Even apparently non-symmetrical elements like the RCA inputs of the phono stage don't undermine the symmetrical harmony. LinnenberG turn the RCA cable's ground into the counter-phase signal leg which in effect becomes a symmetrical extension of the balanced cartridge signal into the fully balanced input stage of J.S. Bach. This means that even over the RCA input the cartridge only 'sees' the selected impedance termination, naught else. The same über-alles approach applies to dual mono. For the phono stage this means barely measurable cross talk because it occurs well below the noise floor. A 1 millivolt signal amplified x 70dB generates cross talk suppression better than 75dB.

Top-quality discrete is the motto for Ivo Linnenberg's parts selection process. This applies already to the models of his smaller range but goes extreme in his bigger kit. For J.S. Bach it means so-called bistable gold-plated relays whose anchor remains in the chosen position without a power supply to generate the magnetic filed which maintains the switch state. This eliminates the relay's negative influences on the signal path. J.S.'s input stage runs paralleled twin Jfets which attenuate noise by not loading down the source. Also, no DC can flow between phono stage and cartridge in either direction. That eliminates any and all magnetization of the pickup. Ivo's ultra-precise resistor networks operate with maximally 0.05% tolerance and 0.2pmm/°C thermal stability across their life span. The same attention applies to the casings. Both Sir Georg and Johann are box-within-box constructs. Their outer chassis conceals an inner mu-metal casing which shields against static magnetic fields. Inner/outer box decouple by intermediate layer of specialized foam. This gets us at the heart of the LinnenberG credo: precision, speed and bandwidth.

The company claim RIAA reconstruction down to 0.2dB precision. Their compensation filters work between the symmetrical stages so neither does signal flow to ground nor do ground currents influence the signal. "Circuit ground is an idealized so only theoretical reference. In the real world, circuit-trace impedance in the mΩ range and auto induction assault the ground potential between junctions. It's supposed to be the same but in actuality isn't. No machine is more sensitive to this than a phono stage. Now it is highly advantageous to stay clear of the ground as much as possible. All our frequency-dependent filters work between stages possible only with uncompromised symmetry." Georg Philipp Telemann is no slacker either when it comes to impressive specs. His slew rate for a 2V signal rise is 35ns. Since bandwidth affects speed and vice versa, the former is a massive 3.5MHz. Where competing designers might claim overkill, Ivo Linnenberg insists that the result "is higher transparency, less grain and more music."

Unlike his smaller Bizet phono amp, J.S. Bach accepts MC and MM signal then packs into the same threads as the stable's top DAC/pre. At 25.6cm they're a bit wider than their 21cm height but at 44.2cm quite deep. Rather than feel limited by standard dimensions, Ivo Linnenberg pursues shortest possible circuit paths so their layout informs his final form factors. The aforementioned bistable relays aren't just good for sound. They enabled the machine's convenient user interface where all adjustments are made with frontal buttons and without engaging 'mute' or requiring power cycling. One can freely change inputs on the fly, adjust gain from 50 to 60 to 70dB or adapt the termination resistance at 40, 100, 300, 1'000 and 47'000Ω. Naturally your configuration writes to memory so is remembered through standby, even complete power off. This logic is even clever enough to only allow the 47kΩ setting after gain has been set to 50dB to correspond to MM or high-output MC. I'm personally grateful also when designers consider the safety of connected gear. So J.S. Bach integrates a 12dB/oct. 7Hz rumble filter to remove infrasonic potentially dangerous frequencies.