Linn Ekos Se Serial Number

Hello, please help as soon as you can. I've bought a pair of brand new Wharfedale Diamond 10.7 speakers and today it the 10th day in which I could ask for a replacement and I think one of them is a bit 'broken' and would greatly appreciate if anyone would have an idea if it's really a broken speaker or maybe something else (what else). The issue is that at a certain frequency (some piano notes), I hear a buzz in only one of them. I've noticed a slight buzz yesterday, but thought it was just the video I was watching, but today it's even worse. I've made a recording of this problem. Check out this 12 second WAV file, in the first 6 seconds, I record the right (good) speaker and in second 6-12 - the left (bad) one. You can clearly hear the buzz (BTW, don't mind the noise in the background these are fans from my PC running).

Here's the file: (try to right-click and 'Save as' otherwise it will buffer too long, it's just a 2MB file, though). Note - this does NOT come from the microphone, I can hear it in this one speaker. Also, when I've played some lower notes, it seems that this happens in the mid-range driver.

2 Turntable Reviewed. Military manoeuvres come no more complicated. Merely considering a 'top secret' review involving a panel of seven or so listeners is to court disaster, as 'secrets' and 'journalists' are mutually incompatible. But we knew, as the only British hi- fi magazine surviving from 1. Linn Sondek LP1. Prices are suggested retail prices and are correct at the time of publication - Linn Products Ltd reserves the right to change prices at any time. Linn Retail Price List - UK. Deck, Radikal (machined), Urika, Keel, Ekos SE, Kandid. Before any trade-in is agreed, the serial number of the cartridge being.

Once the low range picks up the lower notes, there's no buzz. Is the speaker broken? What else could cause this? Some more additional info which might be helpful: - I've touched the protective grill of the mid-range cone = no help - The cabinet stands evenly, slightly moving it while playing this note = no help - A couple of days ago, I've noticed a 'popping' sound in this speaker. It was NOT too loud and certainly did not sound like anything I would consider an issue, but now that I think of it - it's possible that the issue started to occur ever since.

However, I'm not sure about it as these are just those specific frequencies of a piano that cause it. Normally, I don't help any other distortion.

- I've changed the channels, hooking up the right speaker to the left channel (and vice-versa) on the amp = no help - Tested in Pure Direct stereo. ---------EDIT-------- Oh and one more thing - it may not be as bad as it sounds in the file, I might have placed the microphone (cheap microphone, that is) differently, but still - this buzzing is there at these frequencies, and it's loud enough to annoy and the reason why I've noticed it especially today was when I wanted to watch a Warner Brothers movie and as you know, the WB jingle playing when the logo shows is played on a piano and that's when this buzzing was so bad that I realized that it can't be some issue with the recording (the movie is on Blu-ray). First, while music is playing, press the frame of each driver to see if that specific driver is the source of the buzz. Check the tightness of the driver mounting screws. If loose, snug them up.

Notice I said SNUG, not tight. These are screws in delicate drivers not the head bolts on an engine. Think firm and snug, but not overly tight. Next, make sure it is not the speaker terminals that are buzzing or vibrating.

Next, make sure it is not something in the room that is vibrating. If you are using a turntable as the source.

Make sure room vibrations are not causing a resonance in the turntable. Things on shelves.

Things on or near the speakers. Make sure it is not a problem in the content. That is, a bad recording.

You can have a bad recording on BluRay. A BluRay disc can no be better than the content put on it. Since this is only happening in one speakers, it is possible that you simply have a bad speakers. Communicate with Wharfedale and the Dealer you bought the speaker from, if for no other reason than to start a documentation trail that the problem exists. Likely if the speakers are very very new, the dealer will just exchange that one for another one. I've connected the left one to the right channel at the amp and vice-versa - same story so it's not an issue with the channel or with the amp.

The only thing remains would be the cable, but I'm using (also new) Bridge Elite 2.5mm^2 cable for all speakers, same banana plugs for every speaker, but then - would it even be possible that if the cable would be an issue that it would only affect certain frequencies? As for the replacement, the problem is this - theoretically, in the country I live, you can get a replacement of anything that you buy via the internet (as I did) within 10 days if it doesn't carry any signs of usage and is not damaged in any way. Now, I'm pretty sure there are no signs of usage, but: - everything's connected so all the spikes are 'used' which means all the bags they (and every other accessory) came in are open, - asking for a replacement would mean sending both speakers back as I bought them as a pair and if anything I'd prefer so send only one as it's already heavy enough.

I will of course try to ask for a replacement of just one speaker, but there's a good chance they'll try to repair it first. I'm so ****** right now, I mean - what are the odds that when I buy something once in. Many years, out of 4 speakers I bought (pair of 10.7 and pair of 10.2) - one is faulty 25% of screw-up. Sad --------EDIT-------- Oh, Steve's post just appeared, I will reply to it in a moment. OK, first off, thanks Steve for showing up, I appreciate it While music is playing, I can't hear this. In fact, it's hard to find a 'good' frequency that will trigger this.

I've figured that piano is the best source. The first time I've heard it very slightly when watching some guy speaking on YouTube, but I was sure it's just the bad quality of the video. Today, the Warner Brothers jingle on Blu-Ray made it clear and the source I'm using to reproduce this right now is a virtual piano. This one: That said, if you open this virtual piano, you'll be able to play it using your keyboard. The worst case of buzz is caused by the notes that you can trigger with the 'f', 'g' and 'h' keys.

That is - the notes E, F and G on the 4th octave (same happens with E#. To make sure which driver it is, I've covered the tweeter with my hand and then the mid-range and it's definitely the mid-range. With the mid-range covered, I almost can't hear the buzz, with the tweeter covered, I hear it clearly. Note - by covered, I mean NOT touched, just put my hand in front of it. I've tightened the 4 screws around the mid-range driver to no avail. I mean, I think they're tight enough now, I don't really have a point of reference, but it feels like I've reached the point where further tightening would not be a good idea anymore.

There's no way it's an ambient buzz. I can put my ear right next to the driver and can clearly hear the buzz coming from it. Also - I can NOT hear it from the right speaker, it's just this one and I'm using the same source (the virtual keyboard). Also, I've connected the right speaker to the left channel in the amp and vice-versa and it's still buzzing in the left speaker which I think excludes the possibility that the source of the sound has a buzz in the left channel otherwise the right speaker would buzz. I will try to exchange this one speaker. They are brand new, you wouldn't even be able to tell if someone had it if you would get them. I hope they will agree for a one-speaker exchange, but the issue with exchanging it is - if I tell them it's faulty, they will want to repair it (most likely), if I do not tell them anything, they would want both speakers back (and give me a refund).

It depends on the definition of abuse. My room is fairy small and I never listen to music so loud that it would appear like it's the limit of what the speaker can do, but of course I turn up the volume enough so that when a lightning strikes in a movie, it would sound like a real lightning.

Just for reference, I'm watching movies at a volume level of -24.0dB on the Pioneer VSX-1122-K amp. The calibration test sound was louder than this and the highest volume level I've ever had was -18dB, but the only reason for that was because the source was very quiet so at this rate it still sounded more quiet than playing a PlayStation game which I normally do at -33dB. If that would damage the speaker then it would be very weird.

Remember the YouTube videos we've laughed? I assume these people had their volume levels much more higher based on their 'jumping cones' and I think they still didn't damage the speaker. As for contacting the dealer. There are actually 3 'institutions' on the way to Wharfedale: 1.

The online store in which I bought the speakers. The official Polish Wharfedale distributor who imports them country-wide.

Wharfedale themselves. You're saying they could even send me a replacement driver? I've never disassembled a speaker before!

Anyway, thanks again, I will contact. Someone ASAP. OK, I've contacted both the store that sold me these speakers and the official Polish dealer (who's servicing them). Before I contacted them, I ran two more tests. The ultimate tests - I've connected my Wharfs 10.2 as fronts and there's no distortion neither on the piano I've mentioned earlier, nor the Blu-ray. And the second ultimate test - I've swapped the cables between the 10.7 fronts and the issue persisted.

There's no other option I could think of other than a technical problem so unfortunately I'm gonna have to go through all the process of sending it and hoping for a replacement Thanks for your help. I listened to your latest Audio File and it sounds to me like the buzz come on the trailing edge of the tone. And yes I definitely heard it.

I played it in AUDACITY, which is something of a Common License Audio Editing/Recording program. This allows me to isolate a single note, plus it gives me a graph of the waveform. There seems to be a very tinny metallic buzz on the last two notes.

Given this is clearly isolated to one speaker, and more so, isolated to one driver, it is clearly a faulty driver. How long have you had the speakers? I listened to your latest Audio File and it sounds to me like the buzz come on the trailing edge of the tone. And yes I definitely heard it. I played it in AUDACITY, which is something of a Common License Audio Editing/Recording program. This allows me to isolate a single note, plus it gives me a graph of the waveform.

There seems to be a very tinny metallic buzz on the last two notes. Given this is clearly isolated to one speaker, and more so, isolated to one driver, it is clearly a faulty driver. How long have you had the speakers?

Click to expand.I've used a software called GoldWave to record this and I could also see the differences. Just look at the spectogram in the bottom-right corner: There's something else there along with the sound on the right side. Anyway, I've got these speakers exactly 10 days. Today is day #10.

I've listened to them like 5-6 hours a day. Music, TV, games, movies and unfortunately, it's not easy to hear this if you hear a full spectrum of sound as it seems to happen only at certain frequencies. As I've said, the first time I've heard something 'wrong' was 2 days ago when listening to some TED talk on YouTube and at one time, the guy spoke in a tone that made some buzz, but then - it's YouTube and I didn't even give much through to it thinking it's the source, but when I've heard a piano yesterday - it was clear and a piano seems to be able to hit the broken frequencies. BTW, I've looked up what are the frequencies of different piano keys: The virtual keyboard has only 5 octaves and it seems to start at the second octave which means the 4th that I'm referring to is the 5th in reality. Guess what frequencies are the tones I play? 700 Hz - 900 Hz. And what's the crossover frequency of my mid-range driver?

The Diamond 10.7 is a 3.5-way system. Both Low-Bass and Mid-Bass play are frequencies below 150hz.

Then above 150hz, the Mid-Bass carries on up to 850hz, where the Dome Midrange speaker takes over. The Tweeter kicks in at about 4.5khz. Low-Bass = 30hz to 150hz Mid-Bass = 30hz to 850hz Midrange = 850hz to 4.5khz Tweeter = 4.5khz to 24khz Why the problem would occur in the Crossover Range of the Mid-Bass to Midrange, I can't say. The same Mid-Bass on the Diamond 10.6 is capable of carrying on accurately up to 2.5khz, so I would expect it to be distorted. I'm sure they are using the Midrange well within its working range, so normally I wouldn't expect a problem there. It is going to be a hassle shipping your speakers back to the dealer, but one hopes, in the end, you get two good working speakers. That was probably an old post of mine, but if the forums has its own test tone, I would certainly like a link to that.

Here is an old thread of mine - The tones listed are simply tone I tracked down on the Internet, there are probably hundreds more. Since these tones are continous, some lasting up to a minute, you don't want the volume too loud. Also note that the Tone on the extreme will not sound as loud as the tones in the middle, which means at the extremes there is a tendency to want to turn it up - RESIST THAT DESIRE. Fortunately in your case, the necessary tones are likely to be very much in the middle and that won't be a problem.

If you do not have a physical volume control that lets you determine volume by the position of the Dial, then put a CD in, set the volume to a casual listening level, and leave it there. Then put the Test Tone CD in and run the test tones. Sustained use of continuous tones like this can cause heat to build up in the speakers. So, don't sustain them indefinitely.

That's generally not a problem as there is a slight pause between tones, but use some common sense. There are generally two types or ranges of tones 1/3rd Octive, and this work well for most uses - 20hz 25hz 31.5hz 40hz 50hz 63hz 80hz 100hz in 31 steps up to 20khz The other is 1/6th Octave which is twice as many tones more closely spaced - 20hz 25hz 30hz 35hz 40hz 45hz 50hz 55hz 60hz 65hz. 100hz 120hz 130hz 140hz. 400hz 500hz 600hz.

1000hz 1200hz 1400hz 1600hz 1800hz etc. Steve/bluewizard Steve/bluewizard. The Diamond 10.7 is a 3.5-way system. Both Low-Bass and Mid-Bass play are frequencies below 150hz. Then above 150hz, the Mid-Bass carries on up to 850hz, where the Dome Midrange speaker takes over.

The Tweeter kicks in at about 4.5khz. Low-Bass = 30hz to 150hz Mid-Bass = 30hz to 850hz Midrange = 850hz to 4.5khz Tweeter = 4.5khz to 24khz Why the problem would occur in the Crossover Range of the Mid-Bass to Midrange, I can't say. The same Mid-Bass on the Diamond 10.6 is capable of carrying on accurately up to 2.5khz, so I would expect it to be distorted.

I'm sure they are using the Midrange well within its working range, so normally I wouldn't expect a problem there. Click to expand.I was actually thinking if it may be a problem not with the lower range of the midrange driver, but the upper range of the bass driver, but then again - covering the mid-range with my hand makes the buzz (and the main tone) less audible. I can't cover the 6' bass driver with my hand but I think if it would be the source then covering the mid-range would make the main tone quiet, but the buzz would still be exposed. In fact, playing just 2-3 notes lower on the virtual keyboard makes a clear non-distorted sound and these are frequencies on which the bass driver operates. However, playing even higher notes still makes a buzz.

The Warner Brothers intro I was referring to starts like. 2 octaves higher (if I'm correct) and it produces the most buzz of all and these are sounds that don't affect the bass driver at all, but still - too low for the tweeter to kick in. And again - covering the tweeter with my hand reveals the buzz even more so I'm certain it comes from the mid-range. The only other possibility would be that the crossover electronics themselves are the source of this issue, but then - wouldn't it affect both drivers that are 'on the edge' if the problem was a bad signal coming in instead of having the buzz come out just from one particular driver? Click to expand.It's all a hassle. Now it turns out that all the time I spent to properly place the speakers in the right spots was a waste of time, and to be honest, the worst hassle will be just carrying them over to the courier.

I barely made it for the first time, felt it in my bones for 3 days and was glad it's over and now I have 2 more such events in front of me.And why do they insist on getting both speakers back on one pallet is beyond me. They prefer to pay for a larger and heavier shipment just because they sell them in pairs? It's not like it's a matching set, these are stand-alone units, not even the serial numbers match (they do in my DIA 10.2s, but the 10.7s are 4 numbers apart anyway [ correction - actually they're 6 numbers apart!]). It won't be a financial hassle, though - the dealer will call the courier who will pick it up for free and the replacement will ship for free as well it's just.

A general hassle of having to wait for it and then once again hope to get both good working units. This time I'm going to find any instrument in any music software I can to play every single note to test them.

Click to expand.Cell phones - don't have any so that's not possible. Distance from amp? The affected one was a good 40cm away (that's about 16 inch) and the not affected one more like. 2+ meters away. So you're saying that the distance to the amp can affect the sound or are you suggesting that maybe the amp is buzzing which I'm sure it's not. What kind of interference are you referring to exactly?

I stood in front of them between the speaker and the amp and it didn't help. Also - having different speakers in the same place at roughly the same distance didn't have any effect. The volume level doesn't have to be hight to hear it either. Click to expand.The dealer won't repair anything, they already agreed to replace both speakers ('because we sell them in pairs') with new ones.

Anyway, thanks for your all your help so far, if something weird or funny happens, I'll keep you posted, but right now the only thing that could go wrong and that I'm afraid of is that some deaf idiot at the dealer will listen to a 3 minute song and decide that there's no problem with them which I would probably agree as it's incredibly difficult to hear this out from any song unless it's played on a piano or just hits the right frequencies. I will provide them with a very detailed instructions on when to hear it, though. Right now, I've hooked up my old Philips speakers (from an old mini hi-fi system) to the front channels and although one can discuss the quality of these speakers (with good reasons ) I've played every single note on the virtual piano and there's absolutely no such distortion, no buzz, clear sound (as 'clear' as the speakers go, of course). The one on the left is pretty much at the same distance to the amp. But just to be absolutely sure that it's not a distortion caused by the distance, I've put it on a table literally 1 inch next to the amp and played the sounds at the exact same frequencies to no avail - the sounds are clear, no distortion, no buzz, nothing. Also, during the testing of the Wharfedale, I've also played the affected notes while tilting the speaker to the left, right, front and back and it made absolutely no difference, in fact I could clearly follow the source of the distortion which was - the mid-range driver.

That said, the returning process is already set into motion, I really hope I get some good units in return and that the people in the store will be able to hear it. And that I survive carrying them on the pallet. I realize this is an old discussion I have a very similar issue with an older loudspeaker (ProAc Response 3). They have been re-foamed and have been kept in great shape but on piano transients there is a hazing, blurring of transients on particular notes on the left speaker. I have noticed similar problems with harp, etc. Before the note plays there is a veiled buzz type of sound but just on these specific notes/instruments. Other than this these speakers sound fantastic but I can't bear to listen to piano recordings.

I can't yet tell if it's an issue with the tweeter or one of the mid range drivers. I have a spare tweeter and I'm hoping it's that but I'm thinking it's a driver or crossover issue. I'd appreciate you letting me know what you found here. I realize this is an old discussion I have a very similar issue with an older loudspeaker (ProAc Response 3). They have been re-foamed and have been kept in great shape but on piano transients there is a hazing, blurring of transients on particular notes on the left speaker. I have noticed similar problems with harp, etc. Before the note plays there is a veiled buzz type of sound but just on these specific notes/instruments.

Other than this these speakers sound fantastic but I can't bear to listen to piano recordings. I can't yet tell if it's an issue with the tweeter or one of the mid range drivers. I have a spare tweeter and I'm hoping it's that but I'm thinking it's a driver or crossover issue. I'd appreciate you letting me know what you found here.

Thanks for your response and I'm glad to hear that your problem was resolved. I have been chasing this problem on my speakers for a while. I usually hear this twangy, buzzy, fuzziness that is very evident on the left loudspeaker during medium volume, middle of the keyboard playing but I have also picked this up with harp recordings. My Telarc Erroll Garner recording is particuarly bad and I have a Rachmaninoff Preludes CD on Naxos where the B Minor prelude (beginning) is BAD. I am afraid I might have a mid range driver issue and the drivers for these speakers (ScanSoeak) are expensive. I'm hoping the issue is the tweeter as I have a backup tweeter. I am going to swap out cables and see if that makes a difference.

Apparently there are notorious issues with piano recordings - piano, harp, and French horn are extremely hard to capture. A few years ago I actually had a email conversation with Keith Johnson, the lead engineer of Reference Recordings regarding a Nojima recording of the music of Ravel. He said that older digital piano recordings had peaking distorion issues and a strong DC bias which meant that with high resolution system, the harshness of the recording on piano transients would sound distorted.

I have a number of even more recent recordings that sound bad (most of them in fact) in general but this specific issue goes beyond that. It's almost like there's a pre-fuzz sound before notes are played and a tinnyness that drives me nuts. I'm not a vinyl - phile but I played a 45 RPM direct to disc Beethoven recording on this stereo and it sounded fantastic - none of the digital harshness from the CDs. I played the Rachmaninoff recording through my ipod into the pre-amp and still they sound awful. Thanks again for the update. Well, swapping the left with the right channel will certainly reveal if it's a recording issue. If you'll continue to hear it in the same speaker having L and R swapper, it's definitely the speaker.

Whether it's the mid-range or the tweeter depends on what frequencies they 'operate' on. Could be the low-end of the tweeter, could be the high-end of the mid-range, take a pillow, cover one driver then the other and it should be clearly audible which one is screwed up. Also, if you have an option to connect your PC directly to your receiver/amp or record some sound off of it and then play it back, try this thing: - it's a perfectly clear piano source, see where it starts/ends to buzz and you can lookup what notes are at what frequencies, compare with the crossover frequencies of your speaker(s) and there you go. It's always a pain if something old breaks, especially if it's old and good. I hope for you that it's a tweeter and you can replace it.

Hey I sat on this problem for a long while and basically didn't play the speakers much. However, I reached out to a local guy that fixes audio and here is what he recommended: 'If you can isolate the problem to one of the speakers, then try to determine which driver is making the noise.' - I did this, it was the left bottom woofer 'If you can pinpoint it to one of the two woofers, then lay the speaker down and remove that driver, rotate it 180 degrees, and re-install it. Loop and twist the wire harness so that there isn’t much slack when you replace the speaker in case the wires were vibrating against the frame.'

I did this over the weekend and so far, it has (so far) fixed my problem. I played the most offensive recording that revealed this problem, the Rachmaninoff Prelude in B Minor / Naxos and, there is no buzz. I asked him what could have caused this and he said this: 'The buzzing sound could have been from a wire vibrating against the frame or could have been something else vibrating.'

So I would recommend that you do exactly what he suggested. I am curious if this might fix your problem. Thanks for your reply, but it's too late in my case. After swapping two pairs of the 10.7 speakers, where one in each pair was faulty, I've got the 10.6 for fronts and the problem is gone. Because these don't have a separate mid-range driver. I'm 100% sure it wasn't any wire vibrating, though, I'm pretty sure I could differentiate between the sound of a different object vibrating and the speaker being screwed up.

It was so clear that it's the mid-range driver that the volume of this distortion was also increasing relative to the pitch - at the crossover frequency you could clearly hear the distortion 'arrive' when these frequencies started. Anyway, I appreciate your help, but unfortunately it was a quite 'simple' problem in my case - faulty driver. I'm happy with my 10.6s now, it's been over 1.5 years since I've had this issue and these 10.6s work flawlessly so I'm all good.

Linn Sondek LP12 with Ekos arm and Troika cartridge Launch year 1972 Company Linn Products Website The Linn Sondek LP12 (often shortened to Sondek or LP12) is a highly regarded transcription produced by -based, manufacturers of hi-fi,, and multi-room audio systems. Its name is derived from the 12' vinyl LP (long play ).

Hi-Fi Choice reviewers voted the LP12 'the most important hi-fi component ever sold in the UK' and The Absolute Sound ranked it the second most significant turntable of all time in 2011. With its iconic success, Linn named their flagship CD player the Sondek CD12. History The Sondek LP12 turntable, introduced in 1972, utilises a suspended sub-chassis design and a patented tightly-toleranced single-point. The LP12 has evolved since its introduction, but its basic suspended sub-chassis design has remained. At the time, the design was similar to the Ariston RD11 and the TD150, both in turn based on the Acoustic Research XA turntable that was launched in 1961. The XA was created by renowned audio pioneer.

The three-point 'suspended sub-chassis' of the XA, using a compression spring system, was much improved upon and popularised in the LP12. The similarities between the LP12 and the Ariston RD11 resulted in a patent case: Ariston vs. Linn, or more correctly, Fergus Fons Ltd, Hamish Robertson vs. Ivor Tiefenbrun.

In 1972, the late Jack Yan Tiefenbrun filed a pair of provisional patent specifications for a simple point-contact bearing, and followed them up in June 1973 with a complete specification claiming 'improvements in, or relating to, gramophone record playing apparatus'. The application was accepted by the British Patent Office and published as BP1394611. In May 1975, following the publication of the Tiefenbrun patent, an opposition was lodged by turntable manufacturer Fergus Fons Ltd and the late William James Hamish Robertson. The patent was opposed on various grounds, including that 'what was being claimed as new, was in fact old', and that the idea was 'lacking in inventive step' over what was already known.

A further ground of opposition was that the invention had been 'obtained' from Hamish Robertson, and was his original idea rather than that of Jack Tiefenbrun. Jack Tiefenbrun had formed Castle Precision Engineering (Glasgow) Ltd some 15 years earlier. Hamish Robertson had a company called Thermac in 1967, which became Ariston in 1970, and Ariston Audio in 1973. In 1970 Jack's son Ivor formed a friendship with Hamish. In 1971 Ivor made a prototype turntable with a ball bearing, and then went to Israel.

While Ivor was away, Jack and Hamish changed the ball bearing to a single point bearing. Robertson's company Thermac then ordered forty of the turntables from Castle Precision Engineering Ltd. In 1971, and now operating as Ariston, Hamish showed the turntable under the model name RD11 at the Harrogate show, and set up a distribution network with C. Walker and Company. By the end of 1972 relations between Robertson and the Tiefenbruns had broken down.

This allegedly led to a threat to Robertson that a copyright action would be brought against him if he had the RD11 turntable made elsewhere than at Castle Precision Engineering. In February 1973 Linn Products Ltd was formed to sell turntables made by Castle Precision Engineering. Robertson left Ariston, which by now had been taken over by Dunlop Westayr Ltd, and became director Fergus Fons Ltd. In the end The Robertsons’ opposition to the Tiefenbrun patent was rejected.

The thinking at the time was that the most important component of a high-end audio system is the loudspeakers. Linn presented an important challenge to that by claiming that the source (i.e.

The turntable) was the most important part of the system. Has talked about how Sondek derives from the word Soundex as each hi-fi design always ends up having its own unique identifiable and recognisable sound. Some report the original name was just Sondek without the LP12. “ Linn didn't invent the turntable, we simply understood that there was more information on an LP record than people were capable of accessing, so we applied our understanding of engineering to extracting it. Ivor Tiefenbrun, 2007 ” Early versions were a platform for mounting third party tonearms, had a basic power supply arrangements, and would only revolve at 33⅓ rpm. Those users requiring a 45 rpm option would have to purchase a special adaptor to increase the diameter of the motor pulley and platter speed accordingly.

Throughout the years, there have been many changes resulting from development efforts to improve this table. These changes include modifications to components such as the subplatter and bearing, rubber feet, baseboard, armboard, suspension springs and grommets and reinforced plinth. A much improved on-board PSU, the Valhalla, was marketed as an upgrade option. Later, external power supplies became de rigueur firstly with the introduction of the Linn Lingo, and later the Radikal. The LP12 working with a Linn Ekos tonearm Partnered tonearms and power supplies Like most turntable units, many options to partner the LP12 are available (including Linn's own) for tonearms, cartridges and, to a much lesser extent, power supplies. Although Linn constantly espouses the virtues of a 'pure' Linn system, and there is much talked about synergies with other Linn components, the LP12 user has the option of a number of third party options.

Before the existence of Linn-branded tonearms, Linn was the importer for Grace, and used their 707 tonearm. The Sumiko tonearm and later the Mission 774 arm were also popular choices and much spoken of. The first Linn-badged arm, the Ittok LVII, was in production 1979-93.

A 3-point-mounted arm with a large-bore arm tube designed and manufactured in Japan. It was gradually superseded by the Ekos. A budget arm, the Basik LVX, was produced from 1983 to 1986, and replaced by the Akito. For today's demanding audiophile, LP12 is commonly partnered with the Linn Ekos SE tonearm; the unipivot ARO tonearm from is also very popular. External power options include Linn's own top of the line Radikal power supply featuring an auto-calibrating speed management system; Naim Audio manufactures the Armageddon power supply for the LP12, based on its own Hi-Cap power supply unit.

Linn were distributors for Grace and Supex Corporation at the time, and thus the Grace G-707 tone arm and Supex SD900 and SD1000 phono cartridges were also frequently partners for the deck. Early Linn-branded cartridges, such as the Asak and Asaka, and the 3-point mounted Troika (now discontinued), were produced by Supex for Linn. Карточки Для 1 Класса По Математике. Linn's later subcontracted cartridge manufacture to Lyra Corporation in Japan. Paul Messenger, writing in Stereophile, credits Linn's endorsement and importation of the Supex brand for the resurgence of audiophile interest in moving coil cartridges. Naim Audio manufactured the Linn-branded head amplifier (phono amplifier), the Linnk.

Linn today manufacturers the Uphorik ('euphoric'), and Urika ('eureka') phono pre-amplifier that can be powered by the Radikal. Linn capitalised on the success of the Sondek LP12 by introducing the more affordable Basik and Axis turntables, complementary tonearms for the Sondek and at different price points.

Popularity The LP12 is popular with many audiophiles around the world for its excellent ability to play music with 'pace, rhythm and timing'. It is sometimes used by hi-fi reviewers as a reference turntable.

“ It’s impossible to imagine the high-end industry without the LP12'. ” — Robert Harley It was at its most popular in the golden age of vinyl playback, principally the 1970s through to the 1980s. David Thompson, writing in Record Collector News, said that the LP12 enjoyed a 'stranglehold on the qualities of LP reproduction for many years'. Its closest competitors were probably the, the Well Tempered Table, several Thorens decks (TD125/126, TD160, TD2001/3001).

The Michell GyroDec, the Dunlop Systemdek, the Logic DM-101 and the PT1. However, the LP12 outsold them all in the United Kingdom.

In fact, TNT asserts that 'most foreign manufacturers of hi-end turntables didn't even bother to import' because they were faced with an uphill fight. Critics and reviewers would all too frequently conclude of any imported competitor that 'an LP12 is better and you could buy two Linn's [ ] for that money'. The LP12 has acquired such cult status amongst audiophile turntables that many seek to knock it off its pedestal. Although the design has not been fundamentally revisited, there have been improvements to the turntable's design since its launch using advances in material science, over 40 years ago. It remains possible to buy a Sondek LP12 in a configuration not dissimilar to one made in 1973.

In 2004, Stereophile said it was 'a classic, a revolutionary, an iconoclast, a survivor.' In 2011, ranking the LP12 the second 'Most Significant Turntables of All Time' for The Absolute Sound, Robert Harley said: 'It’s impossible to imagine the high-end industry without the LP12'.

Product history Changes thereto are elaborated below. Related serial numbers in square brackets • 1972, LP12 turntable introduced. • 1974, Main bearing liner changed. Sub-chassis strengthened by addition of strap, spot welded in place.

Motor control circuit changed from terminal strip to small. Mains switch changed from two buttons to single with mains neon. [s/n 2,000] • 1978, Top plate modified adding two holes for 6 x 0.5 self tappers into wood block. [23,000] • 1979, Lid prop removed, hinges changed to spring loading.

[27,000] • 1981, February. Nirvana mechanical components. [32,826] • 1982, May. Valhalla crystal-driven electronic power supply made standard. [38,794] • 1984, Enlarged plinth corner bracing. [53,000] • 1984, June.

Sub-chassis strengthening bar epoxy glued instead of spot welded. [54,101] • 1985, August. Cap head screws on bearing housing. [60,383] • 1985, September. Diode modification to Valhalla board [61,090] • 1985, December. Strengthening blocks on corners of plinth.

New clear lid. • 1986, Suspension springs improved. • 1987, March.

New bearing housing, New Formica and MDF armboard. [69,161] • 1987, April. [69,591] • 1987, Bearing improved with better lining material and tighter tolerances. Change to black oil.

Suspension springs ground to improved tolerance. Arm board composition improved. [70,000] • 1989, Motor thrust pad changed. Valhalla surge guard modification.

PCB mains lead (UK). [79,700] • 1989, New armboard, laminated top and bottom. [79,160] • 1989, Harder suspension grommets fitted. [81,000] • 1990, External Lingo power supply available as add-on. • 1991, motor thrust pad cap added to Lingo models. [87,047] • 1991, Valhalla board prototype with 45RPM (never went into production, codename 'Wakonda') [87,047] • 1991, motor thrust pad cap added to Valhalla models. [87,206] • 1991, Introduction of LP12 Basik, a stripped down version of the turntable [87,672] • 1991, Solid base board replaces hardboard.

[87,672] • 1991, Trampolin base board with isolating feet available as an option [87,672]. • 1992, Improved top plate fixing. [88,950] • 1993, Cirkus upgrade (larger and better machined inner platter and new bearing, new springs, armboard, belt) fitted as standard. [90,582] • 1997, a limited edition commemorative LP12 was created to mark the 25th anniversary of the LP12. Amongst other features, it bears a plaque etched with the signature of Linn's founder.

• 2000, 4th bolt added near motor on top plate, fitted as standard. Required extra cross beam on plinth. • 2001, New motor used (first new motor since original 1972). • 2002, Maple plinth introduced adding to existing black, walnut, rosewood and afromosia options. • 2013, Full-spec limited-edition (40 in all) 40th anniversary LP12, plinth made from oak casks from, priced at £25,000. Important upgrades ( in chronological order) Lingo Power Supply ( Introduced: 1990) Linn describes the LINGO as a 'high precision, direct coupled, power supply designed to sit alongside the LP12 turntable'. Prior to the Lingo, speed accuracy for 33 rpm (and 45 rpm) rotation was determined by the Valhalla power supply board.

The Lingo generates two 50 Hz which it amplifies and sends to the turntable motor – the Valhalla generates a single sine wave. Using crystal oscillators, one for 33⅓ rpm and one for 45 rpm. The two speeds are made possible.

When depressed, the switch on the turntable supplies the start-up torque with which the deck's desired rotation speed is achieved. The switch on the turntable allows selection of the appropriate oscillator the output of which is fed into a synchronous counter to produce a 50 Hz or 67.5 Hz square wave for 33⅓ rpm and 45 rpm respectively. The square wave is filtered into a clean sine wave to minimise motor vibration, and amplified to 120V to feed the turntable. The Cirkus upgrade ( Introduced: 1993) The Cirkus kit aims to provide the LP12 with greater stability and ensure the bearing sits perfectly true to the chassis, through a redesigned bearing and stronger sub-chassis assembly. The bearing housing height has been increased to improve lubrication; its mounting flange thickness has been substantially increased; the geometry of the top and bottom liners in the bearing housing has been altered to further reduce incidence of rocking. Thickness of the sub-chassis was doubled to improve rigidity, reduce flexing and improve control of the relationship between turntable platter and arm.

With the new bearing comes a new sub-platter. Keel ( Introduced: 2006) The Keel upgrade to the LP12 is a replacement subchassis, machined from solid aluminium.

It builds on the Cirkus upgrade (now fitted as standard to new LP12s) but is not included as standard in 'regular' production LP12s. Linn claims that the Keel is an application of its 'close-tolerance aluminium machining', first seen in the ingot casing of the Sondek CD12 CD player. The Keel, along with the Ekos SE tonearm and Trampolin Mk.2 were three Special Edition upgrades for the turntable's 33⅓ birthday, 33⅓ being the standard rotational speed when playing LPs. Trampolin Mark 2 ( Introduced: 2006) The original Trampolin baseboard was made from, rather than, incorporating damping feet which were optimised for LP12 to be placed on heavy furniture.

The Trampolin II is made from aluminium. Radikal ( Introduced: 2009) The 'Radikal' system, priced at £2,500, comprises a 'control box', DC motor and power supply which, according to Linn, offers more accurate speed control, and reduced vibration and resonance. This is achieved by using on-board speed management system with automatic calibration, and use of a new motor with low magnetic field and electrical noise, located within a machined housing. It can be used to power the Urika phono amplifier or the Linn phonostage mounted inside the turntable. Recognition • Named No.

1 of 'The Hot 100 Products, 2002' by Stereophile. • Named '2004 Analogue source component of the year' by Stereophile. • In May 2006, Hi-Fi Choice reviewers voted the LP12 'the most important hi-fi components ever sold in the UK'. Download How To Program A Bot In Xenominer Free Software. • Named '2007 Analogue source component of the year' by Stereophile. • In 2011, The Absolute Sound named the LP12 No.

2 in its ranking of 'Most Significant Turntables of All Time' References. • Greenberg, Corey (1 December 1993).. Stereophile •, Hi-fi Choice, 20 July 2006 •.

The Absolute Sound (TAS 216) • Lander, David (1 November 2001). •, Michael Fremer,, November 2003 • Hi-Fi News & Record Review, Vol. 2, February 1973 •, David Price, Hi-Fi World Magazine • Gregory, Roy (23 October 2009).. HiFi-Plus, Issue 68 •.

Positive Feedback (2002) • Wes Phillips, 'Linn's Klimax DS', Stereophile, 16 September 2007 • Harrison, Andrew (March 2009).. Hi-fi World • Quaschik, Hartmut (September 2004).. Archived from on 13 January 2012. • Messenger, Paul (4 January 2004).. Stereophile •, Paul Szabady, Stereo Times, November 2001 • Thompson, David (December 2013).. Record Collector News •.

Archived from on 13 January 2012. • Sircom, Alan (2 July 2013).. Hi-Fi+ • Husband, Geoff (November 2002)., TNT Audio. Archived from on 11 July 2013. •, Marc Mickelson, Soundstage.com, November 1999 •, Analogue Addicts.

Retrieved 28 April 2006 • Sircom, Alan (23 September 2013), Hi-fi Plus. • Atkinson, John (10 January 1991)., Stereophile •, Vinyl Engine, 3 May 2002 • neilmcbride.co.uk •, What Hi-Fi? Sound and Vision, 27 April 2009 • Dudley, Art (30 June 2011)..

Stereophile •, John Atkinson, Stereophile, November 2002 •, Stereophile, 2004 •, Hi-fi Choice, 20 July 2006 •, Stereophile, December 2007 External links • • Gresland, Antoine (July 2009), EcoutezVoir (French).