You’re invited for an interesting reading in the latest interview with Ivo Linnenberg, the proprietor of LinnenberG Audio from Germany.
Tell us about the background and how it all began.
Thanks for giving me the opportunity to introduce the company to our readers. Let’s start with the basics: Official start was in summer of 1994, so in 2024 there will be the 30th anniversary. The first product POWERDAC, more or less at the same time as Wadia did it. Why I mention this? Because this initial product defined the field of activity in which work is carried out even today (DAC, power amplifier, preamplifier). Back then, phono was pretty much out!
How about manufacturing?
Each device is assembled by hand and then extensively tested. This is a very time- consuming production method; SMD components have been used for 15 years. These parts are not really suitable for manual assembly; but for reasons of space saving – I use very extensive (discrete) circuits, these are necessary. In addition, access to the most modern components is only possible with such parts.
Made in Germany?
The focus is on regional or German suppliers; this doesn’t work with semiconductors – but it does with passive components: Wima, Frolyt, Beyschlag, Vitrohm, EPCOS, Schurter, to name just a few. All mechanical parts (heat sinks, aluminum housing parts, etc.) are sourced in Germany.
Is there a common, recognizable sound quality for all products?
Yes, there were a variety of devices we offered in all these years, always tailored to the current needs of customers, but the basic focus is always the same, no matter what price range we are in.
Does it all start with the usual story that piqued your interest in audio?
Always the same story? No not at all. Building your own audio equipment didn’t happen out of dissatisfaction with what you could buy, but out of a lack of money! I started crafting at the tender age of 13. The topic was radio, or more precisely: FM tuners. There is a lot of free music here, and it was in much better quality than today. LPs were way too expensive for pocket money. At this point the enthusiasm was already there. Or: the virus had already taken hold of me.
First encounter with hi-fi?
The late 70s was the time when my hi-fi socialization took place. I still know the tone controls, the contour switch (volume), many functions, connections (inputs and outputs) for everything; speakers with wide baffles on which many drivers were distributed, with a sound distribution lens (diffuser), with huge midrange domes, etc. Why am I telling you all this? Because, then – around 1980 or so – “high end” came along and that was a real game changer, at least for me. All unnecessary bits and pieces suddenly disappeared; the new stuff sounded great. The circuits weren’t any better as before, even if the protagonists liked to claim that at the time, but the flood of features had leveled everything out. This new era completely captivated me.
What is your technical background, and what is the philosophy of LinnenberG Audio?
I also completed a university degree in electrical engineering. This gives me an insight into our hobby, which is influenced by science. However, I pursue things with a certain “extremism,” meaning that every stone is turned over several times until every aspect (especially sound quality) is taken into account. We don’t want to please our instruments, but our customers’ ears. So, the basic idea from the 80s is the one that I still follow today and that I think is the only right way. Maximum transparency, freedom from distortion, openness, airiness. Attributes that are at the top of my agenda.
What would you say you don’t like about hi-fi equipment?
What I don’t like are devices that are supposed to make the music sound “prettier”. In my personal HiFi story, the sound medium, whether CD, record, cassette, file, is the measure of all things. Exactly the copy, that was originally approved by the artist. Therefore untouchable. This means that as soon as the mastering is completed, we have the original. This has nothing to do with faithfulness to life sound, because even with symphonic music the sound impression varies from listening location to listening location. When it comes to modern music, there is no real, unamplified life sound. We have to help ourselves (at least that’s how I see it) with the auxiliary construction that the sound carrier is the original. What is there should be reproduced with maximum depth.
Symmetry and balanced signal paths are often discussed, with quite opposing views. What is your opinion on this? Tell us about the background and how it all began.
The term “symmetrical” or “balanced” is the most misunderstood technical term in the audio industry. From my personal experience, no dealer, no customer really gets to the point where the whole thing makes sense to them. So, what is it? Roughly speaking, the signal goes into an audio device with 2x signals in opposite phase (one conductor is as positive as the other is negative) and comes out the same way. That would be the usual explanation that only leaves the customer with question marks and therefore the matter is not given the importance it deserves. In short, all efforts have only one goal: to make the signal independent of the noisy circuit and earth ground. What sounds simple, however, causes considerable additional effort.
Switch mode power supplies!?
Switch mode power supplies have been used in our gear for 3 years now. For good reason. The interference spectrum from conventional power supplies extends over the entire audible range, starting from the 50/60 Hz mains frequency. The magnetic field (i.e., the residue that emerges from the core) can hardly be shielded. You often see shielding made of aluminum in hi-fi devices, but these have exactly NO effect. Even walls made of iron are of next to no effect. On the contrary, they bundle the field lines. Switching power supplies only emit radiation above approx. 100kHz. This can be shielded and electrically filtered very well. Note: Class D power amplifiers are switching power supplies without filter measures.
How about noise and distortion?
As already mentioned, I’m not a big fan of HiFi devices that have their own sound. Where does a certain sound character come from? Mostly these are distortions or other imperfections. Distortion (although a harsh word), especially in the form of harmonic distortion, doesn’t sound bad at all! Jamiroquai’s keyboard player Matt Johnson uses a lot of FX devices to make his playing more distinctive and audible during a live performance, whereas it would sound awkward when playing solo. Distortion can significantly enrich the sound through compression and emphasis, but has the disadvantage of masking the content and always giving the sound the same flavor. You also don’t want to season your food with the same mixture of spices! That’s why we want pure sound that shows you the character of the music being played.
Tell us more about your product range.
Yes, I haven’t talked about our products yet. Firstly, I’m not a marketing guy and secondly, quoting the brochure and listing the features is boring for the reader. Without comment, it is exactly the same list as all other manufacturers claim. No, I want to focus on the why and how. You can be sure that all of the above aspects have been taken into account in our products. Currently I’m concentrating on a pair of power amplifiers, the HÄNDEL monoblocks, the TELEMANN preamplifier and finally the BACH phono stage. Without exaggerating, these are state-of-the-art products if you like to listen to music in an uncontaminated form, just like I do. Hiding nothing but never sounding analytical.