Will Origin Live Conqueror tonearm fit my Rega RP10's skeletal plinth?

In General OL are a Company that are using Rega Geometry, as OL piggy back rode on Rega’s success as a marketable product.

The learning of any constraints on the Tonearms interface to a TT, is always worthwhile.

Learning of any constraints known of, about how a OL Arm Mounts on a Rega TT, is a worthwhile investigation, prior to selecting it as a alternative Tonearm. 

A friend who has a long-term history with OL Arms, had a purpose produced spacer in use, for one TT's in use with a OL Arm.   

Hopefully the requested info is supplied. 

I am a long term absentee from having listened to anything Rega, even though I am quite familiar with Tonearms based on their design, but more importantly Tonearms that have adopted their geometry.

I own a Audiomods Series V Mictometer and a SME IV, each is much of a muchness in how the music is presented, which in a assessment today is referring  to by myself as a noticeably constrained mechanical function.

I am also not too distanced from being quite familiar with the SME V, through receiving demo's of it in use in another system. These demo's have the outcome, where I have developed the same assessment, that the V is similar to the IV, being able to create the impression of being constrained.

 The V owner moved on to a different non SME Model TT and commenced using OL Tonearms.

I am as a result of the V owners transition to OL, become familiar with the OL Encounter, Illustrious in use with a Sumiko Pearwood and have missed out on the Conqueror.

I have formed the viewpoint the OL Models I have now experienced in use, have proven for my own listening purposes, to be a much more attractive Tonearm than the other Tonearms referred to above. 

Note: Using the recollections from my experiencing the impact made on myself, of the differing Tonearms, the OL Models are the ones that are presenting in a manner that does not enforce the concept there is a constraint to the mechanical function.

The Company may have done more work to the mechanical interfaces, with the intention of producing their own voicing for their models? Or maybe not? 

Note: The owner of the OL Arms has now moved on to a used model Vertere MG TT, and the HiFi Group I am a member of, has made it known,  they sense the OL Conqueror might prove to be the better arm to be be in use on the MG TT.            

@lgo-jerry I am no longer using the Audiomods or SME IV.

My comments about constrained are strictly related to my assessment of the mechanical function, there is a occasion when the TT and Cart' have been the same to evaluate the Tonearms in use.

I have formed this assessment as there is a comparison carried out on a few occasions to another owned Tonearm, that I now have in use as the main arm.

Once the perceived constraint is detected, it sticks like a coloration one is sensitive to. For me it become as noticeable as a overbearing Metal Tweeter, but not as assaulting to the ears.

I also loaned the IV out to a HiFi Group Member in the market for a Tonearm to be used with their SP10 R. They did not get the impression the SME IV was right for them, and purchased a Glanz 12" Arm. 

I have become very familiar with the Glanz arm in use with both Japanese and Scandinavian Origin Cart's attached and can assure that the SP10 R > Glanz are a very very attractive marriage. 

I will also say for my sensitivities, the Glanz, is a good few steps ahead of the OL arms, where perception of freedom and not being constrained is under the microscope.

I am suggesting mechanical interfaces are the cause of the perceived constraint and taking a time out, to learn more about Tonearms that are not creating the type of constraint I am referring to, can't do any harm. If you discover similar to which I have from a particular model of Tonearm, this Tonearm, 'if selected as a exchange arm', will bring a new level of insight to how a recording can produce a sonic.

The recent investments made on the other supporting ancillaries should really allow them to shine, with their processing the source signal that is now capable of being produced. 

@lgo-jerry As said previously, taking a time out and furthering learning can't do any harm.

I will suggest in the meantime that a investigation into Platter Mats and a Support Structure for the TT are looked into as well.

Discovering the combinations that work in your environment can be revelatory, the mechanical interfaces that are the result, can really benefit the sonic being produced.  

The following is a Tip from OL

Notes on counterweight adjustment

The trick to precise positioning of the counterweight is to lightly nip the grub screw when you get close to your desired reading. Then gently twist the counterweight slightly while pushing it in the desired direction till it gives the correct reading. Once this is achieved, clamp firmly and recheck the reading. Tracking force will likely need re-setting later so don't worry about getting it too exact at this stage - within 0.3 grams of recommended tracking force is fine