Linn started manufacturing milled from solid billet aircraft grade aluminum casework back in 2007 with the introduction of the Klimax DS. It carries over to the Klimax Radikal PS for the LP12 as well
It has been part of their lineup for the past 18 years. This casework is done in house with their own CNC machines
Yes, good catch Gregg, I completely overlooked Linn. Not sure of the price of the current DS but the original was in Lina territory IIRC, I donât really think a power supply is a fair comparison though.
Although my opinion may be considered somewhat invalid, as I am no longer a dCS user (sorry!), I do believe the original question about the future of âhigh end audioâ would appear to be unfortunately rather near the truth.
Rightly or wrongly I perceive that many of those on forums such as this, at audio shows and in meaningful purchasing conversations with dealers to be aged over 45 (I really mean 50 plus) and male. I rarely, very rarely meet a female enthusiast.
Serious audio now costs serious money, which I suspect self-shapes the likely customer profiles. Yes I know you can do wonders with older gear and a soldering iron, but those skills are diminishing right now. Given that the post-war baby boom is now working its way through our older populations, this situation is probably going to get worse beyond that bumpâŚ.
In order to invest in high end audio, I would contend at least ALL the following are necessary:
1/ Sufficient disposable cash
2/ Conducive domestic environment
3/ Some passing technical interest in the gear
4/ Love of music
5/ Enough time and inclination to sit down and listen
Taking these in turn.
1/ @garyseconomics tells us that inequality is at an all time high in many countries, so more and more consumers simply do not have the necessary disposable cash needed for increasingly expensive high end audio, particularly younger consumers who are paying off debt and saving for other priorities
2/ Related to 1 above, many people do not have a conducive domestic environment owing to astronomical housing costs and pressure of family life, etc. The idea of a âlistening roomâ is a pipe dream for many!
3/ This is probably where the male bias comes in, based on my personal experience. My wife loves music, but hates all the âgear chatâ. I think you need to be a certain breed of nerd to value the technical subtleties of high end audio that brings pride of ownership in any particular brand
4/ Now this is more contentious. Many of us âboomersâ think our music was best and we have an emotional attachment to the great bands of the 70s and 80s. You know who I mean! Not to forget a rich library of classical and jazz. That music was invariably carefully recorded and mastered which you could readily appreciate on a good audio system. There is still a huge amount of amazing new music around but I find it is invariably poorly recorded and mastered (loudness wars still going strong) and it doesnât justify high end audio reproduction. Iâm personally not a fan of Taylor Swift and her commoditised ilk.
5/ This is where the true luxury comes in and where I still struggle. Making time to sit and listen is definitely a luxury as there are so many distractions and jobs that need doing. Unless you have the time and inclination to sit and listen, high end audio gear is just a white elephant taking up expensive domestic real estate. This may be the main challenge for the industry - making it aspirational to sit and listen to your favourite music rather than going off and doing the one thousand other things that you could be doing!
Great post. Iâd add, to number 5, the fact that music is much more portable today than it ever has been, and the baseline standard of soiund quality so much higher than it was, that, in view of all the other considerations you mention, for most people their everyday music consumption experience is good enough that improving it isnât a major priority that trumps those others.
I think no. 4 is an underrated point. Will people spend oodles of cash on their listening experience in relation to post-2000 music, when there has not been a focus on musicianship and authetic sounds in quite the same way as there was earlier (of course, still with many, many exceptions)? Great stereo lets you see the orchestra, or Led Zeppelin live, or even hear the tones of a Soundgarden record, as though with the help of a time machine. In a world where most music consumption involves more electronic sounds and production,and a generationâs tastes have been shaped accordingly, do they need to âlook into" the music the same way?