Linn Majik DSM (5th Generation): A First Listen – Unboxing Musicality
Our initial encounter with the freshly arrived Linn Majik DSM (5th Generation) has proven to be a thoroughly engaging and impressive experience. This “not so entry-level” one-box system has demonstrated a remarkable ability to draw the listener into the heart of the music, regardless of genre or recording quality.
Our audition began with the highly anticipated 35th-anniversary vinyl release of Tracy Chapman’s self-titled debut album (Elektra Records). Being sourced from the original analog master of the digital recording, the analog pressing showcased an immediate sense of presence and detail. On “Talking ’bout a Revolution,” the attack and subtle nuances of Chapman’s guitar work were strikingly apparent, effortlessly conveyed by the Majik DSM. The emotional weight of her voice resonated with clarity, pulling us in and compelling us to listen to the entire side. The system’s ability to extract such detail and emotion from the grooves was captivating.
Moving to another recent re-release, we explored the recent studio master quality release of Pink Floyd’s “Live at Pompeii” (Rhino Entertainment Company) via Qobuz. This recording, newly re-mastered by Steven Wilson and capturing the band at their peak in the unique acoustic environment of the ancient amphitheater, is a demanding test for any system. The Majik DSM truly shone here. On “Careful with That Axe, Eugene,” Nick Mason’s precise high-hat timing was palpable, while David Gilmour’s guitar releases and Roger Waters’ deep bass sustain melded together with breathtaking realism. The system painted a vivid sonic picture, placing us squarely within the virtual audience. The interplay between the instruments felt organic and perfectly timed, building atmosphere that was at times humorous and then suddenly unsettling. As the track progressed, the Majik DSM effortlessly handled the transition to soaring guitar solos, maintaining a solid and perfectly timed bass foundation. Its ability to convey both the raw power and delicate nuances of this recording was genuinely impressive.
Finally, we turned our attention to a less mainstream but equally rewarding recording: Samuel Coleridge-Taylor’s Piano and Clarinet Quintets performed by the Nash Ensemble on Hyperion (CD, CDA67590). While the Nash Ensemble is renowned for their interpretations of Brahms and Dvořák, we opted for these compelling works from a late 19th century composer inspired in turn by those slightly earlier composers. The opening of the Piano Quintet in G Minor immediately grabbed our attention with its engaging melody, beautifully introduced by the piano. The quintets are not concertos whether piano or clarinet and the Majik DSM expertly captured the tonal richness and precise timing of the subsequent interplay between the piano and the string quartet. The string accompaniment, particularly the evocative cello in the Larghetto, painted a sonic landscape that hinted at Coleridge-Taylor’s British environment. The Majik DSM effortlessly presented the additional scope and musical interest inherent in these pieces, particularly the Piano Quintet, allowing the listener to fully appreciate Coleridge-Taylor’s unique voice.
Our initial listening session with the Majik DSM has left us with a strong positive impression. This one-box system demonstrates a remarkable ability to handle a diverse range of musical styles and recording qualities with aplomb. It manages to convey both the power and the subtlety within the music, drawing the listener in and revealing layers of detail that make for a truly engaging experience. Its ability to seemingly pair well with any speaker, delivering both force and delicate nuance, is a testament to its well-engineered design. For those seeking a high-performance, integrated solution that belies its (not so) entry-level status, the Majik DSM warrants serious consideration. We eagerly anticipate further exploration of its capabilities.