Conference hips::uk_audioo

I'm ready and willing to try twisting my belt, but as a novice who has
not even handled it yet,

How can I tell if the belt is inside out or not?
How can I tell if its the right way up?

And the other thing is, until I get my new amp and speakers I'm not sure
I'll notice any difference.

Hoping you can enlighten me,

Steve.

P.S. Can you recommend any source material for doing the listening tests?

    re .1...
    
    "How can I tell if the belt is inside out or not?
     How can I tell if its the right way up?"
    
    Inside out: remove belt and hold up between thumb and forefinger.
    When it stops wobbling it should form a perfectly symmetrical egg
    shape; if it's inside out, one side will curve inwards slightly,
    forming more of a "raindrop" shape.
    
    Right way up: you can only check this by listening; if it's upside
    down the music has a slightly "sat-on" quality, less relaxed somehow.
    Once identified, mark which way is up.
    
    Re my base note....forget it. I'd had my system powered of for other
    tweeks and that's what I heard. the belt is best untwisted.
    
    Dave

I had my tame Hi-Fi dealer from Farnborough round until eleven last night
demonstrating some amps and speakers, so I put the twisting question to
him. He said that it was a load of tosh and that it would affect the speed
and muck up the rythmicality (dubious word). I'm still willing to give it
a go, but I'm unconvinced that I'd be able to tell the difference even if
there is any.

Incidentally, you Sondek owners, do you leave your platter rotating? and
have any of you got a 45 rpm adaptor?

Steve,
(who should be at home listening to the Saras that he has to take back tomorrow)

    re .3....
    
    Your tame dealer was right re the belt twisting. It was a simple
    analogue recording (isn't it always?) of one bloke playing blues 
    guitar which showed it up for me.
    
    I usually turn my Linn on immediately before taking my coat off,
    i.e. when I walk in at night, and leave it on till I'm finished,
    even if I don't play anything for an hour two. I leave the cover
    on so's it gets warm and belt gets nice'n'flexy, then I do all
    listening with the cover off.
    
    Dave

    Well, I don't yet aspire to being a Linn owner (If Naim keep releasing
    products, I may never get a Linn ;-)), but I do like to put my oar
    in.
    
    I used to keep my REGA on all the while, but unfortunately, the
    mat isn't perfectly circular, and it looks pretty annoying. I keep
    meaning to take the mat back and get it swapped. I always leave
    the cover on when I'm playing records, and because of that, I never
    clean my records.
    
    Cheers.
    
    Mark.

Re. Note 56.3 by YARD::BRIGHT "OK, no more Mr Nice Guy"

> Incidentally, you Sondek owners, do you leave your platter rotating? and
> have any of you got a 45 rpm adaptor?

I forgot to answer the question myself. I've had my Sondek for nearly a
month now and apart from a total of about ten minutes the platter's been
rotating the whole time. When it's not in use I put the cover down, and
when it is I leave it up, except when I'm doing something in the room
that's likely to create dust. I only leave it up whilst in use for
convenience sake. 

Two days after I got it, I was jig-sawing some wood in the lounge when
the cover was up. I've played the record a good few times since and I'm
still getting sawdust out of the grooves!

I put the arm back in its rest after use. Sometimes I use the lift/lower
device, sometimes not, depending on how steady I think my fingers are.

As far as cleaning records is concerned, I'm going through my entire
collection record by record (yes I'm going to have to bite the bullet
and face up to playing my old Black Sabbath and Judas Priest records
at some stage), cleaning it if it looks grubby, playing it, then storing
it in anti-static sleeves. Hopefully I won't have to clean them again
after this.

I've now got a 45 rpm adaptor and its surprisingly quick to fit. The
platter takes an absolue *age* to get up to the correct speed, much
longer than at 33 rpm. You can always tell when it's got to the right
speed though because the motor/belt stops groaning and the arm board
and platter twitch.

Steve.

    I've changed the cable with the Ittok to FMS Blue.  I've also used
    Cramolin Red/Blue on all connections.
    
    Any tweaks to the arm?  My old Connouisuer (sp?) had a piece of
    shrinkwrap around the arm tube.  Would this help the Linn?
    
    Bill
    

    re .7...
    
    Hi Bill; sure, there's some Ittok tweaks that may be worth trying....
    
    1. Remove the arm lower/raise mechanism
    2. Remove the arm rest
    
    I don't know how well these work as I haven't tried them; if you
    do try *both*, you'll need to "park" the arm so that it dangles
    over the edge of the deck to the right.
    
    The potential risk to my stylus put me off trying the above; it
    *is* worth checking that the allen-head bolt securing the raise-lower
    mechanism is as tight as it'll go without rounding off the hole,
    likewise tightening the knurled knob on the arm rest as hard as
    you dare with pliers is beneficial - the nut holding it to the armboard
    can also be tightened to good effect. Also the big allen-head bolt
    securing the arm within its armboard collar (the one you loosen
    to get the arm parallel to the platter) can really be cranked up
    tight and will improve sound. While the base is off the Linn, you
    can also tighten up the six allen-head bolts securing the collar
    to armboard, the screws securing the armboard to the subchassis,
    and the grub screw holding the arm cable plug into the arm base
    - but not too tight if the plug is plastic. Cartridge bolts are
    worth attention; use stainless steel allen-head bolts and screws
    (this applies to any deck, though) as tight as you can without rounding
    the screws/bolts - a word of caution here though, don't allow the
    arm to twist against its bearings or you'll really foul things up.
    Then there's the tags on the little wires between cartridge and
    arm; I could go on and on, and I usually do....
    
    There is another you may have heard of; set the stylus pressure
    to 0 then adjust pressure by moving the counterwieght - you'll need
    a gauge, of course. The theory behind this is that because this
    brings the weight closer to the bearings it lowers the effective
    mass. I tried it but it did nothing for me; I later read that the
    guy who tried this was countering a problem with the setup of his
    Linn, and correcting this rendered the tweak counter-productive.
    
    But all the tweaks in the world won't make an Ittok into an Ekos;-)
    
    Dave

Here's a tweak that is probably already known about by Linn
owners, but I've not seen it mentioned here, so here goes:

Remove the outer platter. Squirt some iso-propyl alcohol onto a
couple of pieces of standard disposable household tissue (bog roll)
and wipe the inside of the outer platter, the bit that interfaces
with the inner platter. Then wipe the interface on the inner platter
in the same way.

Your sound will now be miraculously improved to an extent where
you can only stare dumbfounded in amazement at your deck.

BTW, word has it that you should wipe the interfaces in a circular
direction only. Presumably this is connected with the way the
platters are machined.


Steve.

	How many Linn Sondek users do we have on the net, I wonder?

	I recently  attended a "course" at my local dealer's on how to strip,
	rebuild and set up the LP12. I'm prepared to share what I learnt
	in here, but I don't want to waste disk space, network resource,
	or my time if the interest isn't there.

	Would anyone interested please mail me, or put a reply in here?

	It's worth pointing out that what applies to the Linn also can
	apply to other varieties of turntable.

	Dave

    
    As an ex-owner, and hopefully shortly to be a new-owner again, I'd
    say that information is always welcome.
    
    However if you do enter the note I'd suggest that you either post
    the information in DSSDEV::AUDIO and then enter a pointer here,
    or do the reverse. Information on tweaking Linns is perhaps even
    more greatfully absorbed in America than here, if only because of
    the greater distance from the factory.
    
    /. Ian .\

    re .11...
    
    I put the note in dssdev::audio too. If I go ahead I may only enter
    the stuff in one, but I'm open to suggestions.
    
    Dave

    As the current owner of Ian's old Linn I'd very much appreciate
    any info re set-up. Thanks, Ed
    

    As an owner of an LP12 I'd like you to share this information with
    us here in this conference.
    
    Pretty-please  :-0
    
    Regards,
    	   Andy.

    Yeah go on, put it in. I think DRILL can take it better than my old
    account!
    
    Mark.

    Oh...all right then..
    
    I'll start another topic.
    
    Dave

Whilst in Scotland recently, planning routes between stopovers, I noticed 
that part of my route was almost by Linn's front door. I called them and 
asked if I could visit en route, and they said fine. So I spent a very
interesting 3 hours or so at their Eaglesham plant.

Eaglesham is the source for all of Linn's products, excluding cartridges
which are either built by an OEM to Linn's design, or built at their old
Castlemilk factory. Linn moved to the country a couple of years ago, as 
the vibration from passing traffic at Castlemilk was stopping them acheiving
the precision they wanted for the Ekos tonearm.
    
There is no production line as such. Each item is built from start to finish
by one person, who tests their product at the end, and signs it. Speaker
cabinets, and plinths for turntables, are bought in ready made to Linn's specs.
Tonearms, other than the Ekos, are sourced from Japan, to Linn's requirements.
The Ekos bearing housing is produced on an NC lathe to .5 micron accuracy, then
assembled and tested for accuracy. The bearings are inserted, and the whole 
assembly painted, at Castlemilk.

Platters for Sondeks are machined from rough aluminium/mazak casts, bought in
from outside. The tolerances and standards are so high in this area that around
60% go back as scrap - one reason why the Sondek is so much more expensive than
the other less tightly-specified turntables. The pressure plate within the 
bearing housing is machined so finely that it has a reflective finish with a 
better optical spec than most mirrors. The point of the spindle bearing is
machined to the same standard; if it is viewed through a microscope, all you
    can see is a reflection of the whole factory in the convex tip. I know
    because I tried it!

The PCBs for Linn's various pieces of electronics are made and stuffed by an
OEM, to Linn's specs. Each one is tested to ensure it performs to spec, and
put back in stores. Later they're pulled out, assembled into cases and tested
again. Quality control is emphasised at all times, the preamps being assembled
at an anti-static workstation to avoid damaging the built-in microprocessor and
associated logic. A tuner to match the LK1 preamp should be out later this year,
at "under a grand" - pounds sterling, that is!

At all stages there is an attitude to quality control almost bordering on
obsession. The internal logistics of the plant is completely automated, with 
items at various stages being put in and out of stores by a series of robotised
trucks, running along control lines built under the floor, and controlled by
some flavour of PC.

Whilst Linn are considered to be "just analog", they are in fact doing a lot of 
digital work. Various brands of CD players were stripped down on the bench in 
R&D, with all sorts of test gear connected to them. I asked if this was 
because Linn were contemplating making one, but no. I was told that they could 
make one if they wanted, and no doubt it would sell like hot cakes; the players 
under test were there so that Linn could discern why they sounded the way they 
did. I saw a box called the Numerik, which is Linn's AD/DA converter for studio 
use; apparently they have three of these, the rest were out being passed around
various studios in Europe. Although not ignoring digital technology, Linn view 
CD as being hopelessly limited, commercial factors notwithstanding. According
to the person who showed me around, an LP12 will only retrieve about 40% of
the information on an LP, but it still sounds better than a CD player which
retrieves 95% of information on a CD.

Linn are also a customer of ours. The computer room at Eaglesham had a couple
of ageing 11780s, used mainly to run the plant and by R&D. Apparently they
have a couple of 8000-series VAXes at Castlemilk.

I expected the "LP is best" pitch, but I have to say I was impressed by Linn's
commitment to quality at every stage, and their determination to remain a high
end manufacturer, no matter how seductive the profits in the mass market may
be.
    
    Dave

    Linn have just announced a new baseboard for the LP-12. This is a
    direct replacement for the current hardboard one. It is plastic /
    composite (I think) and has for 1-2 inch diameter feet mounted slightly
    inside thw plinth - making the LP-12 look like it is floating.
    
    This latest mod is designed to reduce accoustic feedback by upto 30db.
    
    The main advantange will be heard be people (like me) who have to keep
    their LP-12's on cupboards / shelving. There will be little or on
    difference if you've got a turntable-table.
    
    Cost �40-00 'ish.

    Some tweeks for those with LK1/280 electronics....
    
    Linn recommend replacing the pre/power interconnect with phone
    cable; they specify the type they use from armbase to amp, but
    it isn't available off-the-reel yet, so you'll need an old arm
    cable. Since it is only high quality microphone cable, it is worth
    experimenting; I used some Soundlab oxygen-free stuff at about �1.50 a
    metre in two 1.5 metre lengths, and got very good results - clearer
    midband, smoother more extended top, but also quieter silences. The
    stuff I used has a logo on it, so that directionality can be checked
    and matched between the two cables.
    
    Linn also have some new 4mm speaker plugs, but they are curently hard
    to get. They are a very tight fit and those lucky enough to have a set
    confirm the improvement is worth the change.
    
    Try terminating unused inputs with an appropriate plug, with 47Kohm
    resistors inside, from each signal line to ground. This would probably
    benefit any make of amp. The effect isn't obvious immediately, but I
    became slowly aware of a quieter background, more obvious small
    details, and a greater perceived dynamic range, especially on phono; not
    a night-and-day change, but definitely a long term satisfier! 
    
    Have fun.
    
    Dave

     Dave,
     
     Can one buy such plugs for a reasonable price.  I don't fancy making them 
     up myself.
     
     Can I presume tha by saying going from signal to ground via a 47kohm 
     resistor, you mean from the middle of the phono plug to it's the outer 
     edge, and it doesn't have to be a ground bolt at the back (with all the 
     danger of ground loops that'll cause)?
     
     I have also read that turning on the tape deck helps with such things.  
     Mind you I would bet that the drive home from work would have more effect 
     on my listening pleasure!
     
     Cheers,
     Robert.

    re .20...
    
    Hi Robert. Yes, you're right about how the resistor should be
    installed - between the centre pin and the plug's ground connector.
    I don't know anywhere that sells these made up and, knowing how even
    crude hifi minut� get hyped, you'll probably pay over the odds anyway.
    If soldering isn't your fort�, there must be someone in DECpark who'll
    make them up. 47K ohm resistors are dirt cheap in Tandy, good enough
    for this job; also Tandy will have the phono plugs.
    
    I don't know about turning on the tape deck; maybe if the tape outputs
    of the preamp section aren't buffered it may help, so long as the tape
    deck doesn't introduce problems of its own. 
    
    As far as the drive home goes, your system should cure the after-effects
    of that, not the drive home ruin your listening! If it doesn't work out
    that way, it must be upgrade time.....;-)
    
    Dave

    Some more tweeks, this time to the Linn boxes...
    
    Ensure paint is removed from around all screw holes in the cases.
    There's no need to go mad, just make sure the screws mate with clean
    metal.
    
    While lid is off the LK1....
    
     remove transformer assembly and ensure that
    the earth tag on the case of the assembly mates with cleam metal - no
    paint. 
    
    Remove transformer and ensure paint is removed from both sides
    of the large screw hole in the assembly case that the transformer
    centre screw passed through. Before refitting the assembly, clean the
    conector on the LK1 pcb; soldering the transformer output to the pcb
    and discarding the plug is supposed to work wonders but I haven't
    tried it yet.
    
     remove the plate supporting the MM/MC inputs and ensure that
    the paint on both sides of the stud used for the signal ground is 
    removed.
    
    Repeat for LK280/SPARK transformer(s) as applicable.
    
    Solder the crimps on all signal ground cables
    
    An LK1/280/SPARK thus treated sounds like a different beast. Many new
    items will already be done ex-Eaglesham, but can still be treated in
    some parts. Older boxes are transformed.
    
    Some don'ts....
    
    Bypassing the LK1 PS caps with polyprops didn't seem to do anything.
    
    Don't be tempted to tie the signal ground to the mains ground on the
    LK1's transformer assembly case, it injects noise and risks a ground
    loop. If you don't have a seperate mains spur and you insist on tying
    the signal ground to real ground, connect the signal ground to a cold
    water supply pipe via the thickest cable the missus will tolerate. I
    used Tandy speaker cable because it's thick, it's flexy, it's
    transparent and looks OK, and it's cheap.
    
    Some people I know have used larger fuses but as I use an unfused 15
    amp socket for my system I didn't want to take the risk.
    
    Have fun
    
    Dave