Vangelis' 1989 best-hit compilation, Themes [Polydor 839 518-
2], contained some of the most instantly retentive tunes. "Love
Theme from 'Blade Runner'", "Memories of Green" and "La
Petite Fille De LaMer," for example, are electronica classics.
The Ikemi conveyed a surprisingly complex and yet
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communicative sound of the resonating synthesizer, endowing the experience
with an unexpectedly contagious and inviting tonal quality, sounding beyond its
ultimate artificiality. Retrospectively again, the 47 Lab digital system exposed
the discrepancies in this CD's varying recording qualities to a greater extent
than the Ikemi.
Having said all of the above, I have saved Ikemi's forte for last. Amidst all the
digital front ends that graced my system, the Ikemi produced a most dazzling
soundstaging in the company of the comparably priced ELAC 518
Loudspeaker, driven by Audio Note's M3 preamplifier and the Gaincard S.
Depth of hall and studio, and specificity of instruments was, simply put, most
expertly delineated.
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Take the delineation of soprano Kathleen Battle's voice amidst
the overwhelming scale of the Vienna Philharmonic from New
Year's Concert from Vienna [DG 419 616-2], for example.
Voice and instrument separation and imaging was effortlessly
clear with the Ikema, as Dame Battle's flamboyant and chiming
intonations in "Voices of Spring" came through exquisitely
along with underlying orchestral layers. In capturing an aural
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experience rich in soundstaging subtleties and extended spectral definition,
the Ikemi was perfectly suited for such orchestral power play. Dame Battle's,
as accompanied by the Vienna Philharmonic and Maestro von Karajan, was
most satisfying rendered, and the Linn Ikemi produced it most beautifully.
Instruments separation and imaging was also effortlessly clear with the Ikema
in James Galway Plays Khachaturian [RCA RCD1-7010], as Mr. Galway's
flute was heard with exceptional clarity against the full-blown orchestra. My
favorite was the "Masquerade: Waltz", in which the Ikemi's portrayal of flute
and orchestra collaboration carried an acute sense of localization and had a
beautiful sense of pitch precision. Similarly, in "Gayaneh: Sabre Dance", the
Ikemi depicted the flute aptly as an instrument fully capable of assuming the
daunting task of a driving, rhythmic string section, successfully charging the
dance to higher festive ground.
SUMMARY
The Linn Ikemi possessed the dynamics and spectral superiority of a
frequency-extending C-core transformer, reflecting clearly the advantages
accorded by its Brilliant switch mode switching power supply. Endowed by a
slew of advanced signal processing techniques, such as the Pacific
Microsonics™ PMD 200 HDCD® processor, the Linn "2D" algorithm and the
multi-level Delta-Sigma modulation, the Ikemi delineated soundstages with
extraordinary density, and created a sound that was rich in transients and
instrument textures sans a cynical precision.
It's $3,595 MSRP lands well within the white-hot, fiercely competitive mid-
class CD player price range. Compared to the 2¼ times costlier 47 Lab
digital front end, the Ikemi conceded to the 47 Lab's most passive and
reactive D/A conversion mannerism, and yet impressed with a superb
integration of sound. It pursued the 47 Lab's dynamics and resolution, albeit
with a calmer, more modest sense of scale. Compared to my discontinued
Sony SCD-777ES SACD/CD Player, the Ikemi's CD playback surpassed the
Sony in soundstage dimensionality.
Sonic-wise, Linn Ikemi is a fine example of an advanced digital front end that
exceeds the expected, standard criteria of a mid-priced audiophile grade CD
player, and the 47 Lab a far more costly unit that induces subtle but real
differences employing streamlined techniques. The Linn Ikemi is outstanding
in its modest physique and satisfying presentation. For the 47 Lab, speaking
from an owner's perspective, being the recipient of unrelenting honesty can be
frightening if it is not your cup of tea.
This difference was exacerbated when used with the Audio Note AN/E SEC
Silver, gradually subsiding with Genesis VI, and then largely reconciled by the
more accommodating ELAC 518 and the dynamically superior Klipschorn.
Comparably priced, both Linn Ikemi and ELAC 518 are hardcore, grossly
underpriced audiophile products from well-established name brands.
Culminating in an enormously competent high-end audio system, the ELAC's
JET tweeters exploited the Linn's resolute top-end without constrictions, and
the Linn's extension at the other end of the frequency spectrum gave the
ELAC's twin woofers definitive bottom-end output to boast.
In real terms, the 47 Lab mastermind, Junji Kimura's exclusion of
sophisticated processing, such as the HDCD® DSP that Pacific Microsonics
Inc.TM developed for sonic enhancement, will discourage some readers. Yet,
on the sole ground of musicality, while either product could appeal to the same
pursuing audience, Linn with its CD12-derived advanced engineering will cost
you less money than the 47 Lab with its singular but indisputably crowning
impartiality.
There was a time when audiophiles had to invest thousands of dollars in CD
hardware that was the State of the Art, and would still be far from being
musically satisfying to everyone's admission and frustration. But just as the
2001 $8,100 47 Laboratory Flatfish and Progression digital system
surpassed my past reference, the 1995 $14,000 CEC TL1 and Wadia 27
system, so did today's Linn Ikemi in attaining what other sub-$4,000 digital
system over five years old had never achieved.
Although it is hard to fathom the degree of superiority of the famous Sondek
Transcription CD12 lest direct comparison, from what the Ikemi achieved at
its asking price, I can confidently say this: for readers who own elite CD
systems of the previous generations, once you experience the Ikemi's
extended frequency response, resolute spectral definition, discrete
dimensionality and the resultant musicality, you will not hesitate to spend the
$3,595.
Of the CD systems I have reviewed so far, namely the Perpetual Technologies
P1A/P3A processing system, the Sony SCD-777ES SACD player in CD
mode, and the recent 47 Laboratory Flatfish and Progression CD front end,
the underpriced Linn Ikemi beseeches my top recommendation in its well-
rounded overall excellence and satisfying musicality.
Associated Equipment:
Digital Front End
47 Laboratory 4713 Flatfish CD Transport/4705 Progression DAC
Audio Note DAC One 1.x Signature
CEC TL1 CD transport
Sony SCD-777ES SACD/CD player
Amplification
47 Laboratory 4706 Gaincard with two 4700 Power Humpties S
Audio Note M3 preamplifier
Decware SE84C (monoblock pair)
McCormack DNA-1 Deluxe
Music Reference RM9 II
Z-systems RDP-1 digital preamplifier
Loudspeakers
Apogee Duetta Signature
Audio Note AN/E SEC Silver
Celestion SL700
ELAC 518
Genesis VI
Klipschorn
Cabling
Audio Note AN-La
Audio Note AN-V silver cables
Aural Symphonics AS-One
Canare L-5CFB 75-ohm digital cable
Canare D206 110 ohm digital cable
Cardas Quadlink 5C
Granite Audio #470 silver cables
Granite Audio #560 AC Mains
Illuminations Orchid
Illuminations D-60 75 Ohm digital cable
Van den Hul MCD-352
Virtual Dynamics Nite Cable System
Wadia ST glass fiber
Accessories
Salamander Synergy 20 (2), ASC Tube Traps, Flat Traps
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