I'm sad and glad!

[beck]

Drove to my hifi dealer today to collect my new Klyde B serial number 64xx (my old one was 19xx).

Had a nice talk with the salesman and listened to the new Majik DSM with Majik 140 speakers and later the same Majik DSM in Exact mode with Akubariks.

I'm glad to get my new Klyde.

I'm sad because this is goodbye to digital Linn.

We all know how difficult it is to discribe sound and what we like to listen to so I will only say this: I was not even close to being seduced by the "music" and my worst fears were confirmed.

Just like Joe Walsh I am still an "Analog Man".

[Charlie1]

How's the new Klyde compare? I guess it will require some run in before sounding its best. It was suggested on the Linn forum a while back that the Klyde has evolved over the years and been improved. This was never confirmed by Linn though.

Out of interest, what did you prefer between the MDSM/140s and MDSM/Exakt Akubariks?

You are not without an upgrade path though so don't be too sad :) I am sure you would love the Ekos SE. I would like to think you'd also prefer the Radkial over Lingo, but your preferences 'might' throw a spanner in the works with that one. Kore to Keel should be a safe bet too.

It's good that you know what makes you tick.

[Spannko]

Drove to my hifi dealer today to collect my new Klyde B serial number 64xx (my old one was 19xx).

Had a nice talk with the salesman and listened to the new Majik DSM with Majik 140 speakers and later the same Majik DSM in Exact mode with Akubariks.

I'm glad to get my new Klyde.

I'm sad because this is goodbye to digital Linn.

We all know how difficult it is to discribe sound and what we like to listen to so I will only say this: I was not even close to being seduced by the "music" and my worst fears were confirmed.

Just like Joe Walsh I am still an "Analog Man".

Great analog is just ..... well, great! But, so's great digital. What you've heard wouldn't come under the heading of "great digital" - it was a total mullet!!!

EDIT: Just to clarify things a bit, a Mullet was an awful 1980-90's hair cut where the sides were cut short and the back allowed to grow long - short at the front, long at the back. I'ts often used to describe a system where the expenditure is short at the front and long at the rear.

At the moment, I'd probably describe my system as a bit of a comb-over :)

[beck]

Regarding the Klyde it is still too early to say but I do think the later B version has a more smooth presentation as well as old Linn traits.

Regarding The Majik DSM I hear it like this. Take old analog Linn sound and hire a cleaning company to clean the "room" to the point where everything can be "seen" clearly. Then as the company leaves they forget to put the "furniture" back at the exact same spot as when they arrived.

The Majik DSM Exact playing through Akubariks was the nicest sounding and did not mess around with the "furniture" as much as the Majik DSM/Majik 140 did. Nice is the key word here. Thats not enough for me.

I do not think I am the right person here to review Linn digital. Other differences between the two setups seemed less important to me than the above.

[hcl]

The Majik DSM Exact playing through Akubariks was the nicest sounding and ...

I have not heard the Majik DSM through Exakt, but how anyone come up with the idea to connect Akubarik (above Akurate 242 performance level) to a Majik DSM is beyond me. Anyone heard of source first? Even KDSM through Akubarik Exakt seems to be a beast of a system to get right. I would imagine MDSM to be completely impossible to get to "sound" anything better than plain and nice.

[beck]

I just sat and listened. Maybe the salesman wanted to impress me or maybe he just wanted to try something different. I do not know.

[ThomasOK]

But, but the source is in the speaker! So the front end can't matter, right?

[beck]

Oh, I forgot! It has nothing to do with how the music has been recorded and what it is played through (or on if it is vinyl)?! Ok, I do know that this new "tale" is an attempt to tell us that the recording is being delivered "unaltered" to the speakers! But is it?

Seriously, I do feel that something has changed. In the old days you could buy an entry level system from Linn and just enjoy the music even if it was kind of "low-fi".
Today you get "hi-fi" from the cheapest setup and has to climb to the top to get to enjoy the music!?

Or maybe I "Just (DO NOT) Listen" the right way!

[cortina]

But, but the source is in the speaker! So the front end can't matter, right?

Exaktly, and just be happy that the noice floor is low and that there are less phase issues. All in the white paper. What else could possibly be needed..

[hcl]

But, but the source is in the speaker! So the front end can't matter, right?

Seriously? I take this is a cheap retorical trick?

As I see it there are three major contributions to the sourcing signal of a hifi-system:

1. The music recorded
2. The power in the source unit
3. The clock used for A/D-conversion

What we start with is the recorded music, so not much to do about that (when bought and paid for). The quality of the power in the source unit limits the performance of the source signal, also on the digital side and (not to forget) the quality of the reference clock also generated in the source unit. Then there are the circuits packing up and forwardin the digital data (music). All of these processes are found in the Exakt source unit (the Exakt DSM) and thus have a significant impact on the final result. The Majik DSM is the entry level unit of Linns Exakt systems and as such, although good, not really suited to feed the higher level speakers as the Akubarik.

That Linn states that "The source is in the speaker" is not completely correct, and as we know better, I think it is cheap to fall back to simple retorical use of their marketing lapsus.

[hcl]

Seriously, I do feel that something has changed. In the old days you could buy an entry level system from Linn and just enjoy the music even if it was kind of "low-fi".

I think this still applies.

Anyone heard a Linn Basik (the Rega alike turntable of the early nineties) thorugh a top flight Isobarik or Keltik system? An experience similar to the one you have got, I think.

[beck]

I hear you but at the same time I just notice that with digital other things are going on.

[lejonklou]

Anyone heard a Linn Basik (the Rega alike turntable of the early nineties) thorugh a top flight Isobarik or Keltik system? An experience similar to the one you have got, I think.

I had no problem enjoying that system, back in the day.

[Spannko]

Seriously, I do feel that something has changed. In the old days you could buy an entry level system from Linn and just enjoy the music even if it was kind of "low-fi".

I think this still applies.

Anyone heard a Linn Basik (the Rega alike turntable of the early nineties) thorugh a top flight Isobarik or Keltik system? An experience similar to the one you have got, I think.

Agreed. Same with the Axis, and dare I say it, even the LP12/LVX!

[beck]

We have focus on different aspects and that is alright by me. I find music in entry level analog Linn (be it Linn Basik or Axis), not in entry level digital Linn (be it Sneaky/109 or Majik DSM/140).
We do not have to agree. What is important is to know what to listen for to please your own ears.

[Linnism]

Beck, Allow at least 20 hrs normal play for your Klyde to 'run in'. IMHO, any experiments with tracking force, or anti skate, are best deferred till after run in.
Hopefully, your dealer is a true expert with Linn's analog products, in which case it's better to follow his advice than some of the 'wisdom' I've read on the internet. Alternatively, refer to posts by veterans Peter Swain and Colin Macey at the LP12 forum -their advice is 99% pure :) Happy listening!

[ThomasOK]

But, but the source is in the speaker! So the front end can't matter, right?

Seriously? I take this is a cheap retorical trick?

As I see it there are three major contributions to the sourcing signal of a hifi-system:

1. The music recorded
2. The power in the source unit
3. The clock used for A/D-conversion

What we start with is the recorded music, so not much to do about that (when bought and paid for). The quality of the power in the source unit limits the performance of the source signal, also on the digital side and (not to forget) the quality of the reference clock also generated in the source unit. Then there are the circuits packing up and forwardin the digital data (music). All of these processes are found in the Exakt source unit (the Exakt DSM) and thus have a significant impact on the final result. The Majik DSM is the entry level unit of Linns Exakt systems and as such, although good, not really suited to feed the higher level speakers as the Akubarik.

That Linn states that "The source is in the speaker" is not completely correct, and as we know better, I think it is cheap to fall back to simple retorical use of their marketing lapsus.

Did someone not recognize that my tongue was planted firmly in my cheek?

[Ron The Mon]

deleted

[beck]

Now using my new Klyde and with a lot less noise than from the old one. Still not fully run in but sounding great.

image.jpg

[hcl]

Awesome picture!

[beck]

Thank you. Just a lucky punch with my little canon camera. I will report back on how the Klyde performs when fully run in.

[beck]

I have now used the Klyde for a while and it has gone through some minor but important changes. From being a bit restrained and a period with a weak "chest" it now has a free and full bodied sound with lots of refinement.
Most importantly it does not get in the way of my enjoyment of the music being played. It does not draw attention to itself and I like it.
It is ever so quiet in the groove even with old records.

It is difficult to compare with my old Klyde but I do not think the Klyde B has changed much so those who liked it before will still like it and those who did not have to look elsewhere.

To me it is a "jewel". :-)

[beck]

More pictures just because I can! :-)

[hcl]

:-)

[Ron The Mon]

Beck,
If you use shorter head-shell screws, it will result in less mass and allowing the counterweight closer proximity to the pivot point resulting in better sound. By the way, that is the best photo I've ever seen of a Klyde; nice wire dressing too!

I used two Klydes for many years and it never disappointed. It seems there have been inconsistencies over the years.

I had a Troika, which is still my all-time favorite cartridge. It needed replacing right when it was discontinued! I (very wrongly) assumed the Arkiv would be better since it was from Linn and more expensive and replaced the Troika. I had a trade-in allowance and got a discount for installing it myself. I hated it! I sold it off for what I paid after three months. I then embarked on a journey of finding the ideal phono cartridge away from my Linn dealer.

I first tried a Goldring Eroica. I was offered this at dealer cost and guaranteed it was a Troika beater. WRONG. My quest went downhill from there. I then tried two different Dynavectors (worst of everything I auditioned), Audio-Technica, a really expensive Sumiko, two Denons, Koetsu Red, Black, & Rosewood (the Rosewood was the worst), a McIntosh, an Ortofon, Van Den Hul, and several others. These were all done extended listening on my LP12 at home. I spent over a year doing this. In between trying loaners, I would put on either an old Linn Trak or Supex 900 I still kept. The lowly Trak, which I bought many years earlier for $200 brand-new on closeout, outperformed everything I auditioned. I also liked it better than the Arkiv.

So imagine my surprise when I stopped into Overture Audio (my Linn dealer) and tell my cartridge quest story to the owner and he disappears for a moment. He comes back with a clear case and a Klyde jammed in the middle of some foam and no stylus guard. He says, "This is what you're looking for!". He told me it was a recent trade-in and I should mail a check to him for $400.

As soon as I started listening to the Klyde, I immediately notice what most others do; the subdued high frequencies and the poor tracking (it skips all over the place). Then the music started enveloping me. After one day, I mailed a check and used a Klyde until last year. The Klyde is very balanced with few faults.

However...

Back during my sojourn I really wish someone would have demo'd an AT95E with a Lingo against my Troika with a Valhalla. I swore back in the late '80s I would never use a moving magnet cartridge again or listen to passive speakers. My active Kans with Naim, and an LP12/Troika was just sublime; to this day, I still have people tell me that hi-fi of mine was the best they've ever heard.

Today, I now swear I will never buy a moving coil cartridge ever again! I was so excited the night I drunkenly dropped the AT95E on the top-plate and ruined it; it only cost $20 (pro-rated) to replace it! A Klyde costs around half a dollar per record played to run. I buy a lot of 50 cents and five for a dollar used records, so I now recognize what a bad value an expensive cartridge is; it more than doubles my cost of checking out mucic that is new to me. I used to keep a second turntable connected to my main system to audition used records and play 45s (remember, I had a Valhalla and it was so annoying using the adapter to play one 45).

Below is the demo of all demos; source-first at its' finest.

The LP12 on the left has a better sounding plinth (Linn rosewood is substantially better sounding than cherry), a better sub-chassis (Kore vs. glued Cirkus), much better tonearm; Ekos2 vs. LV-X (we all know the Ekos blows away the Basik in detail, control, bass, and dynamics), better cartridge (Adikt vs. AT95E). Yet why did the LP12 on the right in this demo blow the doors off its' neighbor? Ooops, I left out an important detail; look two shelves down from each turntable and you'll see their motor power supplies. The rosewood table has a newer Lingo, the cherry table has a Radikal.

The Radikal is the biggest improvement you can make sonically to your LP12. Period. The gulf between the two decks above was such that a Keel or Klyde wouldn't have helped. The deck on the left costs over a thousand dollars more initially and $500 more every two years replacing the stylus!!!!! I set the demo up in the above photo and the first thing I did was compare end-of-side distortion. Many folks mistakenly think a stylus tracks or traces a record. The opposite is actually true; the stylus is stationary and is driven from the vinyl moving below it. The result is a Radikal LP12 has less end-of-side distortion (regardless of cartridge used) compared to a lesser motor power supply.

A certain contributor to this forum sat and heard my demo. The rosewood table is one of his personal LP12s. I suggested he could sell the Ekos2, Kore, and Lingo, buy a Radikal, and have a much better deck for less cash. He simply stated, "I just need to get a Radikal". I think that's the cheaters way out. Many of us who have been in this hobby/business for many years have many preconceived notions that we need to let go. Even though Ivor personally, and Linn in general have left us with some great hi-fi products, the truth is, the concepts of "tune-dem" and "source-first" have benefited us more than we know.

The Linn Klyde is a great product. The Linn Radikal is a fantastic product.

Ron The Mon
Needle-Freak