Linn Components

"I have owned many different Amps and Pre Amps ,all but one were better than what I now have
and that is a Kairn Pro two LK140 and an Ikemi player.Much of what I had before cost a lot more."

Rossq: I'm not sure exactly what you are saying here, though your general positive sentiments about Linn are clear. You may have said exactly what you wanted or there may be a small error in language (such as I am prone to).

Are you saying: 1) that your Linn stuff sounds better than all but one amp/preamp combination you have owned and costs less, OR 2) (as it reads) that everything you have owned except one previous thing sounded better than the Linn, but that you are impressed with the value of Linn gear nonetheless?

Newmanoc:Sorry if I was not to clear.It was late and I should have been in bed.Of all the different combos of Amps and Pre Amps owned by me in the last 15 years,only one combination sounded better than the Linn, but the cost was 3 times higher.To be a little more precise,almost all my other gear cost more,proving to me that spending more
will not always mean better sound.I now belive that when you find what sound good to you ,regardless of cost that's
all that matters.And Linn is it for me.
Regards Rossq

A guy I bought a small piece of gear from last year, (a Linn remote, actually) has a story similar to but even more dramatic than those of Rossq and Clmorton. He started out with a Linn system in his youth, and then went all out into the different systems. He spent 70K on one, which he ended up selling in dissatisfaction, and then spent something like 60K on an all YBA system. He recently sold the YBA and bought a Linn system consisting of an Ikemi, a Kairn, and an LK 140 to go with some Sonus Faber Cremona Auditors. Total cost, including the Cremonas, was less than 15 K new. (He also has a maxed out LP 12 worth 10K, but had this with the other systems as well). He is ecstatic with his current system. As he puts it, he has tears in his eyes again when he listens to music - something entirely missing with the other systems.

Now, I do not believe that everyone is going to have this same response to Linn, nor is there anything wrong with your ears if you don't. For instance, if you like tubes, like tomryan, it seems to me you are pretty likely to find the gear unsatisfying. (The "blooming," "liquid" "organic" sound - what ever precisely these last two mean - is just not the Linn scene.) I actually am not sure I will ultimately be satisfied with the limited dynamics of their preamps. But the entry and midrange stuff in their line is really nothing less than remarkable for the money, especially on the used market.

You guys that are members of an audio club really need to borrow a couple of tube preamps to try with an otherwise all Linn system. The increase in speed, clarity, dynamics and resolution is stunning with even a mediocre line stage tube preamp. The preamp I got for a final solution is a Supratek Syrah. They don't come cheap unless one considers the value of the incredible phono stage and has a quality analog front end. Otherwise, some other choice may be equally satisfying and considerably cheaper. I suppose that the tube bloom, etc. is there in the midrange as with any such preamp but the improvements that mean the most to me are highs that seem to go on forever and bass articulation that rivals some of the best I've ever heard. The proper decay of notes is simply amazing. The improvements far exceed the cost of admission here.

I had tried several less expensive preamps and most worked pretty well. The only caution I can express is matching the preamp output voltage to that required by the amps. I did purchase a new preamp, asked the right questions about matching to only find out the output voltage was too low. This particular product had a 30 day money back promise I took advantage of with no heartburn on either side of the transaction.

My eventual purchase of the Syrah had more to do with being done with the search than in poor preformance of other preamps. I really dislike swapping components into my system for evaluation. I'd previously borrowed the Syrah and knew how great a match it was so when it became available I jumped on it. Certainly, if one had the time and only had use for a line stage a much less expensive piece could be found with equal preformance.

To my ears all of the Linn characteristics we love were retained by this change. The improvements were in the areas we all could agree upon. It's a no-brainer for me. It makes your mid level Linn gear sound like the top flight components Linn offers.

I heartily agree with Lugnut. I tried my first tube pre-amp in 1984 and haven't gone back. Now have a Joule Electra LA150 mkII and it's superb. Makes wonderful music.

I think the Harbeth C7s need a good amount of power, though, and am just today gettin' the itchin' to check out a 100wt tube amp.