![]() In the intervening time, Linn have pretty much reengineered/redesigned most of the turntable and have addressed a lot of its original weaknesses. I moved of from there to a Roksan Xerxes which, while finnicky about setup itself, was much better sounding. And when a company introduces a tool to straighten bolts that should have been straight (peripendicular) in the first place, you really have to ask questions. Ironically, despite Linn going on about PRAT, the LP12 never sounded right temporally. Despite the quasi religious fervour surrounding them, I never liked the sound. I spent many hours in the 1980s setting up LP12s. I’m not knowing how successful these Companies Sales are in comparison to Rega, when it comes to turnover solely from a Tonearm sale. This type of story is not restricted to one British Brand, Rega have had their earliest RB Tonearm designs, become the bedrock products of many Companies that offer sale items based on the Rega RB Tonearm Design. The reality is the founders of Linn were inspired to create a marketable product, which they did, they have now 50 Years on, developed a Brand that is household across the globe that as a business is turning over £ 1 000 000 000 per annum. I only know this version of the origins, through handed down story telling. This is a fable that is voiced regular within the British Isles. The Ariston and Linn are allegedly sharing parts in the Linn’s earliest build guise, the Ariston was a Branded and Successfully Marketed TT, prior to the first produced Linn Deck. Multiple Parts that were produced for the Ariston Deck and the earliest Linn Decks were produced on the same premises that was carrying out the machining. There are many accounts of how this design was “stolen” by Igor Tiefenbraum, I am not sure if the whole story will ever come out. That was the situation until Peter Moncreiff in his magazine International Audio Review pitted the Sondek against the Oracle Delphi, pronouncing the latter "634 times better than the Linn," Linn and their enthusiasts dismissed that claim as the expected result of listening to tables for the wrong things.Īs far as I know, though the Sondek has been upgraded in many regards over the ensuing fifty years, that remains Linn’s argument. After many years as a Sondek owner and lover, Dudley eventually decided idler-drive tables (Thorens TD-124 and Garrard 301) "played the tune" even better that the Linn, and made the switch.ĭetractors dismissed Linn’s argument (regarding the Sondek’s superiority as a tune player) as Linn-created mythology, designed to make a rather ordinary suspended turntable design (the Sondek is basically the same as the budget-priced-80 bucks in the early-70’s-Acoustic Research table, but with parts machined to a higher standard) be perceived as something more than it actually was. It was for the Sondek’s musical qualities that many early (and perhaps current) Sondek enthusiasts-including Herb Reichert and Art Dudley-were long-term owners of the table. They invented the concept of a turntable "playing the tune". For that reason they put a lot of emphasis on the quality of the deck’s main bearing, an idea now taken for granted but in 1974 wasn’t.Ģ- As the turntable affecting not just the sound of music, but the musical performance that is contained in the LP groove. When the Sondek was introduced in the early-70’s (I first learned of it in 1974), Linn was touting its superiority over all other current tables (I at that time owned a Thorens TD-125 Mk.2) in two regards:ġ- As the first turntable designed with the table’s job defined in terms of it’s performance as a mechanical component rather than an electronic one. ![]()
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