Linn Sondek LP12 impressions

Banerjba, your comment that a LP12 can sound good or bad; Bad ones, even
after being set up properly go off after a year or so, makes absolutely no sense!
What would make a good LP12 vs a Bad LP12?
I guess I own a "good" LP12, as my TT does NOT go "off"
after a year or so, LOL.
Plus,IMHO, anyone that owned an LP12 and thought it was NOT better than an
Axis was either a) hearing a VERY poorly set up LP12 or b) hearing other
distortions up the line that were hiding the LP12's ability and playing to the
Axis's distortions or c) both. Again IMHO, whenever I have heard an Axis and
compared it to even an entry level LP12, the SQ increase with the LP12 was easy
to hear!

DaveyF. Early Linns were notiorious for going out of tune, not only in the UK but also here in Canada. Remember the basic design was not terribly well built. Lightweight wooden frame. Not terribly well braced. The Axis was a clean sheet design and for my all Linn system sounded tidier and cleaner. The LP12 was better in terms of resolution and ofcourse had a wider soundstage. But I have owned a lot of tables from Rega, Clearaudio, Pro-Ject, Technics, Thorens, Revolver and others so I know what kind of sound I like. I had my LP12 for 17 years.

I left the Linn school and prefer my subsequent B&W, McIntosh and Clearaudio set up.

As others bring up, a blown LP12 is a different animal that old 1989 vintage Lp12 I owned. I enjoyed mine but there are other excellent tables now as well.

It's pretty hard to lose with an LP12. If you like it, you have a table for life. If you don't, you can easily sell it.

Daveyf,
I really admire your passion for the LP12. That said, not every audiophile enthusiast has $20,000.00+ to spare on a fully upgraded Sondek. I have to agree with Banerjba; my early LP12 was notorious for going out of tune. Maybe the experts at Precision Audio didn't know how to set it up properly (I would like to think they did after spending all that money).

The LP12 was a revelation in my early days! Ivor Tiefenbrun's philosophy made me a believer; the source being the most important component in the audio chain.

The Sondek LP12 itself may well be the most significant turntable of all times. However, and IMHO, many other TT manufacturers have caught up with the Sondek's strengths for less money.

Still a contender? Absolutely! The cream of the crop? Not in my book.

Let's be honest, the $4,200.00 Sondek Majik LP12 now has to compete with the likes of Townshend Rock 7 ($3,500.00), Well Tempered Amadeus ($2,800.00), Acoustic Signature Wow XL ($2,300.00 w/out arm), Clearaudio Performance ($3,000.00), VPI Classic 1 ($3,000.00), just to name a few.

A fully upgraded LP12 may be in another league, but an entry level or outdated LP12 face many outstanding competitors.

Just my honest opinion.

Kiko65, I do have a passion for the LP12. Here's one of the reasons why...an upgrade path. Looking at your examples above, not one can be upgraded, except for the LP12!! While some may like the Classic 1 more than the Majik LP12, there is nowhere to go with the Classic 1 to upgrade- except onto A'gon, LOL.
I don't know how old your and Banerjba's original LP12 was...but my first late 80's era model never went out of tune, that is once it was set up correctly.

I have to disagree with you on this one Daveyf. Let's take the Rock 7 for example:

The TT in itself is an engineering marvel of the modern audiophile world at an extremely affordable price ($3200.00).

I don't own one so there is no bias here. That said, I am fortunate to be close friends with Larry Weinstein who owns Hollywood Sound (Hollywood, FL) where we spend coutless hours listening to different analog set-up configurations.

Like the Sondek, the Rock 7 is a TT suspended by springs that incorporates a unique approach to arm-damping, involving viscous damping at the front end of the arm, right next to the cartridge, using a damping trough.

The trough-damping gives a solidity to the sound that one seldom otherwise encounters in vinyl playback. Best part, the front-end damping can be added to any arm (the “paddle” is attached via the cartridge mounting screws, so any tonearm can be used on the Rock 7).

The upgradealbe path?
Tonearm of your liking, cartridge of your liking, power supply of your liking, phono pre of your liking, etc.

Extremely finicky to set up properly. Once set up correctly (like the LP12) nothing short of sublime!

By the way, the same upgradeable principle could be applied to some of the other tables I mentioned before.

I can honestly tell you that, to my ears, no other table has sounded better than the Rock 7/Lyra Etna combo driven by top of the line Rogue Audio (HeraII/Apollo/Ares).

I'm sure that the LP12 with a much better arm than the carbon cc9 (not a big fan of Pro-ject at all) and a better cart than the Adikt (entry level cart) will definitely compete with many other tables out there that share the same price tag.

I'm just enjoying the simplicity and musicality of my set up and that's what this hobby should be all about; being happy with what you have and not worrying about what other people own.

In the end there is no right or wrong, just a matter of preference DaveyF.

Happy listening!