Thanks, Steven, that’s very helpful.
It’s your product Paul, mine would need more than 1TB.
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The Linn Klimax DS streamer/DAC has been in production for 13 years and is state of the art, currently on Version 4, costs £15,000, probably about $20,000 for which you get:
- RJ45 data input
- Balanced analogue out
- Unbalanced analogue out
- Exakt outputs (their active system)
That’s it. I had the Akurate, one level down, purchased in 2009. Same uncompromising connectivity.
There’s a lot to be said for choosing to do it one way and extremely well, and this is about as extreme as it gets.
It’s modular and upgradeable and they sell boxes for the old electronics so they can be reused or sold.
Personally, I think it’s a brilliant design, sounds incredible, looks great, upgradeable.
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Is not this unit a streamer, DAC (no DSD), preamp, and includes room equalization?
Another example of the myriad of ways to address digital audio.
The 530 series with Akurate EXAKT DSM, 4 x hdmi, RCA, Phono, CLR, Ethernet and EXAKT digital in. EXAKT out to the 530 speakers.
Really nice set few box set with nice looking speakers.
I know Steven that you don’t mind DSD, but it is not DSD capable.
At Linn, for DSD 64 (with tricks and DSD=>PCM converted, mind you), you need the sinful expensive active speaker set with Katalyst DAC architecture.
The Akudorik starts at 28000 or 30000 Euro if I am not mistaken.
Not that all my music is DSD, but I sure wouldn’t want to be limited to PCM only.
Linn makes beautiful equipment though, with that I agree. Their Uphorik Phono Stage, balanced in and balanced out, is the best I heard so far.
Magic happens somewhere else for this kind of money I’d say (not speaking specifically of the Streamer/DAC category). If I had 20k to spend on Hi-Fi I wouldn’t buy. a Linn Streamer/DAC for it, even if this was just 1/10th of the overall budget. Saying without having heard it, just from what I’d expect as sound progress for the money.
Linn is for those that appreciate:
- good sound;
- extremely good built quality;
- good looking live style components and speakers IMHO;
- very useful source interfaces;
- DSP room correction.
It is not for those:
- with tight budget;
- that don’t want to be limited by Linn’s very limited view on file formats (like Schiit);
- who prefer separates and passive speakers.
Like any choice in the audiophile world, it is always a compromise.
Linn basically design audio systems. Some of their products are separates, but they are designed to be used together. It relies on customers buying into the one-brand system concept. Fortunately for them it’s been successful.
PS Audio would like you to buy all their products, but can’t do systems because they don’t have speaker or streaming products. That may change, in time.
Some people like one-brand systems, others to mix and match. The reality is that one-brand systems offer a lot more possibilities for integrated operation, such as DSP. I’ve done both, including a Linn system, and prefer the integrated approach.
Speaking to Linn of “the day”, when I purchased my Linn Sondek LP 12, Linn was all about turntables, phono cartridges and tone arms. In the day it was a Linn/Naim system, which I never quite bought into. I did try the Linn Sara speakers, picked up a pair when in Edinburgh. At that time Linn had no amplification available in the States. A few years after purchasing the Sara’s I did try Exposure components for a time. I found the sound to be more refined than equivalent Naim amplification. I have since moved on keeping the LP 12 only. Can’t say I miss the Sara speakers or the Exposure amplification. Linn and Naim electronics of the late 70’s into the early 80’s is not the same as that of today, for what ever that’s worth.
Other than the LP12, Linn is a completely different company. I think Naim has stuck to its roots, was very early with streaming, and have now hit the jackpot with their MuSo and Uniti affordable/lifestyle products.
Agree, and the LP 12 has become crazy expensive! I have had my LP 12 upgraded over the years. The most recent was last December when I went Kore, Lingo 4 and a tune up. The performance stepped up considerably. I’m still not sure it was wise from a dollars and cents perspective. I’ve had it for 40 years and it is not going any where for sentimental reasons.
I did hear the top of the line Naim amplification, and digital server/streamer when I picked up my LP 12. Sounded great until Ken told me the price, holy *!@& !
BTW, this would be Pro Musica’s Ken Christianson, who has done many Naim recordings, including Charlie Haden.
You’ve been to Edinburgh Scotland? Man I love that city, went to Stevenson Collage on an EU program when I was 17, lived in Murrayfield close to Corstorphine where Sean Connery used to live before he became an actor. Close to a Brewery. Smelt the boiling hop each morning when I went to college.
Love Princes Street and the Mount with all the pubs with band playing folk rock live. Were allowed to drink when accompanied by adults, my 18 and 20 years old friends at that time. 2 finger whisky and then a pint, was the rule.
Marillion was home to Edinburgh but toured the world when I lived there.
Virgin had a mega records store at Princes Street towards West End. That was in the ultimate high time of vinyl. CD’s had just started hitting the marked with Dire Straits Money for Nothing being the top album ever. Being stubborn I bought it on Vinyl in that music Valhalla called Virgin Mega Store. Also bought most of my Queen Albums there when A Kind of Magic was released.
Had no idea of Linn at that time. In my room at my parents I had a entry model Garrard turntable connected to my Saba Stereo Tuner Receiver and self made 120+ liter bass reflex speakers with adjustable ports and Philips drivers off course, being half Dutch. Recorded the music charts on my Saba top loading cassette deck and Uher Royal reel to reel.
Started enjoying the music when I could hear the wind from the bass ports. In my little room it made the trouser legs flap. Nobody cared about distortion as long as it was loud. Yeah. Mind you those speakers played along real nice and clean at normal sound pressure.
Now those behemoth enclosures each host 2 x 12” front firing pro audio sub woofers, making it 4 pcs in my dad’s 7(8).2 home cinema. Appart from the self made subwoofers, all Tannoy Eyris each driven by Marantz mono blocks.
Sorry @weedeewop, you brought up long forgotten but good memories.
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recording the top 40 show, or your favourite songs from it, was a national pastime 
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Yes.
Cycled 20 kilometers to school and 20 kilometers back at that time. Neither the Dutch wind nor rain could make us take the bus, that was a matter of honor. Sony Walkman earbuds in and listen to the recordings and push the pedals in the rhythm of the sound. Knew the top 40 charts from the top of my had those days.
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Yes, been there pre-CD. Had the Linn, added the Saras. Main system was GAS Son of Ampzilla, AGI 511A, Magnepan Tympani 1D, Fulton cables, Nakimichi cassette deck. Not a CD in sight.
While the image below are not my speakers it gives you a general idea, 7 foot tall 3 feet wide and 1-1/2" thick.
We had plans to re-visit Scotland, then well you know the story, Covid hit.
Sister in-law and her family did St Andrews and the Isle of Skye about 14 months back. Should have joined them.
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My very first hi-end system (‘78) was built around a GAS Son. Couldn’t afford the other stuff you list, though! I had to “settle” for MG-1s, a GAS Thalia preamp, and a Denon turntable with an Infinity Black Widow and Decca Gold cart. No CDs for me, either, since they wouldn’t be around for a few more years. 
I considered the GAS Ampzilla, but it had a habit of breathing fire. Literally!
As I recall the Son was somewhat more musical as well, the Ampzilla being some what brash. NIce sounding system, but the Maggies reminded me of Audrey in Little Shop of Horrors, as in FEED ME. So (eventually) off they went. I should have known better, but Blame it on my Youth.
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The Son really was a sweetheart of an amp, and if it was found wanting as it tried to power your Tympanis, it paired wonderfully with my MG-1s. Even so, it was only about 6 years later that I replaced it with the first edition of the B&K ST-140, which I found to be much smoother, but with no loss of detail. That was the amp at the center of the Frank Van Alstine topography theft controversy. I used it very happily from '84 until just last fall (2019).
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Had a lovely walking and eating holiday in Scotland in September.
The Linn LP12, but for many people it is for life and don’t do endless upgrades, so it ends up being an excellent investment. The only real person I know with an interest in audio has had his for 35 years.
There is so little real forward development with turntables that there is no need to change anything, other than for the sake of change. The Rega P10 is the only thing that comes to mind and besides looking great, it’s man achievement is providing supremely good performance for a very low price.
This is against the trend of prices generally getting more expensive, I presume because of lower sales volumes and the need for higher profit margins. When 99% of high end audio companies says their products are great value for the price, what they don’t say is that they are still very expensive. My admiration of Rega is that they have something for everyone and even their top stuff is not crazy prices. The reason is that they sell in huge volumes, making thousands of turntables alone every week.
Having just purchased a Rega P8 for my wife’s working condo I would tend to agree. The music just floats on air. The P10 as I heard it wonderful as it was, just beyond what we were willing to invest in a secondary system.