Thoughts on the Linn LP12 turntable
I don’t see many discussions that include the Linn Sondek LP12 turntable and was wondering why? They’ve been around since the late 70’s and other then power supply and a few other minor changes (IMO) are relatively unchanged. I had one in the early 80’s and another in the late 90’s. They are somewhat finicky to get setup correct and once you do, they sound great. That being said I know there have been a lot better designs to come out since the LP12’s hey-day. Are they worth considering anymore or has the LP12 just become another audio vintage collectors item?
@markcooperstein How much credence do you give to the members above who have last owned the Linn LP12 forty years ago and are 100% sure that the current Linn LP12 is a poor choice? Kind of like saying I owned a Ford Mustang in the 70’s and it really is exactly like the 2022 Ford Mustang, which is a lot more money and not worth the price, because my 70’s Mustang was not a great car. |
I've always seen LP12's as a giant money pit with 'upgrades' that are actually 'fixes'. I have an all original Heybrook TT2 built in 1984 with an LVX tonearm. I've auditioned other tables at home with whatever cart I'm currently using (AT33PTG/II since Christmas) and in the end I end up keeping the Heybrook. The last comparison was a Rega Planar 3 and Ania cart. After a month and a half they were gone. |
What's bad? Stolen design? (AR, Thorens td150, Ariston) A giant money pit? Unauthentic timbre? Dodgy top plates on pre 2000 models? Needs regular specialist servicing? Motor mounting issues? Needs a better arm than the Ittok? Temporal anomalies? Outdated design? Uncompetitively priced?
All true in my experience.
So what's good about it? An audiophile icon? Better bandwidth than budget decks? Neverending upgrade options?
Also true in my experience.
So what's the problem then?
I believe that its crucial problem is the way that the subchassis is balanced on top of 3 compressed springs, each of them bearing a different load. Therefore the heavy platter is free to drift over time. Remember that the rather flimsy belt and the pliable arm cable is working with the springs in keeping the platter/subchassis in position.
Whichever way you look at it, it's not a particularly secure way of keeping it there, is it? Yes, you can use it without an optimal setup, but if you do, it's a very ordinary sounding deck that way. Very. To keep its lovely air and bloom, the suspension must be optimised. And therein lies it's main problem.
There's a good video here showing how it's built. Make of it what you will.
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@cd318 Says the man who doesn't even own a turntable, never mind a Linn! Keep going, I'm beginning to enjoy this--;0) |
I own a Linn. The design is about as basic as you get. It does not have the flash some of the new models I've seen for sale. But, as for sound output and with the right cartridge and pre-amp, it competes with anything. I've done upgrades from time to time over the years, and my edition doesn't come close to the cost of what you would pay for a new one. But I have a majority of what the new ones have to offer. Anyone can buy an old LP12 for relatively low cost, and upgrade the key components and have a very nice table. I love mine. As a comparison, its analog output competes with my SACD play. |
