Lewm,
It's quite possible we may be left with a "Who was that Masked Man?" situation with Mosin.
But he did leave this part reveal about the "Backstage Pass" over at Lenco Lovers yesterday:
Andy,
Thanks for the kind remarks. I certainly appreciate them, and I share your pain for having too many projects, but not enough time.
My turntable started as a Bogen B61 which is the US equivalent of an older Lenco model. I selected it because the metal was thicker, and for no other reason. However, as the project progressed, more and more of the original turntable began to disappear. Soon, almost all was gone, and everything that remained was seriously modified. Most was dispensed with, altogether.
The linkage, for example, became a single articulated assembly which serves as a turn-on lever for the motor, and also engages the idler. The Lenco idler was completely scrapped in favor of a scratch-built assembly. The spindle and its bearing assembly were also severely modified to reduce noise, and to accommodate a new platter arrangement. The platter is a combination of part of the original, but with the addition of rubber sides and a non-compliant top. There is no mat, and while I prefer a lightweight clamp, the arrangement plays fine without one. My primary goal was to make a nice Lenco turntable that avoided the issue of VTA with the cutoff top plate corner, etc., but I went wild, and designed a tonearm module that can be quickly replaced with other ones without the fuss of alignment and other setup steps. The plinth is Baltic birch, but with a few strategically placed damping materials that work in conjunction with the turntable's integrated isolation platform. The bottom platform is not attached to the top, but the top sits on three pucks made from a slightly compliant extruded material, and the platform itself has four adjustable feet. All the horizontal sides are clad with a thin layer of black acrylic, but the sides are acrylic paint that was precisely matched to blend with the top and other horizontal surfaces. Those surfaces, all four, were rubbed to match the adjacent paint. The isolation platform is tuned to the resonances of the turntable, as best I could without sensitive measuring devices, and it is made from seven different materials. Because I like unipivot tonearms, I wanted a quick way to level the turntable. I thought level vials set into the top would be nicer than the typical bubble level. The yellow color added a nice contrast, and they are easily read. I am really happy with how that idea turned out. The light is powered by 3V LEDs that get their power from an external wall wart type power supply. That's what the additional connector is for on back of the plinth. The graphics are silver when the turntable is off, and blue when it is on. Internal mirrors diffuse the light. I hope I have covered everything.
Regards,
mosin
Needless to say, there's a full-court press going on over there to get more information. I'm not so sure it will be forthcoming.
I have growing sympathy for Win's (Mosin) predicament. On the one hand, he probably is justifiably proud of his miraculous accomplishment and wants to share that part of it, for the pats on the back he so richly deserves. Who wouldn’t? On the other hand, revealing too much may open up areas to an uncontrolled collective he deems proprietary to his design. Adding to this is his history with Jean Nantais – that rightly or wrongly he feels has been a rip. Damn me for being a fence sitter on this – but that’s an area to be settled (if ever) between the two of them.
But after a lot of re-reading and reflection, I must come down off the fence on this. Jean’s 8-10-07 post from Jerusalem was baiting and spoiling for a fight – and he got it. It would seem to me that one can’t refer to groups of people as tree-dwelling, feces-slinging Cretins, in addition to other disparaging remarks, and not expect to be venomously attacked. Our Kiosk is public, with no one-way filter. What goes around, comes around.
I’ll not ref one of those showdowns again.
- Viva Pacem
- Mario
