Linn LP12......That good??


I have an Ariston RD80 (very good) and a Thorens TD 160, also very good.
How good are the Linn Lp12 tt's??
I am always looking for the best most impressive sound.
I will have to sell the Ariston/Thorens if i buy the Linn because i will not need 3 turntables!
The Ariston almost looks like the Linn by the way.
So how great are the Linn's and what is the best combination to buy?
Thanks!
x1884
daveyf,

Fair point. But experience is everything. Mine was not good.

I knew after a month or two of using it that the Grace arm was the weak link in my system. I told my dealer this and he agreed. But the price of a new Linn arm and cartridge -- I wouldn’t buy anything else -- was prohibitive. My hobby dollars have to be spent wisely. Even you would have to agree that "fixing up" a thirty year old turntable is fraught with a limited return on investment. Fortunately, when I sold the system as separate entities, I broke even.

If someone gave me a brand spanking new Linn, with all the SOTA bells and whistles it could accommodate, I bet I’d be singing a different tune. Alas, that was not the case...

(P.S., and, it was single speed only, which precluded me from listening to my high-end 45 RPM LPs (and my youthful 45s as well...)
@bdp24 - perhaps you are correct as a matter of terminology, but it becomes like ordering non-decaffeinated coffee- an acoustic bass to distinguish it from the far more common electric bass in rock or blues? Yeah, I get it, but the instruments sound different, and I guess I'm just expressing my preference for the double bass, given the tone, etc. Ditto on the B-3. Ain't nothing like it. 

audiovideonirvana, I don’t doubt that your 80’s Linn didn’t sound that great....due to the weakness of the arm. Question is how much influence people have when they go on a public forum...and post opinions that the whole line of tables is just no good based on their highly "limited" experience. I see so many posters on this and other forums who jump to conclusion based on their " limited experience" with the LP12. None of these guys have ever heard a top level LP12, or have ever heard one that is correctly set-up and/or are comparing an old model ( many times from the 80’s--occasionally from the 90’s!--if they have heard the table at all!) to something that now floats their boat. Problem is that what now floats their boat is usually a table that cannot hold a candle to a top line Klimax LP12!
BTW, how many other tables can you say this about...after "thirty years" the option of "fixing up" ( whatever that means to you) is an option for the table. Try saying that with a thirty year old VPI!! You cannot even update most VPI’s to the current level after a few months, LOL. Oh, I forgot, they have a new version out now, leaving the old model to collect dust!
The one thing I do agree with you on is when you say..." If someone gave me a brand new Linn, with all the SOTA bells and whistles it could accommodate, I bet I’d be singing a different tune"!!!! You bet you would buster!!!
We are our experiences. That's all I can say.

However, if someone on this marvelous forum wants to gift me a new, fully tricked out LP12, I'll be happy to publicly eat my words... :-)

Good points frogman, but remember, there ARE electric basses without frets. Rick Danko played a fretless Ampeg electric bass in The Last Waltz, and it was a hollow-body ta boot. Jazz bassist Jaco Pastorius played a fretless Fender electric, and if you had called it a bass guitar to his face you would have shortly thereafter seen his fist heading towards YOUR face!

Most electric bassists DO play it with the neck straight out, almost parallel with the floor, but think back to the early Stones; Bill Wyman played his Framus hollow-body electric with the neck and headstock pointing up at the ceiling, like a stand-up. There are pictures from the 1950’s of the early Blues bassists playing the new electric basses, having just switched over from their stand-ups; the electrics were easier to lug around the country on road trips. Some of them were playing their electrics as if they were acoustics, which is, I suspect, why Wyman chose to play his bass in that manner as well.