Linn Owners

The journey to optimal sound

Moomintroll

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He told of getting Isobariks for his house, and was so disappointed that he returned them and went back to the Kans.
I recall a very good demonstration at a big hi-fi show in the early 90s, where Linn compared their latest amplifier combo against a Naim 32.5/Hicap/2x 135combo through Kans (can’t recall Mk I or II) I owned the same Kans at the time and it was a very impressive demo: the Kans sounded great in a large room with a good size audience. Outside of that demo room, Linn had Isobarik DMS playing and I expected it to sound a lot better. Apart from a (slightly) better bass performance there was little to tell the two systems apart. I commented on this to one of the Linn staff that I knew and they responded with, “Yep, perfect example of speakers being the least important part”.

When I first heard Kans, it was the day I bought my first LP12 and before single speaker demonstrations. I had heard the DMS playing before our demonstration, and then thought they had switched to Saras for me. When I’d chosen my deck, I commented on how impressed I’d been with the Sara. When it was explained that I’d been listening to the tiny Kans, I knew they were my next purchase. Loved them for years and changed them to Mk II as soon as they were available.

’troll

 
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Nopiano

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Nick
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I had to look up BBC box:

https://en.wikipedia.org/wiki/LS3/5A#Linn

I'm a fan of the Kan as I used Kan IIs and then Tukans as my main speakers for about 27 years. After I got the Kan IIs, I told the dealer I thought they were the best speaker Linn made. He said they were the best speakers in the world (this was 1991 mind you). He told of getting Isobariks for his house, and was so disappointed that he returned them and went back to the Kans.
Apologies if I was being cryptic, as I thought the story was so well known.  I don’t think I ever heard the series II Kans, to be fair, as the originals completely put me off to put it mildly, and they definitely changed significantly over the years, which suggests Linn’s ideas did too (alongside availability of parts). The Tukans were a much better all- rounder I believe, though my memory is less vivid.  Your poor dealer obviously had unusual requirements or very limited experience if he really thought so highly of them. They definitely did add ‘excitement’, if you can call it that.  

This is a good overview of the BBC idea, where I got the quote I used above.  Please note it’s a .pdf file not a website.  http://www.g4dcv.co.uk/ls35a/pics/HFC3_LS3.pdf

 
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Nopiano

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Nick
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Had both. But I don't think anyone else in this thread is talking about Kan or SARA.
No, I was merely a reflection on Paul’s claim about accurate tonal balance being a Linn hallmark.  It never was that I can recall, although they’ve become more neutral over the years, as you know.  Linn was more about excitement, musical energy, rhythm, and so on, rather than even-handedness or truth to the original. That’s why optimum results are being debated. 

 
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Johannes

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No, I was merely a reflection on Paul’s claim about accurate tonal balance being a Linn hallmark.  It never was that I can recall, although they’ve become more neutral over the years, as you know.  Linn was more about excitement, musical energy, rhythm, and so on, rather than even-handedness or truth to the original. That’s why optimum results are being debated. 
Unfortunately, I cannot confirm this.

 

Eldarboy

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Lewis Silvestri
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When I was setting up the SO V2, I had 5 tracks, each one [like everyone else] focussing on one or a few particular aspects of the musical field [bass, treble, mids, separation, etc.]. I altered the sliders, etc. until I got to a point where I did not jump to the song, but listened to it through to the end and was satisfied with the results. This continued until I had listened to all five songs without feeling the need to alter the sound, and feeling quite "wowed" by how good it sounded. 

This must be the "Optimal Sound". I arrived at this measurement in the fall, and there is no need to adjust it whatsoever.  

 
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