If you've been following Linn closely over the last couple of years, I doubt you'll have failed to notice our emphasis on Open. We do this in the knowledge that Open is best for the customer and at Linn we believe, as my father Ivor is fond of saying: What's best for the customer is best for the company. LP12_angle_with_record_shadow_med_res.jpgBack in 1972, he created Linn around the Sondek LP12 turntable with

(1) an Open design ethos: Modular, expandable, upgradeable. Open to future improvement. Recognition that customers might wish to use non-Linn components. Compatible with any hi-fi system.
(2) an Open manufacturing ethos: Anyone could learn how to build the LP12 from start to finish and develop expertise, as opposed to the more common production line tending to use humans like robots on only one part of the process.Help_choose_best_hifi.jpg
(3) an Open sales ethos: The TuneDem empowered customers to decide for themselves, and choose the hi-fi that was best for them, even if it wasn't Linn.

Why did Ivor take this Open approach? Why not deliver fully-loaded one-piece turntables off a production line through the mass market, using clever marketing to persuade people of its acoustic benefits?  Clearly he was convinced of the merits of his design breakthrough, yet at the same time he knew that it wasn't perfect, and so he gave the LP12 the ability to be improved in the future. He created a company filled with people who would be interested in making and improving the LP12 which still stands almost 40 years later. And because he was not afraid to have people compare his turntable against anyone else's, he ensured that those who bought his product did so of their own volition. Ivor showed that Open is a corporate attitude first and foremost, which pervades every activity of an Open company.

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international_ces_2010-1.jpgAs CES 2010 comes to a close in Las Vegas, beware of those companies who claim to be Open because they adhere to an open standard. The adoption of open standards or technologies is only part of the story, and on its own does not imply an Open company, nor one with the long term interests of its customers at heart. 

Many companies adopt open standards as a way to attract customers into other types of lock-in. For example, almost all automotive companies implement open standards within the vehicle, but increasingly some are attempting to introduce parts only compatible with their own diagnostic tools. In what was previously a very open market, those companies are deliberately trying to reduce the amount of open-ness in the engine and striving for sole supplier status. Sole suppliers are bad for both manufacturers and customers alike because they reduce choice and tend to limit value creation in the long run.

Many others use open standards where convenient - where they can be leveraged - and then  layer unnecessary proprietary technology on top in order to lock customers into their platform. Apple, for example, has Wi-Fi in their iPod Touch / iPhone, which allows customers to access the entirely proprietary Apple App Store. For those not familiar, the Apple App Store hosts applications only for the iPod Touch / iPhone; applications are vetted via an opaque process by Apple staff before being admitted; the delivery mechanism is via an Apple iTunes account only; applications can only be created using Apple's development system. The reason for it all, of course, is to justify and allow Apple to take a third of all the revenue from application sales.

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The most crucial aspect of an Open corporate ethos is a commitment to looking after the long term interest of customers. 

A closed solution does what the manufacturer defined and what they decided when they designed their solution, but it is impossible for the customer to stray outwith the bounds of that definition, impossible to extend or to personalise the solution beyond the confines of the manufacturer's design horizon. 

How_good_a_sound_do_you_want.jpgThe manufacturer-defined, closed solution can be alluring at the point it is purchased, because it can appear to meet the criteria today. However, the limitations will become apparent the very first time that the customer wants to add a feature or use the system in a way that the manufacturer did not foresee or permit. These companies hope you will replace the product or solution before that happens.

In total contrast, Linn, as an Open company, tries to take the longest term view of customer satisfaction at every stage. Choices are made at the design stage to allow for the unanticipated, the unintended - even the unwanted - uses of our products. By owning and controlling the key processes that affect the quality of our products rather than buying-in, Linn is able to continuously improve its products, improve its cost-versus-performance value and offer long service life. Linn allows its customers to extend the solution indefinitely as requirements change and new ones appear over the years.

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Discover_New_Music.jpgThis month we launch our Studio Master music package offer with the purchase of any Linn DS. Because of our Open ethos, we can work with the manufacturers of different storage solutions for each Linn DS, rather than force our customers into a one-size-fits-all package.

Our Open approach to our music label, Linn Records, means we offer Studio Master quality music, DRM-free, and indeed were the first to do so. We chose to offer music in FLAC because it is completely Open. After a fierce debate, the eventual basis of our momentous decision to allow customers to use Linn digital downloads as they saw fit, even though some argued it would lead to lost sales through piracy, was that it was undoubtedly best for customers, and in the long run would therefore be best for Linn.

Because we are Open, we host Studio Masters from a variety of independent music labels on our site and, with a transparent and simple non-exclusive contract, ensure we are easy to do business with and offer a fair deal to artists.

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google-nexus-one.jpg
Finally, as 2010 unfolds, I will be keeping a close watch on Google's Android mobile platform. It will be in direct competition with Apple's iPod Touch / iPhone and it may be more Open on many levels.

Indications are that Google will let the public decide (through some sort of a rating procedure) which applications are best for Android. Apple on the other hand is telling the public which applications the public wants. Indeed they have rejected quality applications on a number of occasions simply because they compete with Apple's interests and the interest of their chosen network operators, including music player applications, alternative developer frameworks and VOIP applications. We wouldn't tolerate this in government - why do we tolerate it in companies!?!

Whereas Apple have signed operator-specific contracts around the iPhone (it was O2-only in the UK until recently), Google's Nexus phone will be offered through all carriers. In addition, customers will be able to choose from a wide variety of Android-based phones. If Google takes the Open approach, Android stands a real chance of becoming the pervasive open standard in the mobile market.

Linn ends its CD players

21 Votes
Gilad_Announces_CD_Players_EOL.jpgA journalist I spoke to the other day said to me: "Your father, he's rather opinionated, isn't he?"

"Oh, how so?" I replied.

Journalist: "In the 1980's he said that CD would never catch on."

Me: "Well, he was right! It just took 20 years for his prediction to come true!"

---

Who - apart from Ivor - would have thought back then that vinyl would out-live CD? Yet who today would dispute that this is likely to be the case?

In fact Ivor said two things; firstly, don't throw out your records because you haven't heard what's on them yet (and LP12 upgrades in 2007 and 2009 are the most recent vindications). Secondly, CD would be an interim format, before an eventual 'true' digital format would come along to rival vinyl. With Studio Master downloads and format-independent Linn DS music streamers, Linn believes Ivor's digital prophecy has been fulfilled.

Yet Linn is not claiming the end of the CD format.

I have a good CD shop at the bottom of my street and still find it an enjoyable way to buy music. I take my new CDs home, rip them to my NAS and use the Direct Play feature in KinskyDesktop to play the music immediately. My guess is CD's will be around for a few years yet.  

So why end CD player manufacture?

Although over the years it did become progressively harder to source CD engines and loaders of the quality required, the real killer was performance. Once we proved out the theory that streaming a CD could and should sound better than playing the same CD, it was only a matter of time before we stopped making CD players. We now have Linn DS players at Klimax, Akurate and Majik level, as well as integrated offerings for various applications, each of which outperforms any CD player and offers more value than its CD-playing counterpart. We have far greater control over the supply-chain, with the benefit of far superior product reliability and longevity.

What about customers who want to buy a CD player? Is Linn turning its back on those people?

We thought long and hard about this. In the end, we decided that we'd rather take the time to explain to existing and potential customers why we believe the time is right to get into music streaming even if it means we risk losing a sale.

Of course we will continue to support our CD players in the market to the very best of our ability. Linn has a consistent track record of maintaining long product service life, and our decision to stop manufacturing new CD players does not jeopardise this.

When you bought a CD player, that's all you got - a CD player. When SACD came along we were told we needed to buy a new player. Same again with DVD, same with Blu-Ray disc.

Music streaming, and Linn DS, offers format- and resolution-independence and, crucially, upgradeability. That's why Ivor calls it the "digital LP12".

I'll be available for an online Q&A on 1st December from 5pm to 7pm GMT.


Otoken_Gilad.JPGAs I mentioned in my earlier entry on introducing Cara to Japan, Linn has been responsible for introducing music streaming into the Japanese audio market and probably because of that I was asked to speak to an invited audience of over 200 press and public at the Ototen show in the Akihabara district of Tokyo recently.

The seminar at Ototen is organised by the publisher Ongen, who owns around ten specialist audio-video titles. They, along with the StereoSound magazine group, dominate the Japanese specialist press. Ongen's audiophile website PhileWeb is the number one online portal and you can see the coverage the event received here.

Otoken_Gilad_Yamanouchi.JPGThe event took place as an-onstage dialogue between me and Yamanouchi, a highly-regarded critic, with discussion ranging from the story of Linn DS so far, to the future for downloaded music quality, to the future of the hi-fi industry, to the future for the music industry.


Yamanouchi-san pronounced this a time of great significance for audiophiles and the hifi industry, that will be looked upon in future as a critical turning point. We could not avoid the bare facts: CD players and printed disc media are on an unstoppable and accelerating demise, to be replaced with music streaming and downloading. The emergence of higher-than-CD quality downloads means, for the arguably the first time since the introduction of mass-market digital music, quality is finally on the rise.

And to drill the point home, following my seminar, was a presentation from a Japanese company called Kripton, who were launching a new download portal called HQM (High Quality Music).

For those interested in the details of my demo at Ototen:

We had a Klimax DS / Klimax Kontrol / Klimax Twin / Akurate 242 set up, allowing me to illustrate the differences between mp3 and Studio Master quality for the audience - the difference sounding surprisingly clear in what was a very large auditorium. I used Claire Martin's "Everything I Got Belongs To You" from her new album A Modern Art that I'm becoming quite a fan of.

I also couldn't resist playing the whole of Alfie Boe "Love Unstuck" from his new album Love Was A Dream. I've never listened to operetta in the past, but I challenge anyone to listen to these traditional love songs from The Merry Widow and others without feeling incredibly uplifted. The quality of the recording, the lightness of the Scottish Opera orchestra, and the emotion in Alfie Boe's voice are all wonderfully joyous.



Although I've been at Linn for over 6 years, this was my first ever business trip to Manhattan... and I was nervous as hell! I find the place intimidating to visit even as a tourist, so the idea of presenting Linn DS to a room full of high-powered, straight-tawking New Yorkers filled me with fear.

Here's a sample of what my "normal" hi-fi audience in Manhattan looked like:

Owner of private equity investment company
Portuguese first secretary to UN
Entertainment lawyer to the stars
Owner of chain of diamond jewelry retailers
Deputy state governor (retired)
Hedge fund manager

and

Craig Kallman, head of Atlantic Records, the most profitable record label in the world, which sold more records than anyone in the U.S. in 2008. Craig's a Linn customer, and he popped in to say "hi". Elliot Fishkin, owner of Innovative for over 35 years, has a personal friendship with Craig Kallman through supplying him with hi-fi equipment over the years. 

[ Hats off to owner Elliot and his manager Scott Haggart (from Scotland, who drinks Scotch!), for the wonderful environment they've created below street level on E58th Street; a truly innovative use of space in an over-crowded, expensive city. ]

Craig has one of the largest private record collections in the world > 300,000 vinyl (!) and a passion for great sound. He owns Linn, SME and Wilson: you can read this excellent interview he did with Stereophile for more info.

Here is a young, visionary leader of a record label, taking the fight to the Majors, unafraid of the digital future, embracing change and delivering success to his artists.

If proof were needed of Craig's commitment to high quality audio reproduction, he has bought a full floor of his apartment building in New York's upper east side which he's in the process of converting into top-spec listening rooms for Atlantic recording artists. He wants his artists to hear their music at its best. Expect to hear more about this come the new year.

Back to the evening itself. Sticking to my main presentation theme of the last few months, I talked about the improvements we're making to the recording process at Linn, and to demonstrate I played a sample of the latest studio masters from the Scottish Chamber Orchestra and Claire Martin. To my surprise, I was asked to make a straight Majik CD vs Majik DS comparison, which told me it was DS Day One for most people there. Having been expecting a confrontational audience, I was pleasantly surprised that everyone heard and agreed the improvement of the DS over the CD player.

As is often the case at Linn DS musical evenings, the conversation turned to the music industry itself, and whether Linn and other specialists were alone in fighting for the higher quality of digital music. Luckily, I could point to Mr Kallman as evidence of a mass-market future for high quality downloads.



ronniescotts.jpgclairemartin.jpg
If you love live music, you have to visit Ronnie Scott's Jazz Club in London before you die.

I had the pleasure and privilege to watch Claire Martin perform her new album, A Modern Art, at Ronnie Scott's this week. It was absolutely bucketing down with rain in London, but Ronnie's was packed. It's such an intimate venue - low ceiling, seats crammed together - that there is an easy rapport between the artist and the audience, and also seemingly a rapport within the audience.

Claire played this intimate atmosphere to its full potential. This was a masterclass in holding an audience in the palm of your hand. She oozes class. Her voice is a finely-honed musical instrument and seeing her live makes you realise how much thought and effort goes into her every expression.

We've worked with Claire for 17 years so far; she's one of the jewels in the crown of Linn Records and she just keeps getting better. 

And did I mention that I got a kiss on the cheek from her afterwards? OK I admit it, I'm in love.


Mark Moraghan.jpg
The official launch of Mark Moraghan's jazz swing project, Moonlight's Back In Style, took place at London's Leicester Square Theatre this week, and I managed to take this blurry, unlicensed photo with my mobile phone.

Mark's the blur a third of the way in from the left. As you can (kind of) see, he was backed by a full swing band with an impressive brass section giving off a really big sound and creating a party atmosphere.

The combination of Mark's characterful voice and intelligent songwriting by Nicky Campbell shows that crooning can be modern, stylish and witty, and the genre has more to give an audience than simply more rehashes of the old standards. Mark and the band performed the full album of original songs, and some well-chosen covers were a bonus, particularly "I've Got You Under My Skin". 

Although Mark is primarily known for his acting talents in the UK (Brookside, Holby City), singing is now his focus, and if I had a voice like him, it would be mine too! 

Moonlight's Back In Style is available on Linn Records at Studio Master quality.
Gilad inside Wine.JPG
Here I am at Aux Fins Gourmets, a wine merchant in Bodenheim, Germany, specialising in French wines.

This was Day One of the Klangstudio Sommerfest 2009, celebrating 30 years of the Linn retailer Klangstudio Pohl, run to an exceptional standard by Rainer and Margret Pohl.

You can see me standing in front of a Linn Klimax System, and Thomas Saheicha, Linn's European Sales Manager, to the left of the picture demonstrating Klimax DS with and without the new Dynamik Power Supply. 

The setting was unusual for a hi-fi demonstration, the Klimax System in amongst magnificent Bordeaux wine, and this created a magical atmosphere, helped by a never-ending supply of wine for the 80 to 100 guests to enjoy. Fine wine and fine music go together perfectly.

Because the audience comprised many non-audiophiles, I decided on a different approach to the traditional Linn TuneDem. To start with, I told the story of my recent visit to a recording session of the Scottish Chamber Orchestra to learn how Linn's investment in new recording equipment and techniques was improving the quality of our recorded music. And I explained how with Linn DS it is possible for our customers to enjoy unfettered access to higher quality source material, which in turn stimulates those on the recording side to up their game. Then I played the entire Studio Master of the Emperor Concerto, from Beethoven's Piano Concertos 3, 4 & 5 by the SCO with Artur Pizzaro on piano, the first of Linn's recordings made with our new recording system. Many people closed their eyes, imagining themselves at the recording session (at least I think that's what they were doing, though some may have over-indulged on the fine wine).

I used the same recording to compare the Klimax DS with and without Dynamik. Because many people present had never made such a comparison before, I found myself asking the question: "Which is the better Artur Pizzaro?" in order to help the audience engage in active listening. By following a short snippet of the main piano melody through the concerto, most people could easily discern the musical improvement yielded by the Dynamik. And it allowed me to focus on music, rather than hi-fi, with an audience of non-hi-fi buffs.

Thomas presents Radikal.JPG
Day Two of the Sommerfest was held at the Klangstudio (sound studio) of Rainer and Margret Pohl.

This picture shows Rainer's surprise at receiving a gift of a Linn Radikal for his LP12, our thanks for 30 years in business.

There was a fantastic turnout of family, friends and great customers to enjoy the live music, jumbo german hotdogs and sunny weather.
Last week Keith Robertson (Linn's software manager) and I went to Tokyo to introduce Cara and Kinsky Desktop.

Japan's an interesting market for DS, because the mass-market streaming devices aren't widely available. So Linn, in addition to the challenge of introducing DS to the Japanese market, is also introducing the idea of music streaming to many for the first time. In the early days of DS, we had this idea that because the Japanese are a technologically advanced society, they would embrace DS more than any other market. In fact, it's been the toughest market for us.

This realisation dawned on me early in 2008, some months after the launch of the Klimax DS, when we hadn't sold a single DS in Japan. So in February 2008, I spent a week in the presidential suite of the Palace Hotel, Tokyo demonstrating the Klimax DS. I must have made 50 presentations that week, mostly to press critics who sat with folded arms proclaiming: "This is not hi-fi!"

But eventually the Klimax DS and the other DS players we introduced started to sell, and gradually we've made progress with press, retailers and customers there.

Thankfully, Linn Japan managed to arrange that Keith and I make two presentations to press, in two groups of about 20 each. 18 months from that initially cold reception, understanding of DS in the Japanese press is now amongst the best in the world. One leading magazine, Hi-Vi,  has a 14-page DS special in its latest edition, with 4 critics presenting their DS (one Klimax, two with Akurate, one Majik) with block diagrams of their full system including video and networking components. 

I think the strongest impact of our presentation came from Keith's Kinsky Desktop demo, where he grabs an album cover and drops it into the PlayNow button and it plays instantly. 

It's my hope that the new simplicity of Cara and Kinsky Desktop opens Linn DS to the less tech-savvy people who want to enjoy the sound but without the hassle.

 What follows is a conversational piece that I wrote for the August 2009 edition of Essential Install magazine...


Today the custom install (CI) market is experiencing a shift of seismic proportions. The earthquake has been triggered by the increasing availability of mass-produced, low cost yet high quality networked hardware for media storage and whole-home control. Change is not just coming to the custom install market, it is here, and the pace is being set by the largest technology companies in the world.

They have decreed that every home is to be a smarthome, every home is to have super-fast broadband internet connection and, most crucially for CI, every home is to have a standard ethernet network, allowing for plug and play services including audio, video, security, HVAC, lighting and automation. From Microsoft to Apple, from BT to Nokia, from Netgear to Cisco, the smarthome - the former bastion of CI - is the focus of their growth strategies. The challenge to custom installers right now is: adapt or die, because the world is evolving, and to survive you must evolve with it.

Why can't our proprietary systems survive? We've learnt how to roll out a high quality, tried-and-tested solution. We've invested in the technical training for our people and written banks of integration software. And it "just works".

Unfortunately, the past is no guide to the future. Time and again, the rules are rewritten when new technology fundamentally changes an industry's cost structure and delivers groundbreaking customer value. Today, the new rules allow customers to buy practically limitless networked storage with built-in media servers and beautiful touchscreen interfaces running open computing platforms to control just about everything in a smarthome - at commodity prices!

Then the Internet does its job and ensures that awareness of the new rules spreads far and fast. Customers have access to all the information at their fingertips. And in the midst of a tough recession, we are all seeking information and acquiring knowledge to make more carefully considered purchase decisions. People still spend money in recessions, but our buying criteria change. Bling is suddenly less relevant; long term value suddenly priority number one.

In this climate, proprietary systems just don't measure up. Proprietary systems introduce cost all along the value chain; think of all the manufacturers who have their own network infrastructure, or internal storage solution, or matrix switching solution, or bespoke programming language. All of this duplicated effort is passed on to the customer as cost. What about your business? Your people need special training from each manufacturer to learn their secret codes, and in return it limits what you can offer the customer. Again, value is destroyed. Proprietary systems make it harder for customers to benefit from future developments. Not only does the customer have nowhere to go, but the opportunities for the custom installer to make additional revenue from that customer by extending or enhancing the system are non-existent. Value is destroyed.

Many manufacturers have now woken up and embraced the change and introduced products that plug into the open network and are open to control from any interface. Some are making only the most tentative of steps out of sheer necessity, a sure sign that their business model is fundamentally flawed; Crestron and NetStreams (Essential Install, May 2009) may have lowered the drawbridge to their proprietary castles by supporting control via the iPod Touch but make no mistake, the power in the relationship lies with Apple. The trend is only going in one direction.

There are custom installers too, who have embraced the new business model - you could find them dotted around ISE 2009, at the edges of the halls, showcasing totally open networked solutions for the whole home. Many have an IT background. Whilst some see complexity in open networks, and worry about the robustness of the solution, these guys have no such fears and see only opportunity. They have just one set of technical skills to support - open networking skills - and they choose only products and services that interoperate on the open network. They deliver open solutions that can be upgraded over time, allowing them to develop long term customer relationships. They can pick and choose from the best-in-breed, open manufacturers and swap products in and out of their customer solutions without having to invest in new technical skills. They carry a major cost advantage over their more established competitors and are ramming it home in this financial climate. If you are attending CEDIA this year, seek out these installers, look at what they're doing and prepare to see many more of them at each successive CI event.

If you wish to adapt and build for the future, my advice is to start looking at what goes on the network rather than the network itself. The move to open is inevitable and at times such as these, the requirement to meet new commercial challenges compels us to examine what we are doing, and do it better. To seize the opportunities ahead we must stop seeing CI expertise as the installation of proprietary systems and instead install standard, open infrastructures, great value control solutions and deliver genuine customer value from the best-in-breed solutions for audio, video, security, lighting and everything else a customers desires. 

When I read that Chris Brooks Audio in Warrington was running a Linn DS Technical Workshop I was intrigued, and decided to gatecrash:

http://forums.linn.co.uk/bb/showthread.php?tid=3196

The question on my mind was: Why do people with a great hi-fi dealer, who takes care of all the technical aspects of Linn DS installation, want to addle their brains with technical detail?

The answer, I discovered, is that even though those who attended were not techies, they had a number of technical concerns they wanted to address before they would be prepared to embark on the journey into digital streaming. Is my home network good enough to support a DS system? Is it worth paying for a NAS when much cheaper hard drives are available? How will I control a DS system and will it be easy?

Using a laptop connected to a giant screen, we went step-by-step through the installation and setup of a NAS, how to rip a CD, ways to install a high quality DS system without having to rip your walls apart and, finally, how to browse and select music using a simple control solution. On this last point, Linn's new KinskyDesktop was demonstrated, showing an easy way to drag and drop an album cover on-screen into the playlist to play the full album. The common desire was to make digital streaming at home as familiar as playing a CD but with more convenience.

Once this became evidently possible, the mood in the room noticeably relaxed, the tone of the questions was less anxious as people started to think about their specific requirements, and worry less about the technology itself. It reminded me how anxious I felt when I installed my own DS system at home - I think I needed to see it work consistently for a few weeks before I stopped worrying that I'd get an angry call from my wife telling me that the hi-fi had stopped working.

Since Linn DS was introduced in 2007, there have been a variety of simplifications and innovative new possibilities by Linn and others to make the transition from CD to DS a seamless and painless transition: NAS drives that automatically rip CD's to high quality digital audio files; DS control software for PC and Mac users (even in the same home) that showcase the album cover artwork and mean that any album is only a click or two away from playing; ways to control DS from handheld gadgets like the PDA or iPod Touch; the ability to use a universal remote control with DS.

Whatever the individual issues or concerns were of Chris Brooks' customers, the musical performance of Linn DS was not in doubt. Once you get comfortable with the ideas behind this groundbreaking technology, it hopefully becomes clear that you can access it simply, and enjoy the music without being bamboozled. 

Chris and his team, and his customers, were delighted with the event. Because it was arranged at fairly short notice, many who would have liked to have attended couldn't make it, so Chris tells me that they will run a similar DS workshop in a month or so's time.