The brief for Linn's new Majik DSM one-box system was simple. "It's the distillation of the best that we can offer", says the company's Joe Rodger. "It sets the benchmark for all-in-one digital music players, both in build and sound quality." In other words, if you boiled down all the company's design philosophy, technology and electronics know-how into one compact box, this is what you'd get. "We wanted to create an accessible yet top-quality product that bore more than a passing resemblance to its much more high-end siblings in our Klimax and Selekt ranges", he adds.

This new DSM version is far from being the first Linn single-box system. Arguably, the spiritual inspiration for this product is the Majik DS-I, an integrated streaming amplifier launched in 2009. There have been various Majiks since then, including the first proper Majik DSM, which came in 2012; the second generation was launched in 2015, the third in 2018, and the fourth in 2020. This 2025 model is said to perform better than them all. It's recognisable to the eagle-eyed by the slightly curved aluminium sheet sleeve, which is unique to this model and visually differentiates it from Selekt and Klimax DSM from a distance.

This new combined streamer, preamplifier, DAC, and power amplifier shoehorns Linn's audio design expertise into one compact package. Think of it as a 'one-stop-shop' for all your digital music needs and some of your analogue ones, too – for that matter. It has the same core feature set as the flagship Klimax DSM, with 24-bit/384kHz PCM and DSD256 functionality. There's a surprisingly wide range of digital and analogue inputs and outputs, including new (for Majik DSM) eARC connectivity, plus a dedicated subwoofer out and an Exakt Link socket to ensure future-proof compatibility with whatever Linn launches in future that communicates over its proprietary protocol.

As you would expect, the new Majik DSM shares the company's contemporary design language with Linn's signature cut-glass rotary control dial and aligned front foot. This gives the impression of a cylinder running through the front of the product, top to bottom, from the frontal aspect. The quality of satin-finished, powder-coated aluminium casework is excellent, and the front display looks crisp and classy. The unit is made at Linn's iconic Richard Rogers-designed factory in Glasgow, UK, to a very high standard, given its reasonable price.

UP CLOSE

Joe Rodger explains, "All our key technologies have been trickled down from our higher-range products—either directly implemented or scaled down—for the Majik DSM. The phono stage is the lovechild of Urika's development; the amps are directly related to the first Class-D amps we made back in 2018 for Selekt DSM, and the DAC is derived from Katalyst, which featured in second-generation Klimax DSM, Selekt DSM, etc. We think of it as the accessible best of Linn."

At the product's heart is Linn's Class D amplifier circuit, which gives a claimed 50W RMS per channel into 8 ohms, and twice that into 4. Taken from the power amp cartridges in Linn's mid-range Selekt DSM, it incorporates a post-filter feedback loop which self-regulates the output, reducing distortion and noise, the company says. Although based around Texas Instruments amplifier modules, the accompanying circuitry is all designed in-house. Likewise, the preamp section and phono stage are Linn's own; interestingly, both moving magnet and moving coil sections are offered, which is highly unusual in a one-box system.

The DAC section uses highly regarded AKM converter chips allied to in-house upsampling and clocking—plus all the accompanying circuitry. The power supply is a Linn-designed and manufactured switched-mode type. Given its long-term use of switching power supplies, this company probably has more experience with them than any other specialist audio manufacturer.

The Majik DSM has been designed with usability and versatility in mind. The accompanying Linn app is excellent and gives access to all functions, including streaming services, input selection and configuration settings. The supplied remote controller duplicates most of this functionality and includes assignable 'shortcut' buttons. As you'd expect for a product of this type, it has been designed to be as fuss-free as possible – and so it proves. Whether using your Blu-ray player through it, streaming hi-res music from Qobuz or TIDAL, or using AirPlay 2, Bluetooth or TuneIn radio, the little Linn doesn't disappoint.

The large frontal monochrome display makes it especially pleasant to live with. It shows full track details, or the volume selected, the source being used, the sampling frequency of the DAC, and so on. The menu system gives access to a welter of facilities, including Linn's own Space Optimisation room correction software. The icing on the cake – so to speak – is the top-mounted rotary volume control, with its silky-smooth action and subtle illumination. It's useful to note that Linn writes all its own control software, and the company runs a continuous programme of free updates that bring performance enhancements.

For the purposes of this review, I used Linn's 119 loudspeaker (£2,500 if bought separately or £6,800 as part of the Majik 119 system bundle) alongside several other pairs I had to hand. This compact, 2-way passive standmounter (above) is a recent addition to the company's range and sports a 20mm tweeter with Sonomex dome and ferrofluid-cooled voice coil, plus an electro-formed Linn logo tweeter guard. The 200mm mid/bass driver uses a large-excursion Nextel-coated paper cone. Both drivers are mounted right at the front of the baffle to maximise dispersion.

The 191x328x241mm [WxHxD] cabinet weighs 7.15kg, has a rear-mounted bass-reflex port, and has two pairs of loudspeaker binding posts. Linn says the 119 has a frequency response of 50Hz to 20kHz (+/- 6dB), a quoted sensitivity figure of 86dB and a nominal impedance of 4 ohms. Based on this, it's fair to comment that this loudspeaker is not especially easy to drive – and requires a robust solid-state power amplifier with good current delivery. Needless to say, the Majik DSM had no problems whatsoever, though. The 119 comes in a range of high-quality finishes comprising walnut, oak, black, and white.

THE LISTENING

The Majik DSM's defining characteristic is its entertaining and engaging sound. Like all modern Linn electronics, it combines a smooth, even tonality with an expressive and supple style of music making – with oodles of detail thrown in. Rather than trying to present the recording in a particular style – i.e. warm, rosy and romantic – it steps out of the way to let the music do its own thing. What's surprising is just how accomplished it is at this, given its price. Indeed, it's hard to see how a well-chosen separates system of a similar cost could do better.

Every Linn one-box system I've auditioned, right back to the original two-channel, CD-based Classik Music System launched over twenty years ago, has had a spry and crisp sound packed with detail. Yet it isn't analytical, because the music's natural flow is very well conveyed, as are dynamic accents. Across all its many inputs, the Majik DSM follows precisely this pattern, as you'll hear if you play some well-recorded classic rock through it – such as Fleetwood Mac's You Make Loving Fun.

Written and sung by Christine McVie, it's dominated by her rhythmic Hohner Clavinet playing that gives the song both an infectious groove and a lovely texture. This track can seem tedious and workmanlike on sub-par sound systems, but the Linn digs deep into the recording to bring the rhythm and melody into sharp relief. The subtleties of her keyboard work and her sublime vocal performance are apparent for all to hear. The recording sounds fresh and alive via this system – almost as if it were laid down last week. While the 119 speakers do need some watts to get going, once the Majik DSM is turned up, things sound powerful and emotive.

The Majik DSM is also very good at recreating the spatiality of a recording – as the way it delivers Roxy Music's True To Life shows. Released just five years after the Fleetwood Mac track, this has an even more polished and atmospheric sound. That's thanks in no small part to the lush, ambient textures of Bryan Ferry's Roland Jupiter-8 synth work, plus, of course, his dreamy, crooning vocals, and Phil Manzanera's distinctive guitar playing. The Linn system frames everything very accurately, locating the instruments in the mix with pinpoint precision. Stage depth is surprisingly good, too, with some elements of the mix appearing to hang well back behind the loudspeakers.

Tonally, you would never call this system bright. It has a neutral, studio-style sound that doesn't unduly boost bass or sweeten up treble. That's why it's such a joy with superbly recorded programme material like Zero 7's Destiny – a standout moment of the British downtempo scene twenty years ago. The song's Anglo-Australian vocal duo – Sophie Barker and Sia Furler – use their voices to significant effect, and the Majik DSM reveals this in all its glory. Seamless across the midband without a hint of hardness, it nevertheless sounds delightfully intricate. At the same time, the walking bass guitar line is taut and solid yet never overpowering. Up top, the hi-hat cymbals are subtle and delicate, yet there's enough clarity to fully convey the track's atmospheric feel.

This innate balance makes the Linn system commendably music-agnostic. By this, I mean that you can play the grunge guitar fest that is Nirvana's Come As You Are from an old CD or the lilting orchestral tones of Beethoven's 5th Symphony – in this case, streamed via Qobuz in hi-res – and you get equally satisfying results. There's no particular sense that this system is great for electronica but poor with jazz, for example. And therein lies the beauty of the Majik DSM – as a music retrieval tool designed to unlock recordings from all eras, and on a multitude of formats, it is most impressive.

The phono stage is no afterthought. David Bowie's Ashes to Ashes is one of the Thin White Duke's iconic mid-period moments, with a weird off-kilter groove, a strange processed Wurlitzer organ riff and jagged electric guitar. The Majik DSM reminds you just how good vinyl can sound from a decent turntable, with an impressively intricate and open sound devoid of hiss or hum. The Linn captures the song's manic mood with great skill, pulling the listener right into the mix and letting them get lost in the music.

Even though the Majik DSM works great with Linn's own 119 loudspeakers, they're not compulsory. It drives everything from big Yamaha NS-1000M monitors to tiny Wharfedale Diamonds without complaint, proving that this system's smoothness isn't just down to the sophisticated-sounding 119s. Indeed, the Linn's grippy and articulate nature flatters less capable loudspeakers while allowing it to be used with designs that are more expensive than you might expect.

THE VERDICT

The appeal of this system isn't difficult to figure out. Regardless of whatever digital or analogue music you play, it serves up an open and engaging sound that lets the recording's flavour food out. At the same time, it never appears harsh, or lacking in power to get the job done. All this is delivered by a super-slick user interface, from a compact box that takes up precious little real estate in your listening room. Thumbs up then for this latest little Linn box – the new Majik DSM turns out to be rather aptly named.

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