Why do we like the old fruit box so much.īooker, on the other forum when I posted a thread about the importance of Azimuth adjustment and asked why the ‘best’ Linn arm doesn’t include this.I was told the following.( with considerable insistancy and some amount of frustration with my OP, lol): Right now, if I remember, you can acquire a Keel with SME cutout, Naim Aro cut out ( works with the Javelin) and lastly.Linn cut out, lol. The AMG might be a contender.haven’t heard it.and some are saying it’s pretty meh. The Vertere arm might be a contender, but same thing, haven’t heard it. The new Tiger Paw Javelin might be a contender, although I haven’t heard it. The Graham is too, although closer, but I think the geometry is what the lil darling dislikes.
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Unfortuntately, as you well know, the dear old fruit box doesn’t like most of the great arms out there.she’s a real persnickety little bugger.
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Your Johnnie arm would be on my short list. While my experience with the arm isn’t as great as some other Linnie’s.I do wonder if there is a better alternative. However, like you, I question the lack of adjustability, the poor tonearm wiring and other issues with the Ekos Se. To which I was basically castigated,as in the minds of the followers.there simply is nothing better than an Ekos Se.and to think so is blasphemy. It is in fact still in production at Linn today, although virtually every part has been improved and upgraded from the original design.Booker, as a fellow Linnie, I have asked the exact same question that you posted in your OP. A modular, upgradeable and expandable system architecture fostered sustainable long-term relationships with customers and enabled the LP12 to have the longest possible model life. This meant that both existing and new customers could benefit as his company Linn’s knowledge and capability improved. Obvious in retrospect, and taken for granted today, the notion of “garbage in, garbage out” (also called “source-first”) in a hi-fi system was a challenge to the conventional wisdom of the day, which held that the loudspeaker was the most important part of the hi-fi system.Īware of the great scope for loss in the record playback process, and the impossibility of ensuring a perfect result, Ivor designed his turntable in a modular way, so that all the key elements could be developed and improved over time, taking advantage of new innovations and technologies, and retrofitted. With it, Ivor proved for the first time that a better turntable improved the sound of any hi-fi system. Crucially, the suspension was optimised for acoustic isolation instead of shock resistance. The turntable, which he eventually named the Linn Sondek LP12, looked the same as most other turntables, but almost every component had a different purpose.
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It was also precision-engineered to a very high standard to enable more music information to be extracted from the record groove With the assistance of his father, who designed a very quiet-running central bearing, and a group of skilled colleagues, he succeeded in making an LP record playing turntable that was immune to acoustic feedback from the loudspeakers. It sounded much better and much more musically accurate and involving than when the turntable was located inside the same room.Īt that time he was working for his father Jack Tiefenbrun’s engineering company, Castle Precision Engineering Ltd., so he set out to use that resource to make a turntable that wasn’t adversely influenced by the loudspeakers. He established this fact simply by putting the turntable outside his living room and listening with the signal leads passing under the door. Unsatisfied with the performance of the hi-fi system he purchased shortly after getting married, Ivor started to experiment and discovered that that the turntable was being adversely influenced by the changes in sound pressure of the loudspeakers. Linn Products was founded in 1973 by Ivor Tiefenbrun to produce the Linn Sondek LP12 turntable.