@atmasphere , I agree. I wouldn’t think twice before choosing the Technics before the Linn. Any Technics, the G, the GR etc.
As
@lewm said, ’If I wanted to be sarcastic, I might suggest that it is the last turntable you will ever buy, but it might be a prelude to the upgrade-itis that afflicts some Linnies, courtesy of Linn.’
Linn have made a speciality of promoting upgrade-itis. For crying out loud the LP12 has had more ’improvements’ than virtually all the other turntables ever made.
Even now in 2020 they continue to pull the same old scam. All this talk of Linn whisperers, set up jigs, regular dealer involvement etc still gives me the chills. Doesn’t look as if much has changed.
As
@chayro said, ’When well set up, it has a really nice sound that many people love.’
This I think is the problem. An LP12 when set-up well, no easy feat, does attain a near mastertape like sound quality, but it mainly depends upon the perfect bounce of its 3 point suspension.
This can be a very uncertain business due to the thick arm cable and the positioning of the motor/belt to steady the sub-chassis whilst in rotation. Of course it will work satisfactorily when just adequately setup but you will not hear what it can truly be capable of.
Furthermore, it was always considered to be at its best when sited upon a table where the vertical bounce could be most effective. Wall shelves can introduce exactly the kind of lateral instability it can handle least well.
It really is vital to get that suspension working as smoothly and freely as possible in a perfectly vertical motion. Once achieved, a whole layer of hash seems to be removed, and the elusive charm of the LP12 comes through.
Not bad for a design based on the Ariston RD11, which itself was based on the Thorens td150 which again was based on the grandaddy of them, the original AR turntable from 1962.
Here’s a rare clip featuring its designer, the legendary Edgar Villchur.
https://youtu.be/OOlAua3tBSw 
