Well, this is fun! I’ve been a Linn user since I bought my Sondek 37 years ago. It’s been upgraded a couple of times, now with Lingo IV, Kore, Circus, Trampolin, an original Ekos arm. I just recently installed an Ortofon A90 cartridge and a Cardas Clear phono cable. I made my own jig and am pretty good with tools and such. When the Sondek was updated in 2015 by a Linn dealer to its current configuration, it got a Linn T-Kable and Krystal cartridge. I was mostly happy with it, but then the Stellar Phono arrived and the T-Kable gave too much RF, so it had to go.
I’m very much a vinyl devotee. Decided to get a rig I could play with a bit more eggregiously, so I also now have a VPI Prime Signature with 10” gimballed FatBoy arm and a variety of cartridges, currently the Hana Umami.
3 thoughts: I think cost is a rough but not useless marker for sound quality when it comes to vinyl. System synergy is a non-negotiable consideration, esp the phono stage. Both tables sound great to me, but there continues to be SOMETHING about that Linn sound that appeals to me.
Offered with gentleness and non-attachment to any opinions conveyed—vinyl is almost as tricky as US politics these days!
Thanks to the OP for opening up this particular conversation.
I just got my LP12 back with the Radikal 2 (machined housing) installed.
I was very skeptical that essentially, a motor and power control change could be worth the money, but wow, was I wrong.
I would say that this is a bigger improvement than most cartridge upgrades I’ve made.
Every sound coming out of the speakers is more lifelike, flesh and blood real. Apparently there’s much more information in the grooves that I haven’t heard before. Wow.
Funny, I just got the same upgrade installed today. I also went from the Kore to the Keel at the same time. So far my experience is similar to yours Ron. I suspect the Radikal had much more to do with that than the Keel–I still tend to gag when I think about how much I paid for a machined armboard. At least the Radikal has electronics in it. The installer said they had previously compared the standard Radikal to the machined version and that the housing did make a difference (salesman said the same thing–I’ve dealt with both for years).
I upgraded from the Kore to the Keel and I enjoyed the improvement enough to justify the cost.
But I’m really amazed by the Radikal. Right now, I’m listening at low, late night levels and the improvements are still obvious.
I have the Kore with a Naim Armageddon and ARO arm with Lyra Titan.
I swear some LPs can give SACDs a run and win. I guess the mastering is
always a variable.
I bought Linn LP12 majic maybe ten years ago. Since then I’ve been upgrading it. Best ones are Radikal (got it cheap, 1500 € used), Krystal cartridge, and Karousel bearing.
All these upgrades have been worth the money.
As a mat, I use Collaro, I think it sounds great and doesn’t stick to the records.
Welcome aboard!
One of the things that I enjoy about the LP12 is Linn’s continual development and the ability to upgrade.
When your funds allow, the Kore or Keel are worthwhile upgrades as is the upgrade from Radikal 1 to Radikal 2, for which there is a kit.
Hi @mggm56 I’m resuscitating this old thread because I’m looking for a better tonearm cable for my LP12. I have a Chord Sarum T slim which served me well for 2 years. I have changed my system to Mutech Hayabusa, Whest 60Se pro, ATC SCM50ASLT and I need a less analytical cable to smooth edges a bit.
Could you install the Cardas Clear without the need to install Audiosilente mushrooms? The cable is not too heavy and stiff for the arm and suspension? The black part of the cable is long enough to go from the edge of the plinth to the bottom of the tonearm?
I made a custom order for an Esprit Lumina which stays straight from the clip to the arm and I’m afraid to ruin the sound and perhaps the arm too.
Hello Rocco,
Not much insight to offer. I used the P-clip to secure the phono cable, no trouble doing that. The suspension seemed uncompromised. Since then I’ve used a silver Audio Sensibilities cable, and am back to using a newer T-kable with the newer Ekos SE. All cables secured by the P-clip.
Best of luck!
Michael
@mggm56 thanks Michael! Interesting the cardas wasn’t too heavy for the suspensions and more interesting that eventually you went back to less high end cable. I guess the T kable eventually performed better than Cardas Clear?
I’m still learning about synergy. Phono cables, like other cables, are part of the system that includes not just the turntable stuff but the phono stage as well. Some day I’ll get around to re-inserting my silver phono cable to explore the difference. It may be that the impedance characteristics of the cartridge, cable and loading of the phono stage are part of the equation. And now I’m out of my depth!
If you are handy with a soldering iron. You could make make your own Tonearm cable like I did. Yes It’s a PitA and if you don’t ground things the “Linn” way…..Bzzzzzzzz. Don’t ask how I know .
I actually had to solder and pigtail 26AWG stranded wire and heatshrink them onto the Straightwire Silver over copper with shielded cable inside the Turntable. Working on a Linn SUCKS but I got so good at after propping the TT onto a Sound Organization Equipment stand my friend gave. It coincidentally fit the frame of an L12 perfectly (the shelf tabs build into the stands keep the TT from crashing down but will scratch the TT’s finish if one is not too careful).
The Linn T-kable that matches the Ekos SE is silver over ofc.
A friend replaced his with an Audience Front Row with no issues. He’s very happy with the results. But since I don’t have access to a proper stand and I’m lazy, I’m leaving the Linn cable where it is.
The Audience Front Row phono cable is light enough and flexible enouf=gh that, assuming it is within your budget, is a contender. My Linn with an Ittok LV II stands as all LInn with LInn upgrades. Depending on the state of you Linn the phono cable upgrade may not be the most rewarding upgrade. Just my opinion.
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