What makes a Linn LP12 a Linn LP12?

[Bob McC]

Cue Charles Aznavour.

 

[James]

If you don’t think your current LP12 can be improved, I would suggest going to a Linn dealer like Cymbiosis and have a listen.

They say ignorance is bliss.

I must take a closer look at Radikal next ...

 

[tenpercenter]

Well it has to be one of the longest running cons and for that you have to give full credit to the Linn guru. BTW with all the upgrades through the years I can only imagine how bad the original LP 12 actually was!

So you don’t believe in continuous improvement over nearly 50 years? Surely that’s a strength

 

[Nero]

I normally avoid this sort of thread but I can’t resist. For some time now, I’ve thought of the LP12 in terms of a musical instrument. It ain’t perfect but it gives pleasure in the same way as a violin or a guitar. It has all the same components subject to mechanical modification. If I may make an analogy, I’m tempted to invoke a Gibson Les Paul guitar or an Amati violin. The basics are there, but you can choose the strings/pickups/bridge/headstock to taste. In the same way that we choose the tonearm or cartridge or even sub chassis on an LP12. It all adds up, but it’s probably a long way from high-fidelity.

 

[timpy]

I always thought it was the tubby bass, microphony and the close resemblance to an Ariston.

 

[Arkless Electronics]

The chip on the shoulder

 

[Martyn Miles]

Cue Charles Aznavour.

When very young, my brother called him ‘Charles Aznovoice.’
It’s strange what you remember...

 

[timpy]

I have an LP12, though the arm (Linn Ittock II), was rewired by Audio Origami, but this is the only non-Linn part.

Does this matter, technically did the Ittock ever really qualify as a Linn part?

 

[Robert]

All good turntables are built around a design philosophy and undergo a degree of sonic tuning. Rarely does random use of quality parts and technical ability alone deliver a memorable result IME.

Linn LP12s come in a fluted plinth, have a dinner gong sub-chassis, and a composite armboard held in place with small screws.

It has (had) a distinctive and attractive sonic signature.

Everything else is technically a Linn LP<something else>

 

[JensenHealey]

No matter what the components are, the basic appearance of an LP12 is recognisable and will make it an "LP12" regardless of whether there are Linn parts remaining. If someone builds a super LP12 from a zillion other parts they are not going to give it another name - the best name is "LP12" so that is a good handle. To do otherwise requires marketing and then you would get into all sorts of trademark/copyright/design right issues. Just selling upgrade parts gets around all of that. There is always a cottage industry of people with ideas for pet 'improvements' to a common and easily accessible design - there a lots of LP12s around. Other companies are doing similar to classic Thorens turntables - perhaps with less scrutiny and fanfare.

Cars are another market where people modify to the their taste in a quest for 'improvement'.

A Land Rover Defender is good example - an old one can be made up of all sorts of parts from various sources, with a tonne of optional add-ons, improvements and upgrades. But the result is always recognisable as a Land Rover. And will still be called that as a handle.

 

[david ellwood]

It might be easier to list things that make an LP12 not an LP12.

For me the addition of a Koetsu Cartridge, Rega tonearm, Suspension Bobbins or an acrylic subchassis/Armboard are all quick routes to unLinnlike operation.

 

[Martyn Miles]

Who said the original was bad?
It worked for me and still does.
As I said earlier about 'John', who like many in the audio world are chasing something.
They don't really appear to know what it is.
I put on a record and enjoy the music.
Surely that's what it is about?

To qualify the above, my LP12, its Mission arm and Denon cartridge suit the Audiolab amp. & Spendor BC1 speakers.
When the Linn was away, I substituted another high quality turntable with its own arm and a slightly different
Denon cartridge.
The balance of the system was changed, and not for the better.

 

[John]

The better LP12’s just get more musical information off the record. You might have heard folks say upon upgrades that it seems like they’ve got a new record collection after listening to their old favorites.

 

[Martyn Miles]

An Acoustic Research XA turntable of mine (which cost £25 plus £25 for an belt and mat ) and fitted with a Denon DL110 outperformed a Linn Axis with a Linn arm and DL110.
I didn’t believe it until I tried it again.
And again.
The XA has better isolation than my recently serviced LP12.
I suspect that has something to do with it.

 

[david ellwood]

I remember them being very bouncy indeed

 

[John R]

Low spring rate, one of the lowest with compression springs that I've seen.

 

[Martyn Miles]

The LP12, and other suspended turntables, are based on the XA.
Edgar Villchur knew his engineering and implementation of the same.

The Linn is a good turntable, but has been hyped by Ivor Tiefenbrun for years.

A Thorens, with my LP12’s arm and cartridge, sounded virtually indistinguishable from the Linn.

I bought the Linn as I knew the retailer and he gave me an enormous discount on it.
Perhaps I should have kept the Thorens...

 

[Octavian]

The better LP12’s just get more musical information off the record. You might have heard folks say upon upgrades that it seems like they’ve got a new record collection after listening to their old favorites.

This seems to lead to a conclusion that the sound of either the previous incarnation or the current one must be rather badly coloured. If the previous incarnation was that bad, how can we trust Linn that the new one is more accurate?

 

[John R]

How dare you question that! "Linnie's" ears are perfect!
Nobody else is allowed to judge Linn's perfection in all things audio.

This show of superiority over the "rabble" has been acquired and honed over many years of visits to their beloved dealer/s where they dare not disagree with the mantra for fear of being ridiculed for not being able to hear and follow the "tune" while at the same time witnessing the little dance or shuffle displayed by said dealer when the turntable is transcribing an album.