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?
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The comment "It's suspension design is inherently unstable and if it is not on a supremely stable surface it will skip easily. Footfall issues are legion with this turntable. A little bump will cause a skip...." The above statement can be said of virtually any table. It is accepted by most audiophiles that to get the best performance out of almost any turntable, no matter it's design (whether it's suspended or mass loaded, etc.) that you must use a proper base or stand under the table. As shown in the photo below, I use a wall shelf that is attached to the studs of a load bearing wall for a proper support for my LP12. My wife and I can quite literally dance, jump up and down, etc right in front of the turntable and it will not skip a beat. It plays rock solid and completely undisturbed. 
@photomax I agree with everything you have said in your post above. Very well said. Best wishes to all, Don |
LP12 is like a traditional tube EL34/Kt88 tube. Some dismiss it as old school while others consider it musically charming and relevant. I have heard LP12 sound very ordinary and very awesome. Many modern TTs have very low (CD like?) noise floor and expansive soundstage, pin point imaging and big dynamics. Thats their achievement which is to be applauded. But do they represent music the way it was intended by the musicians? A lot of them just fall flat on this ground alone. An AMG Viela V12 sounds dead boring🥱. A Dohmann Helix takes pride in its all out effort for isolation, but play some Michael Jackson on it and see if the "king of the pop" feels like he is taking hou back in time to groove again. Just doesn't happen! All the imaging and soundstaging specificity is there to wow the listener as long as that's what the recording is all about. A Kronos TT sounds like a CD with better dynamics. Dry harmonics and discrete flow. I can go on and on. I have heard a lot of these TTs and it is extremely disappointing what today's one man designer voiced equipments sound like. Before some consider me as a LP12 fanboy, my favourite reference TTs are Kondo Ginga, Hartvig, SME 30/12, EMT 927, Micro Seiki 5000 and 8000 etc If I list out all the modern TTs which suck at keeping the integrity of the music, the list will be very long.
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@ghdprentice , While it is true that Sota had some production difficulties due to Covid and their revised Condor controller has a programing issue the Sota Sapphire still is significantly better than the LP12. If you go to the Nova with Vacuum you get a seriously better turntable. The Cosmos Vacuum is a turntable that is, from a performance perspective as good a any of the above turntables except the Dohmann (once it has a vacuum platter. Externally, it is a more rustic design which is easier and less expensive to make keeping the price down. I personally do not understand why people buy a turntable to look at. Inside that rustic interior is a very sophisticated design. I'm afraid you bought 50 year old mythology. If you get a Sota the LP12 will wind up on the used market in a week. I suggest either a Reed, Schroder, Kuzma or SME arm.😉
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