If I were to start from scratch, I would buy the Linn chassis in its most stripped down form available to buy new, a Keel/A, the best S/H ARO I could find (and plead with Naim to refurbish it), an exotic one-off plinth from an artisan craftsman like Solid Sounds near Leeds, and a spanking new Dynavector cartridge.
It would run proverbial rings round Mr Ive’s ‘Apple White’ offering, and would cost less than half the purchase price.
(Oh, and I have that TT - or its near equivalent - upstairs!)
I’m talking about the Bedrok™ plinth technology. See the Sondek LP12-50 page on the Linn website
Sort of, but not quite. I’m offering it as a corrective the negative commentary on this thread suggesting that Linn is taking the Mickey by asking an extra 30k GBP or whatever for a few rounded corners and a “Limited Edition” sticker.
How do you know? You done the comparison?
Based on comparisons that I have done, I suspect its performance would be severely hampered by the proverbial ball and chain around its ankle that is the Naim Aro. But unless or until I did the comparison, I would not be able to say for certain.
Oh dear, dear! Coming on to Naim’s own Forum to diss the ARO!
How do I know that the Megabucks LP12 won’t sound any better?
Because it doesn’t have anything special fitted to it to make it SOUND better.
I can see Mr Ive’s prettifications, but they will not make the deck sound better than a standard LP12.
I look forward to reading a few independent reviews, but something tells me that Linn have not been waving review samples under reviewers’ noses.
I only speak as I find. If only more members of the Naim Audio Community would do the same.
BTW, just in case you think that I come on to Naim’s own forum to slaughter its most sacred cow because I have some axe to grind with Naim, have a look at my system:
There’s even some Naim kit inside that LP12 plinth in the shape of a Prefix.
Well, apart from the new Bedrok™ plinth technology, by way of which, according to the LP12-50 page on the Linn website, the sonic improvement comes:
The sonic improvement comes by way of Linn’s all-new Bedrok™ plinth technology; formed of orthogonal layers of beech placed under extreme pressure to create an entirely new, solid and massive material. The consequent ultra-dense wood has negligible resonance and offers a superior isolating housing for the turntable’s mechanism.
I would far rather stick with the all-metal Keel/A - which has to be more resistant to resonance, vibration or whatever, than Mr Ive’s wooden Bedrok concoction. (I thought that someone was having a laugh when I first read this Fred Flintstone reference. And I’m still not sure how serious it is.)
Let’s look at a standard, factory spec, LP12 in a year’s time and see how much of Mr Ive’s ‘thinking’ has been incorporated into the turntable coming off the line.
Exactly. I don’t care particularly about the 50 as an discrete item. It’s not aimed at me (didn’t buy the Nait 50 either, so price doesnt come into it: I don’t need a Nait 50 or an LP12 50).
But… the trickledown in the form of this new plinth, that is something I’ll keep an eye - and eventually ear, on. Note: Plinth.
I suspect that most original Aro buyers still have it on their deck as upgrading is very difficult and musically almost impossible. I’ve heard a lot of arms on an LP12.
All keel are metal it’s the plinth that isn’t.
As I say, let’s see what’s rolling off the Linn production line in a year’s time.
Wont be a wooden keel.
There is no woodworking facility at linn all plinths and Cabinets for speakers are outsourced.
You do know that the all-metal Keel/A is a one-piece subchassis and armboard, whereas it’s the plinth that’s concocted from Bedrok? As you seem to have suggested earlier that you’re using (something like) an exotic one-off plinth from an artisan craftsman rather than something like a Tangerine Stilletto, I’m sure you’re also aware that the top plate from which your Keel/A is suspended is bolted to some wooden construction that’s at least as susceptible to resonance, vibration, or whatever as Linn’s wooden Bedrok concoction.
I can tell you that now: None, zero, zilch, nada. The Sondek LP12-50 page on the Linn website makes it pretty clear that all of Sir Jony Ive’s thinking affects only the aesthetic refinements to the turntable, which do not bring any sonic improvement and, as far as I can tell, Linn does not intend to make generally available. Any sonic improvement that might become generally available, such as the Bedrok plinth, comes from Linn.
There’s quite an entertaining video entitled If Apple made a turntable then this would be it on the Audio Masterclass YouTube channel that pretty much makes all the chatter on this thread redundant.
Not that I’ll be purchasing this beast but all I would like to know is does one get a 100% improvement in SQ for 100% increase in price
I’ll bet one does not and the law of diminishing benefits kicks in around the first extra 5k quid mark , pushing it let’s say 10k quid mark
What’s the point !!
A Rolex and a Timex both pretty much tell the same time. It ain’t about the sound quality vs price. It’s about the collectability of an extremely limited (and in this case, divisive) design. A different market.
And one with little relevance to sound quality as a collectible.
When Bedrok plinths come to wider production, I seriously doubt they’ll cost £10,000.
So…indeed, why bother dissing it so vehemently?
Part of this thread smacks of a tantrum response.
Ha ha you’re probably right steviebee 
I’ve got 2 LP12’s and love them
One of them is the 40th anniversary Klimax
I’ll bet that hasn’t retained its original value at all
Hifi gear doesn’t increase in value like those real classy watches
So, as far as sonic improvement is concerned, the buyer is just throwing the substantial price hike away?
What a fantastic value-for-money project this is!
