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About kl122002

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  1. We are at the wrong time - today is not the vinyl age like 1950-1980s, but here now is 2020s when digital music dominant. Music are recorded and processed through a computerised 101010001010 way and so that is the real different from those who used tubes (/valves) or transistor era. However we are at the right time because when the help of computers all stereo components are well designed comparing to the old one.....in other words, maybe we are having good tools to play bad music ?
  2. I never judge the SQ from youtube until I heard the real one in front of me. My question would be, is Akito gonna be Silvery too?
  3. The one I used for setting up my LP12 are from Japanese Kanon and all comes in cNm scale. And the one I bought extra (because they arrived very late) and from Wiha and Wera, both of them come in Nm way. And for the accuracy thing seems like Kanon is much better. http://www.bestool-kanon.co.jp/english/products/detail14.html I agree setting up a Lp2 needs lots of tools but that doesn't mean you have to buy a lot expensive tools....well, I must admit I have a set of Bosh dril & electric screwdriver with lots of bits and sockets already <--if that doesn't count as "expensive"
  4. Many years ago I have heard an LP12 that it's plinth, top plate, sub chassis, armboard weren't Linn's but other makers , mostly made by solid steel. The sound effect is... I won't say it's bad, but it's like another story with a t/t that just using Linn tonearm and cartridge to show a different style in music reproduction.
  5. I was told the only thing to do is to drill a hole to fit the screws. But still, that's great to have the original parts to continue it's music journey.
  6. All I know is 317x miracle surface is specific to RCA records during the hey days when Stereo Sound just getting common to people. But I can't remember what had been added by Capitol, CBS Columbia, and others. And the other thing I know is if you can source a European pressed version it would definitely sound different to the US one. Not sure whether it has been toned to an EU sound or something added during the making.
  7. I should have added that when trying to level the platter one should not use any machinist's level. Machinists level is too heavy for doing this job and that just happened like what you said. The one I used was this one: https://kapro.com/product/440-line-level/#toggle-id-1 Leveling the platter is like compensating all the springs power to support all platters and tonearm, and perhaps that explains why the tonearm base /subchasis are not in flush with the plinth in result?
  8. I think I know what torsional spring is but how does a not-so-flat top plate works in that way?? The only thing I am certain is when I took out the top plate from the plinth during my Keel installation, it popped out like something releasing a tension that has been stored long ago
  9. It's a good question I have asked before, but later it seems there is no answer and so I have decided to give up. However it does not imply that I am gonna to agree with all what Linn said, especially the complete Klimax spec. If DC motor has been proven better than an AC one, then why this DC motor has not been well introduced in our t/t making history?
  10. If the Krane really works well with Keel (most likely it would) then Linn might need to study how to position each of their products in marketing. The current Akurate spec seems like something in-beween? Somehow I have a feeling that Akito might turns into an entry-level, then the upper level would be like Krane and Ekos SE.
  11. Looks like this Linn springs & top plate topics would never end. In the past few weeks I have set up my LP12 by myself, and just did some experiments with the leveling. What I used is a machinist's level , and that should be more than enough for setting up a t/t. Leveling the platter is possible, but that turns out the armboard is not in flush with the plinth. It was like telling another story: compensating with the springs' support? I have tried to play a some music in that way and it doesn't sound well. Something seems bumpy while some seems lean?? So then after going back to Linn's way , which was flushing the armboard with the plinth ,everything back to what we used to know from Linn. It seemsto me that whether the top plate's flat or not is not something Linn really care about?
  12. Agree. A key step to make all T/T plays well is to be in level. But the facts are, the speakers aren't in level, the chair or sofa isn't in level, the listener isn't in level ....
  13. I only wonder who would setup a Lp12 without a level. And tbh I believe buying accurate tools for setting up seems much expensive than the actual LP12 itself When I was setting up my t/t I borrowed this one: https://www.amazon.com/Starrett-98-6-6-Inch-Precision-Machinists/dp/B0002CSBNY/ref=mp_s_a_1_15?dchild=1&keywords=level&qid=1606277250&refinements=p_36%3A1253532011&rnid=1243644011&s=hi&sr=1-15
  14. Wish I could have read this piece earlier. What I have noted, thinking and experimenting over last week are almost same as the link you shared
  15. For most of the time a Linn Spring looks like this way : In fact, taken away the upper rubber grommet, it would looks like this. The cone shape is almost symmetrical : A: Then when I rotate it a bit , if your eyes are sharp then you might have noticed the changes of edges : B: It is the same spring , and B has just rotated ~ 90 degrees . When you are having it on hand and rotate it within your palm then you can feel it. The last opening thread (just the 1st level before it reached its end) would decide how this spring support when pressed from the subchasis. If it is like photo B when pressed it would draw the subchasis towards the left side. That's why I believe the background reason why the original setup manual & guides asked user to rotate the whole spring unit (griping the top rubber grommet) to adjust the spring supporting position.