INTRODUCTION
A SHORT HISTORY
The Linn Sondek LP-12 is now an obsolete 1970's design that has had a number of mainly minor (in audibility, but not in cost!) improvements in the last 30 years. It is, by far, the most overrated audio component of all time* and it is also the most obvious example that, especially in the audio world, marketing skills are much more important to the commercial success of a component than its ultimate performance.
*Explanation- No other component has a performance gap as large as its proponents' typical claim ("the best in the world") and Reality.
The Merciless Reality
While the Linn sounds very good, all of the turntables in the higher classes ("A" and "B") have noticeable sonic advantages, and some of them are superior to the Linn by a relatively large margin (for turntables).
Why and how?
These others turntables all have much more up-to-date designs. It is actually amazing that the Linn sounds as good as it does, but the Cetech modification, discussed below, demonstrates what Linn has overlooked and ignored all these years. This is the result of marketing trumping basic engineering.
What are the problems with the Linn?
The Linn simplifies* and homogenizes the music, and it is also noticeably colored compared to its competitors. The frequency extremes (especially the bass) are also substandard. This is the reason why Linn, and its dealers, usually stress focusing on the most basic and simple audio goals ("follow the tune" and "PRaT") when it's auditioned.
The Linn actually does "excel" in these areas. How?
This is because "the tune" and "the beat" will always be relatively easier to hear, in comparison to superior turntables, when the natural musical complexities have been compromised (by being subtracted). This ploy epitomizes the most cynical and misleading marketing strategies; those which turn actual weaknesses into "strengths".
*For those skeptical readers who require further confirmation of this characteristic, from an actual, well-known "Linn Lover" no less, you are in for a rare treat. There is even the added bonus of an excellent example of the use of The (Secret) Audio Reviewer's Rule No. 3D* (see "The Audio Press" file for the complete "Rules").
This is what Art Dudley (now with Stereophile) wrote about the Linn when compared to the VPI Aries/JMW 10 combo in Listener Volume 6 No. 2:
"The Aries' timbral balance is different from that of the LP12/Aro combination - the latter sounding a little more 'open,' the VPI making chords sound a bit richer, thicker, and more tonally complex. Which is right? Beats me."
Mr. Dudley didn't just come out and write that the Linn sounds "simple" by comparison. He also avoided* stating a clear preference, which should be a no-brainer in this particular instance. I'm somewhat more direct. When it comes to music (though not audio):
Complex is Right, Simple is NOT Right. Period.
Even the Linn's "pleasant" character, which is just an innocuous distortion and coloration, has been misrepresented by them (and their fans) to be a "musical" strength. The Linn also has a practical downside...
The Linn (along with some other spring-loaded turntables) has a tendency to bounce if it is not placed on the proper shelf or stand. This problem must obviously be corrected before an expensive cartridge is mounted on it.
But the Linn does have one important upside...
The Linn, when optimized, retains a noticeable share of "musical life", which many other turntables do not possess to the same degree. This is the primary reason why the Linn is still a Reference on this website, even though this "life" is at least partially caused by a distortion from its mat. This positive observation is a "gut feeling", but that's what most music appreciation is ultimately.
My Conditional Advice
However, despite these serious sonic problems, the Linn LP-12 is still a Reference, though only under certain, strict conditions:
If a reader can find a USED Linn:
1. Manufactured "recently" (after "Valhalla" and "Nirvana"),
2. For a decent price (at least 50% off retail),
3. In very good condition,
4. And which is set-up properly, or can be done so (in your house) for a reasonable price, then "go for it".
The financial investment and risk are reasonably low at that point, and the reader will have a turntable quite a bit better than any Regas, Aristons and most Thorens etc. Linn's service reputation is also excellent.
Don't go too far...
Under most circumstances, avoid the original Lingo (which may create RFI problems) and any other expensive accessory (unless it is thrown-in). For that much money, any of the Class B models are a better turntable and investment. Don't forget that the Linn is manufactured in Scotland, and costs much more in North America than in the UK (where it is still a good value).
You may live happily ever after with the used Linn, but if not, it should be very easy to resell it and recoup most, or even all, of your money. However, never fool yourself into thinking that you own "one of the world's finest turntables", you don't.
_________________ Tung Old School Linnist
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