For 40 years, Linn builds the Sondek LP12. The middle stage with new lingo power supply brings music warm and intense shine and provides almost the entire competition in the shade.
Although I’m actually busy with AUDIO, I couldn’t hit Holger Biermanns asking for a guest appearance in the stereoplay out. It fits all too well: stereoplay, 1995, was my first stop as a HiFi-Schreiber, and that it came this far, because Linn is a substantial, at fault again if only indirect.
It isn’t that the Scots have actively persuaded me, grinding my studies to leave and to enter instead deeper in the Hi-Fi World. The subject of a full-page ad of Linn in – logically – stereoplay completely sufficient. Since you saw the LP12 with the just newly EKOS tonearm in his whole Beefy solidity, photographed dramatically from the back of the bearing block. No text. The image should speak for themselves, and that did it sustainably. I admit, I then removed the display from the booklet and pinned in my dorm room on the desk. Do I could not the LP12 me, after a summer job became his little brother, the Linn axis, within striking distance of then but at least.
The step from my dual CS-5000 to the axis made me understand for the first time what turntable tests was already preached, and what is difficult to imagine without their own listening experiences to date: that drive and arm define the sound – even if they’re long beyond instrumentation of good and evil. The players in this test is perhaps the most sensible among the many variants of the Linn classic : he has the most important upgrades already today, but does stop before the last, extremely expensive expansion steps. You can plough through thousands of kilometres of vinyl satisfied for years. At some point an unexpected windfall is, you know still equal, where so.
Linn LP12: Construction
The base is equal to the flagship of radical of the entry-level Majik: hardwood frame, flush recessed ceiling made of stainless steel, soft suspension, At leastaber, sub chassis, two-piece plate made of zinc die casting Linn is the last manufacturer, which still uses this classic, high density and non-magnetic material.
There’s the drive in three variants, from which we choose the medium: a classic synchronous motor with an external oscillator PSU Lingo. This power supply has the advantage of measurable and audible greater smoothness over the basic version. Instead of directly using the alternating current from the mains, the Lingo for the two motor phases each generates a perfect sine wave and amplifies these signals with two small transistor power amplifiers. It works with two switchable frequencies (50 and 67.5 hertz for 33 and 45 rpm) and with variable voltage: only at startup, the Lingo is full throttle, then drops the voltage (and thus the torque) at silent speed level. Vibration-less you can not activate the engine.
Cartridge and tonearm
While motor and platter bearing can survive their owner, pickups are impermanent: ideally keep needles 1000 to 1500 hours. The system is the only wear items at a good player in addition to the belt. Therefore our LP12 is an excellent-sounding, but operating costs-friendly sound box: 480 euros the MM System Adikt, a needle exchange only 240 euro.
The Adikt is led by the tonearm Akito, priced between Gedeck Majik of mounted Pro-Ject 9CC and the super expensive peak force EKOS SE located in the starter. There is no good reason to be ever betrayed the Akito: his camp running in the current version almost as smooth as my pin-up motif of EKOS, and geometrically and mechanically, the arm is so cleverly designed that virtually any pickup in this universe is correctly mounted and adjustable.
Linn axis vs. LP12
The sound of the LP12 attributable alternatives the contributions of its individual components, I hundreds of times – compared to the own players, test-LP12s and Linn’s in my circle of acquaintances with smaller as larger, newer as older, Linn internal and foreign. Until today, however, the change from the certainly not bad axis to the LP12 (with the then lowest “Basik” motorization) has remained the most stunning improvement , has learn my system.
First of all just try half I then transplanted the arm-system combination of axis 1:1 on the LP12, expected nothing dramatic – and suddenly found myself in a whole new world of HiFi. The increase in Dynamics, cleanliness and joy of playing was so overwhelming, that I immediately bought the drive despite its already high price. Also in the current comparison with other really good players, the Linn for my ears occupies a special role: enormously powerful, but never forced, sublime calm, but never distanced. Seldom found this perfect balance, which only allows the much-quoted swing, the legendary Scottish drive timing, and today also in comparable to expensive drives.
FRU? produced more bass weight
The LP12 has gained the reputation of being the low fat to apply something, in the first two construction decades – from 1974 until in the early 90s -. Linn-MCs were then slightly bass stresses such as the troika, was added a certain fundamental self-resonance of the old, single- and torsion-joyful pressed sheet metal sub-chassis. With the current, installed since 1994 sandwich of two layers of sheet metal associated with steinhartem glue, plays the LP12 also into frequency basement neutral and contoured.
More order and precision gets, who switches from the standard power supply to the lingo . There are romantics who so wrangle up today, because it distributes the last remnants of the woolly rosy 70s sound. Considered neutral, brings only benefits the lingo: the sound is much more structured, the rest during breaks still absolute, precise snaps the rhythm and the tempo is firmer and faster.
Tone arms, made in Japan
I’ve heard through even the various incarnations of the “small” Linn-arms over the years: Basik plus, I (both built in Japan), Akito II (made in Scotland) as well as several copies of the following Akito, which has been revised several times, but always Akito was named Akito.
The effect of the change of the arm was the one I had initially often promised by the use of more expensive cartridge, then but mostly don’t get: less sampling distortion, more transparency, more vivid timbres, relaxed playing “harder” plates. Which is not to say that noble MCs would be pointless.
An Akito on today also a refined Ortofon, Benz or Lyra leads to excellence. Who has seen how balanced, lively, and sovereign of the modest Adikt on the Middle LP12 sounds, feels however no direct need for action. There will be, how it looks, long time LPs and pickup. You can take it so quiet slow.