Video Therapy

Video Therapy

Since the music video came into its own as an art form in the 1980s, it has heightened our experience of listening to music in myriad ways. From Massive Attack's in-utero synaesthesia on 'Teardrop', through Kate Bush’s childhood adventure on ‘Cloudbusting’, to Johnny Cash's audio-visual epitaph on 'Hurt', Nicola Meighan charts the ways a video can enhance - or even change - the life of a song.

by Nicola Meighan

Alisdair Hogarth's Classical Underdogs: Rachmaninoff

In our new video blog series, award-winning Linn Records pianist, Alisdair Hogarth, tells us the story behind Rachmaninoff’s classical underdog - Liebeslied.

by Alisdair Hogarth Vlogs

The Vinyl Record: How Do You Like Yours Packaged?

Henry’s whistle stop tour of some of the best packaged vinyl records!

by Henry Wilson

Al's Classical Underdogs: Mozart, the lesser known masterpiece

Al's Classical Underdogs: Mozart, the lesser known masterpiece

In the first of our new video blog series, award-winning Linn Records pianist, Alisdair Hogarth, sheds light on one of Mozart’s classical underdogs - Piano Sonata in A Minor.

Alisdair uncovers the story behind this overlooked masterpiece, offering a rare insight into Mozart’s captivating composition and showing that it’s perhaps not so far removed from your classic pop song!

by Alisdair Hogarth Vlogs

My Favourite Record: John Frusciante - The Will To Death

My favourite record is the one that I keep coming back. I have quite literally lost count of the number of times I've listened to it, both on CD and vinyl.

by Henry Wilson

Pono saves the music industry

Contrary to all my fears, Pono is here to save the music industry! 24-bit music is about to hit the mainstream, backed by Neil Young, the major record labels and an army of world-renowned artists.

by Gilad Tiefenbrun

Share, don't broadcast

Share, don't broadcast

I am unhappy about non-stop, social-media-style "sharing" because I feel it demeans music, turning something that is first and foremost a deep, internal experience into a unyielding, external kind of currency. To insist that anyone chooses to listen to at any time must be constantly and continually broadcast to all friends, family, and acquaintances seems to me both to overlook and to undermine music's deep, multi-faceted purpose. Music is made to be heard. Sharing is an option, not an imperative.

by Jeremy Schlosberg

Mogwai - Rave Tapes

This is an album with a beginning, a middle and an end rather than a collection of songs to be thrown ad-hoc into a shuffled playlist.

by Henry Wilson

A Wee Taste of our 40th Anniversary Celebrations

Enjoy a taste of our 40th Anniversary Celebrations which culminated in a fantastic day at the Linn Factory followed by an evening gig by Admiral Fallow in Glasgow's historic Merchant Square.

by Linn

'Twas 24-bits of Christmas...

'Twas 24-bits of Christmas...

Check out the winning music review from our 24-bits of Christmas Facebook Competition. Matt Picco wrote a great, inventive poem telling us all about his favourite Studio Master track.

Thanks Matt! We hope you're enjoying your prize; a silver Kiko System.

by Matt Picco

Is there any hope for eclectic listening online?

We are under-served by the internet when it comes to music. Not because we lack options. But because we lack options that relate helpfully to how we actually listen to and enjoy our music.

by Jeremy Schlosberg  |  1 comment

The Day Lou Reed Came to Linn

"I've been in the music business for nearly 50 years, my hearing's a bit shot at the top end, but I know a good sound... and that is the best sound I've ever heard." Lou Reed

by Gilad Tiefenbrun

    What we’re listening to right now

    Colfax by The Delines 1 hour ago
    Radiator by Super Furry Animals 2 hours ago
    Aw C'mon
    Aw C'mon by Lambchop 2 hours ago
    Girls in Peacetime Want To Dance
    Girls in Peacetime Want To Dance by Belle and Sebastian 1 hour ago

    Linn Forums

    Forum posts from today



    Get involved online with Linn using Facebook or Twitter.


    Find out more about our open source software and get access to our developer forum and resources.


    Linn was started in 1972 by Glaswegian, Ivor Tiefenbrun. Ivor was passionate about music. He couldn’t find a music system that was good enough to meet his exacting standards. So he decided to make his own.

    The result was the Sondek LP12 turntable. This revolutionary product was designed to get more music out of a record. It worked. The LP12 is still produced by Linn and remains the benchmark for turntables worldwide.

    From analogue to digital

    Today, Linn DS sets the music standard for digital music players and outperforms every other CD or digital player on the market. It embodies everything we’ve learned about music and our passion for creating great music systems which last.

    Some things haven’t changed. Linn is based just outside Glasgow and still owned and run by the Tiefenbrun family. Most importantly, the passion for music and commitment to excellence that inspired Ivor back in 1972, still drives Linn today.

    The LP12 revolution
    Guitar and amp

    The LP12 Revolution

    Not only did the Sondek LP12 improve sound quality, it turned the hi-fi industry on its head by proving once and for all that the source of music is the most important link in the chain.

    The LP12 revolution
    Linn DS player

    Why we made the DS

    We wanted to make a digital music player without compromise — something that combined our passion for music with the latest technologies to make everything you listen to at home sound better.

    Why we made the DS


    Ivor Tiefenbrun has always been passionate about music. Sent out by his wife to buy much-needed furniture for their first flat, he came back with a hi-fi. He bought an expensive turntable and speakers but was deeply disappointed by the sound quality — he could only listen to music for a couple of hours, before wanting to turn it off.

    Ivor was also a keen engineer and he made an interesting discovery: the music sounded better when he put the speakers in a different room from the turntable. He found this rather puzzling. How could the speakers interfere with the turntable? He decided to explore this further and so began a 40-year old love affair with music systems.

    Precision Engineering

    The answer lay in the quality of the engineering. The turntable was so badly designed and made, it was affected by the vibrations from the speakers. The only solution was to go back to basics.

    Ivor redesigned the turntable from first principles using precision-engineered components to ensure a constant speed and minimum distortion. The result was the Sondek LP12 turntable. It was a revolutionary design backed by new levels of manufacturing quality, with parts made to the same standards required for aerospace.

    The Sondek LP12 was launched in 1972. It introduced the music world to unique features, such as the patented single-point bearing which inspired the Linn logo. More importantly, it retrieved more music from a record than any other turntable on the market, then and now. You only had to listen to hear the difference.

    This set a standard for Linn which still holds true today. We don’t just design outstanding products; we build them to the most exacting standards, sometimes to within 0.001 mm. It’s about accuracy, consistency and reliability.

    Ivor Tiefenbrun


    Source First

    Back in the early 70s, the conventional wisdom was that sound quality was determined by good or bad speakers. The experts believed the hi-fi chain started with the speakers and worked down to the source of the music, which at that time was the turntable. Ivor proved the opposite to be true — that the source of the music was the most important.

    Ivor took to the road with his new precision-engineered Sondek LP12 and demonstrated the difference to everyone who would listen. He could put the LP12 with their cheapest speakers and it would still out-perform any other turntable and speakers combination. The LP12 sounded so much better, it started a revolution — in thought, design and performance.

    Children of the Revolution

    No matter how good the amplifiers or loudspeakers, you can’t get back what has already been lost. Quite simply, information lost at the source is lost forever. In computing it’s known as Garbage In, Garbage Out; but it means the same thing. This seems perfectly sensible to us now. But then we’re all children of the revolution.

    Ivor didn’t set out to build a business; he simply wanted to listen to great music at home. But inspired by the musical improvements he achieved with the LP12, he established Linn Products with the aim of increasing the quality of sound all the way from the microphone to the ear.

    Ivor Tiefenbrun


    Ivor’s son Gilad joined Linn in 2003 with the dream of creating a digital music player which would do for digital what his father’s LP12 had done for analogue: revolutionise the source by eliminating the weakest link.

    The rise and fall of disc players

    The launch of the iconic CD12 in 1999 proved that Linn could excel at both analogue and digital music players. But as good as the CD12 was, it was held back by the limitations of the compact disc format. The new CDs were easy to use and heavily marketed, but in truth there was far less information on a CD than vinyl or 8-track tape.

    Linn supported the emergence of disc formats such as Super Audio CD (SACD) and High Definition CD (HD-CD) because they offered better audio quality than the standard CD. We launched the Unidisk as an ''all-formats' disc player and began to release Linn Records music in these higher quality formats.

    SACD offered higher quality than the standard CD but it never really took off. Not much music was released and most people didn’t own a SACD player. SACD was a proprietary Sony technology and their tight control and high licensing costs made it difficult for both manufacturers and customers to enjoy the benefits.

    As head of R&D at Linn, Gilad experienced first-hand the difficulties involved in supporting a 'closed' proprietary format during the Unidisk launch. Despite the massive investment made in SACD by Linn and other manufacturers and labels, they were wholly reliant on Sony to correct problems within the SACD platform itself. Gilad resolved never again to put faith in a proprietary disc-based format that required specialised hardware. Instead, he started to think about a new type of music player that wasn’t tied to one particular disc or format but would fully realise the potential of digital music...a digital LP12.

    Ivor Tiefenbrun


    Gilad’s dream was a music player that would play all digital music and make everything sound better, a digital LP12. The only way to create this was to build a system from scratch, using open standards and formats to create something designed specially for music and engineered to last.

    From discs to downloads

    By 2002, Linn Records were recording music at increasingly higher quality in order to capture every last detail.

    The logical step was to create a standalone music player that was capable of playing this higher resolution music and design it to work on a standard home network. Building it for the 'open' network rather than a proprietary system would ensure it worked alongside the growing number of networked products and make it easier for anyone to get started.

    We developed a streaming platform from scratch that would allow music to be pulled from the network rather than read from a drive within the player itself. Sound quality improved greatly and there would be no reliance on particular discs or formats — music could be ripped to a hard drive from any disc or downloaded from the internet at any resolution.

    The growth of broadband meant most homes already had a home network and faster download speeds were available to download better than CD-quality music directly from These new Studio Master files were too large to be stored on a normal CD anyway.

    Klimax DS was launched in 2007 and proved that Linn DS sounded better than any CD or digital player available.

    Ivor Tiefenbrun