves compromise of some sort, but the LP12 asks too much in my view.

I'm surprised that Mcrheist rates the LP12 on similar terms to the SME 20/2 - I would say that it is on a par with the SME 10 which is dry, organised, with deep extension although not the greatest at conveying a sense of performance.

So I stand by my original statement, the LP12 is outdated, over-rated and over-priced. If your priority is to create an illusion of live performance in your home then the LP12 won't get you there.

Finally, after 2 hours of listening to ss amplification I'd had enough. It was so good to come home to my DRDs.

Today I've been playing with the DV 507 Mk II and XX-2 but that's for another thread!

I was a die hard Linnie until recently, when I decided to try a basic VPI Scout just to see my Linn stomp it into the ground. Well, my LP12/Ittok/Lingo/Cirkus is gone, and the Scout is here. Better in every way, including all the foot tapping tests you want to use. Don't take my word for it, just try it. I sold my Linn for $1000 more than I paid for my Scout, and used it toward a Lyra Skala. FWIW, I am using a Vendetta SCP-2B phono stage into tubed gear. I initially felt like I was leaving a fraternity when selling the Linn, but I am enjoying the lack of audiophile nervosa which accompanies Linn ownership immensely, and I am always feeling I am getting the best out of my setup.

I can tell you about 5 years ago I went FINAL turntable shopping. Listened to SOTA, VPI, and last, becuase I never thought I would buy it , Linn. The LP 12 didn't do anything for me , but when I put my test LP ( Miles and Monk at Newport) on an LP12 with Valhalla , I was sold- 90% of the midbass cloudiness was gone , and the mids just lifted from the background like 3D magic, in a way I hadn't heard on the other tables. I 've since modded the circuit and adjusted the phase of the motor supply ( using a stethescope to adjust for low noise), changed to outboard RCA jacks, but could have lived happily ever after with the valhalla.