Paul Hobson, Author at Moorgate Acoustics

LINN LP12 Work

We've been supplying and servicing Linn LP12 turntables for over thirty years. Linn do not supply the LP12 set up. In fact it comes as a couple of boxes of parts which we assemble to suit the customers requirements. So this is something we've done for a long time. In fact we do it pretty much every day.

My own journey with the LP12 began in 1985, when I borrowed one from a friend after being told that it was something special. I agreed. I had an Ariston RD11 at the time and didn't expect to be hearing what I heard when I plugged the Sondek in.

We also service customers LP12's and maintain them. This extends their life and ensures that the turntable is at is always performing at its best. We would normally want to look at a turntable every 5 to 7 years. Mostly all that is required as a small amount of adjustment, a little oil and a new drive belt. We also take the opportunity to check the stylus and ensure it isn't damaged, as this can impact on sound quality and also damage precious vinyl. We charge £100 for this service and it also includes new springs and grommets for the suspension. We can then report on anything else we find.

We can upgrade almost any turntable to current specification. Linn have continued to develop and refine the LP12 since it was launched in the early seventies and they invest heavily in this development.

This could be as little as a new arm-board or as much as a complete rebuild. And because we have been doing this work for such a long time we've amassed a great deal of stock and parts from each turntable we've upgraded. We also have racks of new and used Linn parts enabling us to maintain our customers turntables. We have spare plinths from plinth swaps, we have good but older bearings and all the internal parts from the upgrades. We also have tonearms from customer upgrades; all in excellent condition and with a lifetimes use ahead of them.

During the pandemic I found myself with some spare time and whilst moving some boxes around the stockroom I discovered packages containing hundreds of Linn parts. I spent a few days building an LP12 out of these and was amazed at the performance it offered and the price I could sell it for. I put it for sale for £1499 and it sold within three days. So I built another. And another.

Much has been written about the performance of the LP12 and the fact that Linn have continued to invest in upgrades which move the performance of the turntable forward. As we do these upgrades we know that the old parts are still good and designed to last a lifetime. So building new from old is a great idea on many levels and can save you a lot of money.

We can build an LP12 for less than half of the price of a new one. The performance of this will be close to the new one. For the price of a new one we can built something better.

We use almost exclusively Linn parts. There are a small number of additional Non-Linn parts that we use but only during consultation with our customer and always transparently. An example of this is the power supply; the Linn Valhalla can be serviced and returned to new specification and we do this daily. However it is a single speed power supply and some customers want to play their 45's. So we have sourced high quality CE approved "Valhallas" that offer twin speed. Valhalla Electronics is currently our favourite. It matches the performance but also offer the flexibility of having twin speed.

As a result of our business in LP12's we also do a lot of upgrades and that keeps our stock of older parts good. So we can always bespoke build a deck to suit your own requirements and budget.

All our LP12's come with a warranty. It's the same as a new one.

We do not ship LP12's with arms fitted. Linn don't and neither do we. It's a good way to damage the arm bearings. We can deliver ourselves within a reasonable radius and we welcome you to collect. That way we can be sure that you get the product you want and get to listen to it first. The last thing anyone wants is a damaged product offering reduced performance. We CAN ship turntable only (without arm fitted) but it would then need to go to another retailer to be assembled. If you want something special it's worth putting yourself out a little to collect. You'll find a warm welcome.

New Linn

Linn make three versions of the LP12. These are the Majik, Selekt and Klimax. Think of this as good, better and best. More information can be found here;

https://www.linn.co.uk/uk/turntables

If this isn't clear or you need some more help and advice then don't hesitate to contact us. These three version are intended for simplicity only. We can built a turntable in between any of these performance points and we can tailor it to your own requirements. We can also built something out of a mixture of new and excellent used parts.

If you're looking to service or upgrade your LP12 or to begin your own LP12 journey. We'll explain how to do this. You may be surprised at how little this can cost.

You can also follow our LP12 work on a daily basis here; https://www.facebook.com/MoorgateAcoustics/

Read an article to gain an insight into the LP12.

Uncategorized - 05/20/2025

Audiolab launch two new DAC's

DAC's the way: the legacy continues...

Audiolab unleashes two new standalone DACs, the D7 and D9, directly descended from the seminal
M-DAC to enhance all manner of digital audio

While Audiolab has continued to refine the DAC (Digital-to-Analogue Converter) technology in its range
of amps and streamers, eight years have passed since the company last launched a standalone DAC
component. But, with the arrival of the D7 and D9, the next generation of Audiolab DACs is finally here.

Priced at £449 and £1099 respectively, the new DACs are direct descendants of the legendary M-DAC –
a seminal device that swept aside all before it, remaining dominant in the DAC world for over half a
decade. They build upon the same blueprint, honed over several generations of technical development.
Housed in a sturdy aluminium case measuring 180x56x208mm (WxHxD), the D7 is a compact DAC for
home use delivering a performance that belies its accessible price point. The D9 is a larger device
(albeit still smaller than a ‘full width’ hi-fi component) with dimensions of 315x88x277mm and
benefitting from the same technical, build and design qualities as Audiolab’s top-tier 9000 Series
amplification and streaming components.

Combining DAC, preamp and headphone amp functionality, both DACs are as accomplished at the
heart of a high-performance hi-fi system as they are on a desk for headphone listening.

D7 and D9: Continuing the M-DAC’s legacy

A key part of the M-DAC’s success was the use of ESS Technology’s then new and groundbreaking 32-bit
Sabre DAC technology. The ES9018 Reference DAC chip was introduced in 2009, and the M-DAC was one
of the very first DAC components to use it.
Left Forebears of the D7 and D9:
M-DAC (2011), M-DAC+ (2016) and
M-DAC Mini (2017)

When the M-DAC arrived in 2011, it proved to be a revelation – not just owing to this innovative chipset
but also because of the circuitry Audiolab designed around it. This ensured it made the most of the
ES9018 Reference’s attributes whilst eliminating the deleterious effects of sub-optimal implementation.
The range of Sabre DAC chipsets has since expanded and is now widely used by audio manufacturers,
but these chips remain challenging to implement to achieve optimal performance. While they are
capable of excellent resolution, products that use them can sound sterile if appropriate care is not taken
with the accompanying circuitry. Audiolab has more experience in working with these chips than any
other manufacturer, from the original M-DAC onwards, giving the company a significant advantage.

The new D7 is elegant on the outside
and sophisticated within
D7: A compact and affordable digital sound enhancer
The D7 is based around the ES9038Q2M – a high-specification Sabre DAC chip also utilised by Audiolab’s
7000A and just-launched 6000A MkII integrated amplifiers. This is accompanied by proprietary circuitry
to make the most of ESS Technology’s HyperStream II architecture and Time Domain Jitter Eliminator for
ultra-low noise and high dynamic range.
Proprietary clock and power supply circuitry elevates the DAC’s performance, alongside a Class A
post-DAC active filter – a critical element to the D7’s sound quality. Hi-res audio support is state-of-the
art, handling PCM to 32-bit/768kHz and DSD to 22.5792MHz (DSD512) via USB. Full MQA decoding is
also included and the D7 is certified as ‘Roon Tested’ for use in a Roon audio environment.
Designed to perform as a high-quality digital audio ‘hub’, the D7 offers a versatile connectivity suite.
Digital inputs include USB Type B to connect PCs, Macs and so on, and USB Type A for the direct
connection of USB drives (content from such drives can be navigated via the D7’s display). These are
joined by four S/PDIF inputs – two optical and two coaxial.

Left Despite its compact size, the D7 packs in an impressive connectivity suite at the rear.
Bluetooth is also included for convenient wireless reception from smartphones, tablets and the like,
with support for multiple codecs including aptX HD, and Bluetooth 5.1 compliance for optimum range
and speed. Listeners can opt to upsample digital audio data to 352.8kHz or 384kHz, while five DAC
reconstruction filter settings allow listeners to adjust the sound to suit the source material – particularly
useful given the variable quality of digital formats and streaming platforms.
Output options are also extensive, including balanced XLR and single-ended RCA on the analogue side,
plus optical and coaxial digital outputs. Headphones are catered for by a 6.3mm socket, and two 12V
trigger outputs can be used to power up/down connected devices in synchronicity with the D7.

Left The D7’s circuitry builds on Audiolab’s long track record of developing class-leading DACs
The analogue outputs can be used in fixed or variable mode. The former allows connection to integrated
amps and preamps, with the amp controlling volume level, while the latter utilises the D7’s precision,
ultra-transparent volume control – this enables direct connection to a power amp or powered speakers.
Those with suitably equipped amps reap the benefits of a balanced analogue signal chain, thanks to the
DAC’s differential balanced architecture and XLR outputs.
The physical layout of the D7’s circuitry protects the audio signal from interference, enhanced by
independent low-noise power supplies for all critical stages fed by an offboard PSU. This rigorous
attention to detail, complemented by tactile rotary controls and a crisp, monochrome OLED display,
helps to deliver a combination of versatility and performance that outstrips the sub-£500 mains
powered DAC competition.

The premium-level D9 raises the quality bar still further in every respect – build quality, facilities and, of
course, sonic performance. Its affiliation with Audiolab’s flagship 9000 Series hi-fi components is clear
from the outset, with its crisply designed exterior and eye-catching colour display.

Technically, the D9 bears close comparison with Audiolab’s 9000N music streamer (£2500), shorn of the
onboard network streaming functionality but with everything else intact (plus Bluetooth added). At its
heart lies the ES9038PRO – a pre-eminent DAC chip from the top tier of ESS Technology’s current range.
While the ES9038Q2M used in the D7 is a two-channel chip, the ‘PRO’ version’s architecture incorporates
eight channels. The D9 utilises all eight of these to deliver a balanced stereo signal – four for the left and
four for the right – realising further benefits in the eradication of noise and distortion. This combines
with proprietary Audiolab circuitry including an ultra-precision master clock and Class A post-DAC filter
to deliver remarkable sonic clarity and breathtaking dynamics.

Left Premium design and build quality reflect the quality of engineering within he D9’s aluminium chassis
Like the D7, the D9’s impeccable hi-res credentials encompass PCM to 32-bit/768kHz and DSD to
22.5MHz (DSD512). Every significant hi-res and lossless audio format is catered for, including FLAC,
ALAC, AIFF, APE and WAV, as well as compressed legacy formats, alongside full MQA decoding. The same
user-selectable upsampling and digital filter settings are provided, enabling the listener to tune the
sound to suit the source material, and the D9 also has Roon Tested certification.
The D9’s audio circuitry is significantly elevated, as befits its premium status. The post-DAC analogue
circuitry incorporates top-grade components and a differential balanced architecture for maximum
signal purity. An expertly engineered linear power supply incorporates a 40VA toroidal transformer,
delivering clean, consistent power to all the sensitive parts of the digital and analogue stages.

Multiple discrete ultra-low-noise regulators provide power separately to the left and right channels for
each stage of the digital-to-analogue conversion process – a sophisticated topology born from
Audiolab’s experience of working with ESS Technology’s reference-class Sabre DAC chips.
Left While the D7’s circuitry is very highly specified at its price point, the D9 takes things to a whole new level.

The D9’s connectivity array adds an AES3/EBU digital input to the D7’s complement of asynchronous
USB-B, USB-A, two optical and two coaxial inputs. The D9’s Bluetooth implementation adds support for
Sony’s LDAC high-definition format, alongside aptX HD, aptX Low Latency, regular aptX, AAC and SBC.
Output options mirror the D7: balanced XLR and single-ended RCA (fixed and variable), plus optical and
coaxial digital outputs, a 6.3mm headphone socket and a pair of 12V trigger outs.
Left Extensive connectivity options ensure the D9 is at home in even the
most high-end of audio applications Solidly built and impeccably finished, the D9’s crisp lines are complemented by two rotary controls and a left-aligned 2.8in colour screen, mirroring Audiolab’s top-tier, full-width 9000 Series components but in a more compact form. The screen displays a variety of information including volume level, input selection, track information and format data. Various other options include a VU-style meter showing real-time decibel levels; the display can also be simplified, dimmed or turned off completely, as the user prefers.

D7 and D9: Heavenly with headphones
The D7 and D9 incorporate the same dedicated headphone amp circuitry, its current-feedback design,
wide bandwidth, high slew rate and low output impedance delivering a spacious, detailed and dynamic
performance with all manner of headphones – even tough loads that many DACs’ headphone outputs
struggle to drive.

Both DACs deliver 500mW into a 33-ohm load, with an output voltage of up to 4.8Vrms and maximum
output current of 180mA. In other words, both the D7 and D9 are capable of driving virtually any pair of
headphones, whether dynamic or planar, to seriously high volume levels – effortlessly and without a
hint of distortion.

Both these exciting DAC's will be on sale soon at £449 and £1099 respectively.

Uncategorized - 05/03/2025

Classic albums revisited .... The Doobie Brothers Minute by Minute

Minute by Minute marks a significant pivot in The Doobie Brothers’ discography—not only stylistically, with the heavy influence of Michael McDonald’s blue-eyed soul and R&B leanings, but also in terms of production quality. From a sonic perspective, the album is a standout for late-'70s studio work, offering a clean, spacious, and remarkably well-balanced soundstage that holds up impressively decades later.

The first thing you notice is the warmth. Produced by Ted Templeman and engineered by Donn Landee, the album captures that analog-era richness with finesse. The low-end is full but never muddy, with bass guitar and kick drum well defined and sitting nicely in the mix. Listen to “What a Fool Believes”—you can feel the air around each instrument. The Fender Rhodes piano glows with clarity, while the layered background vocals are precise and silky.

There's a noticeable polish on every track, but it doesn’t come at the expense of dynamics. The album breathes. Tracks like “Minute by Minute” and “Open Your Eyes” showcase a smooth blend of live-band energy and studio discipline. The percussion is crisp and stereo imaging is handled thoughtfully, giving each instrument its own space without crowding the mix.

McDonald’s distinctive voice can sometimes dominate a track, but here it's expertly placed—never overpowering, always integrated into the overall texture. Guitar tones (especially from Patrick Simmons and Jeff “Skunk” Baxter) are clean and tastefully understated, a contrast from the more rugged earlier Doobie Brothers albums. The result is a refined, almost jazzy pop-rock aesthetic that benefits from the engineering choices.

Steamer Lane Breakdown is pure bluegrass and has some of the best dueling guitars we've ever heard. We've used it as a demo track since we started our business in 1982.

If you're playing it on vinyl or listening through a decent hi-fi system, you'll appreciate just how well the album was recorded and mixed. Even the more mellow tracks maintain a sonic vibrancy that keeps them from sounding flat or dated.

Final Verdict:
Minute by Minute is not just a landmark for its songwriting and chart-topping success—it’s a testament to what great analog recording and tasteful production can do. Sonically, it’s warm, smooth, and remarkably detailed—a late '70s studio gem that audiophiles can still admire today.

Uncategorized - 04/20/2025

Classic albums revisited..... Truth By Jeff Beck

Jeff Beck’s Truth (1968): A Sonic Blueprint for Hard Rock and Heavy Metal

When Truth was released in 1968, it was both a culmination of Jeff Beck’s past work and a bold leap into a new sonic frontier. More than just a solo debut, Truth became one of the earliest blueprints for what would later be called hard rock and heavy metal. With its raw, explosive guitar tones, visceral energy, and groundbreaking arrangements, Truth stands as one of the most important rock albums of the 1960s — and its sound quality plays a pivotal role in its enduring impact.

A Rough Gem of Production

The first thing that strikes you about Truth is how unpolished it feels — and that’s a good thing. The production, handled by Mickey Most, is raw, loud, and unapologetically in-your-face. Unlike many polished albums of the time that leaned into the pristine pop aesthetics of the late '60s, Truth has the feel of a live performance. The instrumentation breathes, the mic placements pick up room tone, and there’s a dynamic range that gives the album a visceral punch.

The sound quality is imperfect, even by 1968 standards, but that’s part of the album’s appeal. The guitar amps hiss. Cymbals crash a bit too hard. The vocal reverb sometimes spills over. But none of that takes away from the listening experience — if anything, it enhances it. It’s not a hi-fi album; it’s a gutsy, honest record that puts emotion and immediacy above polish. That isn't to say it doesn't sound excellent on the right kit and for all the right reasons.

The Guitar Tone: A New Voice in Rock

Jeff Beck’s guitar work on Truth is the main event, and his tone is as iconic as it is revolutionary. Using a 1954 Fender Esquire, and occasionally a Les Paul, Beck carved out sounds that hadn’t really been heard before in a studio recording. The guitar is frequently drenched in natural amp overdrive, courtesy of cranked Marshall stacks and Vox amps. There’s a certain saturation to the tone that gives it warmth without sacrificing attack.

Unlike his contemporaries, Beck didn’t rely heavily on effects. Most of the sounds you hear on Truth are the result of fingers-on-strings mastery and the natural distortion of a hard-pushed tube amp. His use of feedback, sustain, and sliding harmonics was groundbreaking. The track “Beck’s Bolero” in particular showcases an orchestral layering of guitar tones that still holds up over half a century later.

From a production standpoint, the guitars are mixed forward, often occupying a dominant space in the left or center channel. This bold placement gives the guitar presence and power, making it the focal point of the record. The frequency range is rich in midrange but slightly scooped in the lows, giving it clarity without muddiness.

Vocals: Rod Stewart’s Gritty Brilliance

Rod Stewart’s performance on Truth is nothing short of phenomenal. His raspy, blues-soaked voice cuts through the mix with a blend of vulnerability and bravado. His takes were recorded with minimal processing, giving the vocals a natural, room-filling quality. The microphone bleed and subtle room reverb make it sound as if Stewart is performing in the same room as the listener.

The EQ on Stewart’s voice leans into the midrange and high-mids, which can sound slightly sibilant on some systems, but this rawness adds to the album’s live feel. There's little evidence of compression or vocal tuning, allowing the dynamics of his voice to shine through — you can hear the push of air on the microphone and the slight breaks in his register that make the performance human and relatable.

The Rhythm Section: Thunder and Swing

The bass work on Truth, provided by future Rolling Stone Ronnie Wood, is fat and melodic. The bass tone sits deep in the mix — not overly boomy, but definitely present. It provides a solid foundation for Beck’s flights of guitar fancy and gives the album its swinging groove.

Drummer Micky Waller’s contributions are crucial to the overall sound. His playing is loose, often lagging just behind the beat in true blues fashion, but it’s also powerful. The drum mics seem to have been set up with a fairly minimalistic approach — there’s a lot of room sound, and not a ton of close-miking. As a result, the kit breathes, but lacks the punch of more modern recordings. Still, the natural ambiance gives it an authenticity that’s hard to fake.

Track-by-Track Sonic Highlights

"Shapes of Things" opens with a blistering riff that feels like a proto-metal statement. The mix is aggressive, with Stewart’s voice riding high and Beck’s guitar slicing through the left channel.
"Morning Dew" features one of the best dynamic builds on the album. The quiet/loud structure shows off the full frequency range — from delicate cymbal work to roaring guitar overdrive.
"You Shook Me" (yes, the same Willie Dixon song Zeppelin would record a year later) is a slow blues burner. The slide guitar tone is syrupy and rich, and the vocals are saturated with raw passion. The sonic tension between the instruments builds in a way that mimics a live jam session.
"Beck’s Bolero" is perhaps the album’s sonic masterpiece. Produced earlier than the rest of the tracks, it features Jimmy Page, John Paul Jones, Keith Moon, and Beck — a supergroup lineup in disguise. The production is more layered and cinematic, giving a glimpse of what rock was about to become.

Limitations of the Era

It’s important to remember that Truth was recorded on four-track tape, and later bounced for overdubs. This limitation means there’s some tape hiss, minor phase issues, and slight distortion when the mix gets busy. But these limitations also force the arrangements to be lean — no overproduction, no unnecessary layers, just the essentials.

In modern remasters, some of these artifacts have been cleaned up, but many fans prefer the original vinyl or early CD pressings because they retain that analog grit and warmth. The original UK pressing in particular is praised for its dynamic range and natural EQ curve.

Legacy and Influence

The sonic character of Truth directly influenced a generation of guitarists and producers. From Jimmy Page (who essentially used Truth as a template for early Led Zeppelin) to Tony Iommi and even Steve Vai, the album’s raw production ethos and exploratory guitar tone helped expand the boundaries of rock sound design.Truth doesn’t sound like a studio record in the traditional sense — it sounds like a band captured in its primal, most expressive form. And that’s what makes its sound quality so enduring: it’s flawed, but in the way that great art often is. It’s human, it’s gritty, and it’s real.

Uncategorized - 04/16/2025

Linda Ronstadt & The Nelson Riddle Orchestra

Linda Ronstadt recorded three albums with Nelson Riddle and his Orchestra: What's New (1983), Lush Life (1984), and For Sentimental Reasons (1985). These albums were arranged and conducted by Nelson Riddle, who also worked with other prominent artists like Nat King Cole and Frank Sinatra.

We've been using them in our store since they came to our attention around this time. In fact they could dearly use a repress as they are some of the best recordings we've ever heard.

What's New is an album of traditional pop standards released by American singer Linda Ronstadt in 1983. It represents the first in a trilogy of 1980s albums Ronstadt recorded with arranger Nelson Riddle. The album was a major change in direction because Ronstadt was then considered the leading female vocalist in rock. Both her record company and manager, Peter Asher, were very reluctant to produce this album with Ronstadt, but eventually her determination won them over and the albums exposed a whole new generation to the sounds of the pre-swing and swing eras. The one-time popular music sung by Frank Sinatra, Ella Fitzgerald, Tony Bennett, Rosemary Clooney, Peggy Lee, and their contemporaries was relegated in the 1960s and 1970s to Las Vegas club acts and elevator music. Ronstadt later remarked that she did her part in rescuing these songs which she called "little jewels of artistic expression" from "spending the rest of their lives riding up and down on the elevators." The album's second single, "I've Got a Crush on You" had already been part of Ronstadt's repertoire for several years, as she'd performed it during a 1980 appearance on The Muppet Show.

What's New was released in September 1983 and spent 81 weeks on the main Billboard album chart. Its release came as the radio programming format known as Adult Standards was taking off via programming concepts such as Music of Your Life, which specialized in returning pre-rock popular music and the songs of the Great American Songbook to the American airwaves. The album held the number 3 position for five consecutive weeks while Michael Jackson's Thriller and Lionel Richie's Can't Slow Down locked in the number 1 and number 2 album positions. The album also reached number 2 on the jazz albums chart.

Stephen Holden of The New York Times noted the significance of the album to popular culture when he wrote that What's New "isn't the first album by a rock singer to pay tribute to the golden age of pop, but is … the best and most serious attempt to rehabilitate an idea of pop that Beatlemania and the mass marketing of rock LPs for teen-agers undid in the mid-60s. In the decade prior to Beatlemania, most of the great band singers and crooners of the 40s and 50s codified a half-century of American pop standards on dozens of albums, many of them now long out-of-print."

Lush Life is the second in a trilogy of jazz albums with bandleader/arranger Nelson Riddle. The album peaked at #13 on the Billboard 200 and #8 on the Billboard jazz chart, becoming certified as Ronstadt's record tenth platinum album. Lush Life was nominated for two Grammys, Best Female Pop Vocal Performance and Best Album Package, winning the latter. Riddle was posthumously awarded the Grammy for Best Instrumental Arrangement Accompanying A Vocal for the title track, "Lush Life."

For Sentimental Reasons is the third consecutive Platinum-certified collaboration between Ronstadt and bandleader/arranger Nelson Riddle and Ronstadt's eleventh million-selling album overall.

History
For Sentimental Reasons was the final installment of the jazz trilogy that Ronstadt recorded with bandleader and arranger Nelson Riddle, who died during the making of this disc. Three of the tracks were conducted by Terry Woodson. The album's premier single release, "When You Wish Upon a Star", peaked at #32 in Billboard Magazine's Adult Contemporary chart at the end of 1986. It was assisted by a popular music video.

All tracks were also included in the compilation "'Round Midnight", released on Asylum Records later in 1986.
I'd go as far as to say you'll know every song on these three albums. The American songbook has been "pillaged" by many artists recently and none of them have done such a great job and it must also be added than none of them have the Nelson Riddle Orchestra.

If you've not heard them please remedy this. And I am envious of the pleasure it will bring.

Uncategorized - 04/15/2025

Linn LP12 open day

Join us on Friday the 9th of May to listen to LP12's

We'll be comparing the Magik, Selekt and Klimax LP12 turntables. There may even be a few surprises.

Discover the performance differences. Learn about the history of the LP12 and learn about the upgrade path.

Our sessions will start at 12 for 12.30 and run 55 minutes in length.

The event is not ticketed and everyone is welcome. More information can be found on this link

https://www.facebook.com/events/2048664208893519/?acontext=%7B%22event_action_history%22%3A[]%7D

Uncategorized - 04/03/2025

Introducing the new Majik DSM

RRP £4300

Majik DSM – it’s a serious piece of kit In its new form, Majik DSM raises the bar in its category, both in build- and sound-quality.
Developed by the same team, and made by the same technicians and machinery as our most recent flagship products, Majik DSM is an accessible and essential distillation of the best Linn can offer.
With its stylish design, improved build quality, unmatched usability — and by outperforming all competitors in an increasingly wide field — Majik DSM is the most entrancing proposition for those new to the world of genuine high-performance home audio.

You’ll understand once you hear and feel it. It’s one serious piece of kit: industry-leading DS streamer, pre-amplifier, DAC, and power amplifier—with all the connectivity your customers will ever need—all in one.

Improved Performance & Sound Quality
A robust chassis formed of precision-punched and -folded aluminium lends Majik DSM superb rigidity and isolation for its internal components. The resultant performance improvement this provides is bolstered by three solid steel feet on rubber pads, which serve to further reduce unwanted vibration throughout the product.

The Majik DSM DAC features our in-house-designed precision clocking and upsampling. Uprated integrated amplification, derived from the Selekt DSM power amp cartridge, introduces a post-filter feedback loop for the first time in Majik DSM. This reduces noise and distortion dramatically, and improves efficiency

Improved Features, Connectivity, and Usability
Connect analogue sources to one of Majik DSM’s dedicated MM, MC, or either pair of line level inputs;
connect a TV and experience video sources over high-bandwidth eARC; connect headphones, a subwoofer, or a computer-hosted music library—and it has Exakt Link for future-proofing. Whatever
you connect to Majik DSM, it just works – and beautifully.
Majik DSM features, as standard, Linn’s unique room correction software – Space Optimisation. This
powerful tool means your customers are guaranteed the best performance possible, no matter the size, shape, or construction of their living rooms.

Majik DSM is actually in store and on demonstration now.

Uncategorized - 04/03/2025

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Turntable Event 28/3/2025

We hosted a day featuring turntables yesterday. Here's what the presentation was about.

We featured Rega P1 and this was compared with a P3
The P3 was compared with a P8 (featuring the same cartridge)
The P8 was compared with a Linn Sondek (same cartridges again)

Then we featured the Rega Naia reference turntable.

"We appreciate you coming and your support.

The idea today is to give you more information about turntables. About what they do, how they do it and how best to improve, should you be in the market for doing so.

The two most popular and arguably successful approach to playing records are;

Light and rigid - ala Rega and others
Floating subchassis to isolate the playback part of the record player from the motor and external noise ala Linn and many others.

Both offer great merit.

Today I'll feature Rega and Linn.

I'll give you some info and then we'll do some listening.
Rega "vibration measuring device"

The stylus follows the canyon- like groove wall of a record. Left and right channel information is stored in the undulations. The stylus needs to recover as much data from the vinyl wall. It has to then pass that information down the tone-arm and out the back of the deck where it can be plugged into an amplifier with a dedicated phono input.

The movements of the stylus in the groove are miniscule. Tiny movements measured in microns. Any movement in the materials of the arm, or "give" in the bearings will be greater than these. So information is lost forever. We can call this LOI. LOSS OF INFORMATION.

Similarly vibration passed into the platter from the surface the turntable is sitting on, or from the motor or from the air can also be greater than that recovered from the groove. Further LOI. Once lost it can't be recovered even with the best amps and speakers. You HAVE to recover it at source and not lose it there.

Cheap turntables made of inferior materials and with notable "play" in the bearings will lose a great deal of information. Because they will either not recover it, or they'll recover it but be unable to transmit it to the amplifier without corruption. Information is Lost.

Any questions?

Rega P1

Describe. Play some music.

This is our starter point for playing music and being kind to your records.

Rega are all about light and rigid. Explain the difference.

Explain top down design.

Explain power supplies and why pitch is important.

Vinyl is read in time. 33.3 RPM is easy on paper but most turntables are not pitch accurate.

Demo P1 against P3

Then P3 against P8.

Both have the same cartridge.

Before we listen to the Linn (also with same cartridge).

Linn is a floating suspension design. The motor is attached to the plinth. The bearing, platter, arm and cartridge are isolated from this by a suspension. The only link between the two parts of the turntable is the drive belt.

The LP12 is the longest continuous production turntable ever made. Linn have continued to develop engineering and electrics products to improve performance.

This turntable has a mix on new and old parts to enable us to build a high performance record player for sensible money.

Finally Naia with Aphelion MC cartridge. This is the current Rega reference design and it features light, low mass and rigid technologies.

Questions?

Upgrade

Mechanical 1st
Electric second
Motor unit 1st
Arm second
Cartridge third"

Our events are regular and everyone is welcome. Follow us on Facebook and join our Facebook Group to discover more.

Uncategorized - 03/29/2025

Linn 150 floor standing speakers

This is a new passive/active floor standing speaker which draws heavinly on what Linn learnied in the development of their flagship 360 loudspeaker. The new Linn 150 loudspeakers are exceptional – fun, entertaining and musical!

We've had their smaller sibling the shop for a few months and we've been delighted with them. The simply do very little wrong and we really do mean that as the highest of praise.

Design and Build

The Linn 150 speakers feature a three-way floor-standing design with dual down-firing ports that produce impactful and omnidirectional bass performance, reducing interaction with walls. The drive units are mounted at the very front of the baffle without a grille, minimizing occlusion and enhancing excursion. A magnet-mounted trim piece, inspired by Linn's flagship 360 speaker, adorns the front, featuring concentric grooves reminiscent of a vinyl record and an electro-formed Linn logo serving as a tweeter guard. The speakers are available in Satin Black, White, Walnut, or Oak veneered finishes, allowing seamless integration into various interior décors.

Technical Specifications

Type: Three-way floor-standing speaker
Bass System: Dual down-firing ports
Tweeter: 19.55 mm soft Sonomex dome
Midrange: 160 mm Nextel-coated paper diaphragm
Bass: 190 mm Nextel-coated paper diaphragm
Cabinet Volume: 40 litres
Dimensions (H x W x D): 936 x 210 x 297 mm
Weight: 21.56 kg

Performance and Features

The 150 speakers are engineered to deliver an engaging performance characterized by energy, refinement, and neutrality. The lower-order crossovers are designed for signal purity, lending the speakers speed and dynamism. Premium drive units ensure excellent linear performance and excursion capability. Additionally, the 150 model offers an upgrade path to Linn's proprietary Exakt technology, allowing users to convert from passive to Exakt operation in a matter of minutes. Soon we'll add an article explaining how this works.

Conclusion

The Linn 150 loudspeakers represent a harmonious blend of innovative design, meticulous engineering, and versatile functionality. Whether integrated into an existing audio system or paired with Linn's Selekt DSM, the 150 speakers promise an exceptional listening experience that aligns with Linn's storied reputation in high-fidelity audio. We're delighted to add this speaker to our range. And already we find them extremely enjoyable to listen to and not at all fatiguing.

Here's an interesting youtube article on the Linn 150 speakers.

https://www.youtube.com/embed/g9cEn2OPhoU

Uncategorized - 03/25/2025

Rega Planar 3 Eco Limited product