yes sir i'm sure mr pig
this platter is a solid beast . see i'm in no way sure of the heybrook time line. i just recall being patient with the order and going to the shop to pick it up where the sales fellow had me open it and compare to the linn lp12 that was the number 1. see at that time in the audio world news of the lp12 slayer was known.
the sales guy was shocked at how well the tt2 was built and at half the price of the lp12. he had told me that the first 70 tt2 tables were built to put the company on the map. so maybe my early tt2 is just that.
over built beast of a solid timeless design.
these were his words not mine so i don't know if that is right or wrong.
ser # 0024 would it be safe to say this would be 24th tt2 made?
i do know that later ones came with a linn basic lvv arm. mine had a blank arm board. at the time , this was 82 ish, no one made a precut arm board for it.
it was too early in the run for any aftermarket
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...i love it
Sure. I well beleive it can be an issue with a Rega, or just about any other arm. All I'm saying is that to deal with it accurately will take more than a toothpick and a ruler. For a start, you need a way to establish how vertical the stylus itself actually is. My bet is that on many carts it will be off, at least a little.
I wasn't aware that there was azimuth adjustment built into the bearing assembly on the RB300. Are you sure about that? I thought that the geometry of those parts was pretty much fixed.
Seems a reasonable conclusion to me. I think a lot of the turntables of that era were more or less as good as an LP12, the Linn was a triumph of marketing and propaganda. That's not to say that it's a poor product, it isn't, but other decks are good as well.
To be fair, I do think there were other factors. Linn lucked out in that they stumbled on a configuration that had inherent advantages which helped the deck sound like more than the sum of its parts. For example, the lighter-built plinth looks inferior to some of the more solid structures but it works in a deck like the LP12 as it picks up and stores less energy. But also, Linn built the thing properly. Coming from an engineering background, they avoided a lot of the simple mistakes that led to issues with competitors products. Like the warping top-plates on the Xerxes or stripping plastic high adjusters on the Pink.
The arm being parallel to the record is a good place to start but you're best setting things like VTA by trial and error, carts are all different. Not very easy on a Rega! ;0) The other thing that you need to watch is that a stylus will wear into one position and if you move it at all it will probably sound worse until it beds in again. It makes quick conclusions a little untrustworthy. Vinyl is just a pain generally! Wouldn't it be great if someone invented a more convenient way of playing music? ;0)
Hi Johnny, how are you doing? I didn't know you posted on here, life's just cram packed with surprises eh? ;0)
mrpig the lp12 i remember at that time was known world wide as the #1 there was.
it was the promise of the then new company heybrook first offering the tt2, that led me there way. i think here in canada at the time the lp12 was around $1200. this was a lot of money in the early 80's. i stiil have the factory box owners manual and sales receipt. in november 1982 i paid $690 for the tt2 and $300 for the rega rb300.
i had a real time getting a good picture of the arm height. get enough light and focus .
here is what it looks like on my setup. you can see the bottom of the cartridge is perfect square to the record.
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it was the promise of the then new company heybrook first offering the tt2, that led me there way. i think here in canada at the time the lp12 was around $1200. this was a lot of money in the early 80's. i stiil have the factory box owners manual and sales receipt. in november 1982 i paid $690 for the tt2 and $300 for the rega rb300.
i had a real time getting a good picture of the arm height. get enough light and focus .
here is what it looks like on my setup. you can see the bottom of the cartridge is perfect square to the record.
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Yip, you're quite right, looks spot on.
I remember all the hype about the LP12 myself. I was just starting to read the magazines etc when the Linn/Naim propaganda machine was spooling up to maximum speed. I fell for it. I wanted an LP12 before I'd even heard one! Having said that, I've heard a lot of turntables over the years, including some very high-end ones, and I've not particularly liked most of them. Many are very good at one or two things but don't make the music a balanced whole. I quite like the Garrard 401 though.
But the LP12 isn't 'number-1 or anything, it's just a well-balanced, competent record player and Linn aren't the only people who know how to make those. Whatever Ivor might think.
i see lots of youtube vids and forum's with people claiming sound quality upgrade with a counter weight change.
i'm at a loss with how a weight change has any effect on sound?
can anyone answer this maybe who has changed there weight?
u have the wrong end of the stick (or arm heheheh )
lets be clear a rb250 only has a PLASTIC stub and steel rear weight
the rb300 has a stainless steel stub and a stainless steel rear weight
rega also do the tungsten rear weight as a option FOR people that have non rega carts in for example rega turntable like the p3 --- and have to move the arm higher (then the lid hits the rear weight ) so the smaller tungsten rear weight does not hid the lid
the rb250 certainly benefits from the optional better metal rear stub and matching rear weight that many manufactures make as a upgrade
but the rb300 has a standard a good stub and rear weight and it could be argued that its not nearly as necessary to change that as it is with the plastic stub on the rb250
lets be clear a rb250 only has a PLASTIC stub and steel rear weight
the rb300 has a stainless steel stub and a stainless steel rear weight
rega also do the tungsten rear weight as a option FOR people that have non rega carts in for example rega turntable like the p3 --- and have to move the arm higher (then the lid hits the rear weight ) so the smaller tungsten rear weight does not hid the lid
the rb250 certainly benefits from the optional better metal rear stub and matching rear weight that many manufactures make as a upgrade
but the rb300 has a standard a good stub and rear weight and it could be argued that its not nearly as necessary to change that as it is with the plastic stub on the rb250
thank you
holy crap i just saw your site , that gold plated arm and weight . does this fit a rb300?
i was sold on the first look of that arm tube.
can you give me some details as in is it a replacement arm or does the stock arm gets sent to you for plating?
Changing just about any part of a tone-arm will effect the sound. It's all about the management of energy. You can't see or feel the energy levels that a tone-arm has to deal with, they are too small, but relative to the tiny music signal they are significant. I'll scale it up to illustrate.
Imagine you are holding a three-foot long iron bar in your fist. You're holding one end and sticking it out horizontally in front of you. At the other end of the bar a thin steel strip hangs down and there is a first-sized lump of steel hanging off the steel strip. So your fist is the back of the arm, the iron bar the arm-tube and the lump of steel the stylus.
Now imagine that while you're holding the bar someone whacks the lump of steel hanging off the other end with a hammer! What happens? The lump of steel will swing on the thin strip, but you will also feel the bar try to move sideways as well. At least some of the force has been transmitted into the bar through the thin strip.
What you will also probably have felt is a horrible buzzing vibration in your hand as the bar is sent wringing from the hammer blow!
This is exactly what happens in a tone-arm. The grove in the record throws the stylus from side to side and the movement generates the signal we want. But the violent movement of the cantilever also tries to move the arm it is hanging from, and it does. The vibrations are too tiny for us to see but these vibrations go into the arm, travel along it and on into the rest of the arm structure.
This matters because it means that the arm is not the immobile support for the cartridge we want it to be. It is vibrating, so the movement of the stylus is compromised. Maybe imagine trying to stir a bowl of soup while bouncing on a trampoline!
Also, some of these vibrations that are getting dumped into the arm will reflect off structures at the the other end of the arm and end up being fed back into the cartridge again. At the molecular level it's a very chaotic system.
So changing any part of the structure, the weight, the tightness of the fasteners, the thickness of the paint on the arm, anything at all, will alter the way energy is transmitted around the arm and change the way it sounds. You have a good set-up when you have a set of components that compliment each other well, and are adjusted in a way that helps them to deal with the vibrations as effectively as possible.
ok cant find the big files but if u email the shop they will send u bigger pics i am sure
Audio Origami Upgraded RB250
Audio Origami Upgraded RB250
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