2020 update : JC Verdier La Platine

I suspect you all are correct about the fact that the suspension of a vintage cartridge will have aged, inevitably. But does that really matter, when one is getting pleasure from the sound emanating from that cartridge? Why waste time perseverating over what the actual compliance might be, when you can have fun listening? If you choose a Tone arm and head shell with effective mass that work well with whatever the compliance is, then you may not ever need to know the difference. Speaking specifically of the Ortofon  MC 2000, it is my opinion after a few years of using one that this cartridge is capable of magical results, but it is highly dependent on the nature and character of the amplifying device, because its voltage output is so low. So it is rather like a Chameleon.

for that matter, even brand new cartridges come to us with a stated compliance from the manufacturer. What do you think is the margin of variability of that number from the actual compliance of any single given sample of that cartridge? I would bet that it is a wide tolerance. I would also bet that most if not all manufacturers do not test individual samples for compliance.

The venerable J Gordon Holt reviewed the MC 2000 for Stereophile in 1985. The cartridge, if NOS, would be at least 20 years old. 
My interest with this super low output cartridge is due to a recent acquisition of a current mode phono stage, Channel D Lino C 2.0. It  seems a perfect candidate to run through the Lino.

@lewm Would you happen to know the input impedance of the cartridge? And how are you amplifying the darn thing?

A number of people have commented on the various modifications /improvements that can be made to the Verdier Platine. I have had mine since 2001; bought from GT audio UK, the then importer. It has the battery power supply and controller, rehoused motor (6kg), ebony arm boards etc. 
PLINTH:
My understanding is that the plinth for the Verdier platine has undergon three transformations. The first was a concrete/granite aggregate mix, pink in colour that was expensive to make and difficult to produce . This was replaced with a particulate/resin mix that could be produced consistently and was mainly grey in colour. The last itteration was a black MDF (i think) plinth. there is an interesting comment on the original plinth by Keith Ascenbrunner of auditorium23 ( www.auditorium.de).

It is also worth accessing the Audio qualia web site (www.qualia.webb.com) as it goes in to some detail regarding the key parameters for TT plinth materials; especially regarding the relevant damping factors and resonance characteristics. After exploring the webb site it is difficult to justify anyone using slate or MDF for a plinth. You can draw your own conclusions. 
MOTOR:
The motor probably attracts the most comment both positive and negative. With a bit of tweaking some of its presumed weaknesses can be overcome and Callas audio has some suggestions to improve it. (www.callas.audio.nl). A number of people have used the original Terres motor or the one produced by Tom at Glabier audio. I understand that he has reintroduced his latest motor and controller with a new tape belt for the Verdier Platine. I think that it retails at 2,600$. I woid be tempted to modify my motor with a new Drelin pulley and flt belt from Tom. So something for the future.
FEET:
There could be some merit in decoupling the pneumatic feet as you have two springs in the original Verdier; the magnets and the feet. Whatever belt that you use (thread, round rubber or tape) will act on the platter and the springs and disturb its equilibrium. Again Callas Audio has some interesting information and measurements regarding defeating the original feet. It is easy to do by placing some wooden blocks on whch to suspend the plinth and come to you own conclusions. I decided to do the thing properly and had a set of ebony feet made that fit into the recesses made by  the original feet. They were made for me by Magna Audio in the UK (www.fosworld.wixsite.com/magna-audio) There is a picture on their web site titled 'solid ebony plinth feet'. They have an aluminium insert to take the ss levelling screws in the platter. I have to admit that I am obsessive about levelling the TT. I use a lathe bed precision level that is 30cm long and therefore perfect for the platter. My TT sits on a Symposium ultra platform which in turn is supported by a set of Townshend footers. With the motor housing you have over 70kg to support
PLATTER
There is not a lot you can/need to do with the platter except play with different mats and record clamps. I have tried, felt, cork, glass, carbon, fibreglass, bronze etc., and ended up going back to the original 'lead ' mat. However, Acoustical systems has a modification they call an SDS acrylic plater that sits on the original one and is supposed to dampen and decouple the spindle by using a gel resevoir etc. (www.archer-headshell.de/accessories/sdp) AS have also made arm pods that sit on the plinth of the verdier.
BEARING
Again, Callas audio used to do a Mod Kit for the TT that contained a larger bearing with smaller tollerances than the original and using a different oil to the Rocol ultracut oil as well as a ceramic ball for the top of the bearing. I assume that this will affect the braking that the original oil is supposed to apply to the platter. How this will translate into what you hear i do not know. 

Like most things; the science will give you the data, sometimes the information but only you will decide on its relevance to you.

Regards

Peter Russell

Hi Peter

Very nice write up for all the relevant components of the La Platine. A lot of information, and I did peak into the link from Audio Qualia which is new to me. The Magna Audio and Galibier Design sites, I am familiar, but never knew the ebony feet was meant for the La Platine. And It was a good surprise to see the motor - control from Galibier finally ready to be adapted to the La Platine. But at $2,999, a bit stiff for me. 

Your posts raised more questions, for me, than it answers. I’d like to fire a few and hope to learn more:

1. When you got the TT did it come with  Tron’s Battery powered motor only? Were you ever able to compare the ‘stock’ motor with it? There are quite a few reports of the sonic improvement of Tron’s battery powered motor here. Would like to have you elaborate more, if possible?

2. The Discussion on plinth material on the Audio Qualia site is very involved. It does seem that the research conducted favor resin as one of the optimal plinth material. And does that mean the LaPlatine produced by Auditorium23 with the resin / terrazzo plinth has better resonance characteristic and therefore sounds better tag the MDF ones? I know that @ct0517 who has commented here has the ‘ granite ‘ version, and touts the superiority of his deck. So granite deck better than mdf?

3. I don’t understand how the ebony feet from Magna Audio, which are beautiful btw, are attached ? Do you remove the existing aluminum feet by unscrewing? And what are the sonic benefits?

4. You have replaced the footers of the Symposium platform with Townshend pods. Why? That combination had occurred to me before, however, I had thought the Symposium couplers and the platform work in tandem?

I could go on, as you post provides much curiosity. I stop for now and waiting clarifications.

I had a Platine Verdier with the MDF plinth for a year or two.
It got slaughtered by my Final Audio VTT1 and hence I sold it off.

The following mods narrowed the performance gap -
I removed the sprung feet, and cut marine ply inserts with stainless steel thread inserts embedded. These were friction fitted into the cavities.
This enabled me to use rigid footers with adjustable height to level the deck. The removal of springy feet and installation of rigid footers improved timing and pitch stability ( in conjunction with the thread belt, which was superior to the rubber belt ).
I also used the supplied ball to ground the platter - using dial calipers I was able to keep the platter lift to about a thou of an inch, which meant minimal load on the ball. This mod cleaned up the high frequencies, but was quite subtle.
After comparing many mats I settled on a Barium Lead Acrylic composite manufactured for Sumiko in the 80’s, with a Final Audio record weight.
Lastly - the motor was crap. Very noisy. In the end I built a cradle clamp for the motor that sat underneath the top cover of the motor housing. The cradle enabed me to clamp the motor at multiple points. By adjusting pressure to the motor I found I could minimise the noise somewhat.
I also replaced the rubber feet on the motor unit with 3 adjustable feet so the motor could be precisely levelled.

Replacing the weedy motor drive with my Final Audio VM7 motor system - larger ac motor driven by dual sine and cosine wave generators and 60wpc power amp - showed that the Verdier motor is useless.

Similarly with the bearing tolerances. On my Final Audio which has a 26kg platter with an inverted bearing, it takes about 6 hours to get the platter down after relube. Compare this to the Verdier, where the platter goes straight down after relubing. In other words the bearing tolerances on the Verdier are appalling by most standards.

So in a nutshell, if the Verdier where my only TT I would go for the Callas bearing and find a better motor drive system. Probably replace the MDF plinth too. So the only useful parts in the Verdier are the platter and magnets - everything else requires upgrading.

Honestly, before offloading the Verdier, I compared it to a Pioneer broadcast idler with the same arm & cartridge mounted. This showed how out of control the Verdier was - the Verdier was more transparent, but the idler had better timing and pitch stability. Since then I built a Garrard 301 up for my 78’s - this ( again with same arm & cartidge ) creamed the Verdier by miles in every aspect, though still not in the league of my reference Final Audio.