In the intervening years we have had many decks which have improved upon it greatly. It is an average deck with poor design that is difficult to set up and keep that way, it has a distinct sonic signature and requires so many tweeks to keep it up to any sort of standard that it's a joke. Having owned three of them, I see no reason for it's popularity. He generated an enormous amount of interest for his product and it became the darling of the then dominant British hi fi press in the late 70's. The reason it is so popular is because of the exceptional marketing skills of IT. It's not a bad deck, but nowhere near as good as the mythology and hype surrounding it suggest it to be. I've had AR (mine is still in use with a friend with a Linn Basik on it) and Thorens and neither were as difficult to set up of keep that way vs the LP12. The days of threading reel to reel tapes and tinkering with turnyables and biasing valve amplifiers vanished for ther masses when we were sold on black boxes called CD players.īest Tony CIT was the one most to blame for the audio guru phenomena of arcane limited knowledge and skills that were required to achieve perfect set up or component matching etc that lives to this day. It was not alone in its setting up, Thorens, Systemdeck, Sota, Acoustic research are a few other that come to mind where plinths were sold seperately and the end user was responsible for siting and mounting the tonearm and taking full responsibility for the set up from beginning to end. The philosophy of limited distribution added to the image it was creating. You are right in saying ist was marketed. An incredible staying power says something about it and I am hoping to find out.Īnd I wouldn't mind being proven wrong about my impression of the Sondek. The success of the Sondeks made it intriguing due to the factors I have already mentioned. Tony, that is very well said and very well articulated. The Linn might not have the ultimate authority in the Low end, (comparig with Sota's oracles, Vpi ect but when set up properly has a fluid midrange and very engaging sound. A product that has been around this long must have something going for it. Products that enjoy long life cycles enjoy success and credibility as it instills confidence with current owners and brings a sense of worth to new buyers. Owners can choose to pay for the upgrades should they wish too, which to some may seem costly, but better than selling on the second hand market to pay a premium price to re enter the market. The Ivor came along with the Linn with the understanding of garbage in garbage out. Its history is interesting the general consensus of the dday was to spend a disproportionate amount on the speakers. I guess for owners of a LP 12 they consider themselves to belong to a large family who own a proven product. I perhaps should have mentioned the Japaneese Technics SL 1200 turntable which has served the DJ market for years. ![]() So exactly where and what is the appeal of a Linn Sondek LP12? Sort of like a friend of mine who was a well to do professional, highly talented musician, had killer looks, came from a rich family, envy of the class, but would rather date an ugly looking bird. ![]() Not even when I take into consideration that it is a vintage TT.Ī turntable guru on this forum told me that they are still a favourite among the money-no-object audiophiles and that made me scratch my head even further. Next, sorry guys, it is not at all good looking. This is unlike Micro Seiki or Garrard which are no longer in production. It is old and yet it is not exactly a collectible since there are so many around and the company is still operating. Exactly, what is so good about this turntable? Now and then, some older models will appear on ebay and still command a hefy price (for the kind of condition they are in). This TT has been around for 30 years and had gone through numerous upgrades over these years.
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