The new K100 model is groundbreaking in many areas
It delivers maximum performance in a minimum size.
The beautiful design of the cabinet, based on the LINK B600 model designed in 1991, is made up of a milled multi-layer sheet of Finnish birch.
The spherical shape of the cabinet creates a 
perfect unhindered sound dispersion. 

As a result, the soloists and their musical instruments seem to be located freely in the space between and around the speakers.

The poliform interior of the cabinet and its variable wall thickness suppress any standing wave within the cabinet volume and coloring resonances in the cabinet wall. 

Speakers are not musical instruments and may not add their own tone to the original musical signal.
The only thing that may vibrate are the diaphragms of the speaker units.
It is also not the job of the speaker manufacturer to compensate for any shortages in the recording or the hi-fi set.

The LINK K100 model involves you in the 'live' aspect of the music event and shares that characteristic with the best high end speakers regardless of size and price, which is why the K100 model has a phenomenal price/quality ratio.


Technical data

Two-way system 
Bass mill unit with carbon/paper mix cone
Alu/magnesium dome with ferrofuid attenuation
Phase Purifier Pure Pulse Control Filter
Cupboard : made of multilayer Finnish Birch 
with variable wall thickness between 21 and 40 mm
Finishing : semi-matt clear environmentally friendly varnish.
Load capacity : 80 watt r.m.s , 160 watt peak power
Frequency/amplitude curve : 35 -22000 hz +/-1.5 db 35 Hz - 5db roomloaded
Impedance : 6 Ohm average
Efficiency : 86 dB/1 watt/1 meter
maximum sound pressure level 1 meter = 106 dB
Dimensions : H 310 mm D 400 mm W 220 (max)
Weight : 12 Kg

ECO
Product

The K100 model is a nature friendly made. The construction uses birch plywood from specific fast growing forests and the glue and varnish are water based.
 

User experiences

Luc Struyven

When I first listened to the LINK K100 speakers at Wim Vanderstraeten's home, I didn't know what I heard, and especially what I didn't hear. Compared to the K100, the music reproduction of other speakers is simply reduced to a single mash. With the K100, the music sounds like a lively, full and coherent interplay without any blurring between the sounds of the different instruments. I now also realize that I have spent years listening to music recordings where the musicians were, as it were, hidden behind a thick curtain without being aware of it. With the arrival of the LINK K100 speakers, someone has finally had the ingenuity to slide the curtain completely aside so that the musicians' play can be heard in all its splendor.

Another wonderful sensation is that each voice or instrument is reproduced with the liveliness, power and intensity that the musicians put into the live game during the performance in the recording studio. The music doesn't sound sterile or flat, but animated, organic and warm (which doesn't alter the fact that when listening to certain compositions there are chills running down your spine). The sound dynamics of the K100 are truly phenomenal; instruments sound loud or soft depending on their natural nature and the way they were played during the sound recording. Listening to the CD Balades éphémères by Massot-Florizoone-Horbaczewski, with its unusual combination of tuba, chromatic accordion and cello, nicely illustrated this for me (Tuur Florizoone had indicated to me earlier that this music is not easy to listen to optimally). It has to be said, though, that I had the most intense goosebumps when the CD Donnersöhne - Music For St. James The Apostle by ensemble Sequentia, a series of polyphonic chants of the 12th century Codex Calixtinus from the cathedral of Santiago de Compostela, was imposed on me: at night in pitch darkness with all the lights extinguished and the volume knob wide open I experienced egg so after a transcendent sensation. I imagined myself on the spot in the cathedral while the music was omnipresent and at the same time seemed to come from nowhere; I really felt immersed in heavenly atmospheres.

In addition to their sublime reproduction characteristics, the LINK K100 speakers also have a striking compactness and unparalleled aesthetic design. One last remarkable fact is that the LINK K100 speakers are an entirely traditional and Belgian product. It's hard to believe that with the LINK K100 in our relatively insignificant country, such a world-class product in the field of hi-fi audio has been developed and is being built!

As far as I'm concerned, the K100 speakers are the nec plus ultra in the field of acoustic experience in the living room ...

Stefaan Baert

guitarist

<<"You have <<"You may have already experienced looking out through a large window and feeling that there is no window at all between you and the outside world.
Well, for me that feeling corresponds to listening to music through Wim's K100 speakers.
This creates contact with the performer(s) themselves. You hear the slightest inflection of the voice, change of timbre, and the admiration for technique and quality of the performer increases enormously.
Also, when listening through the K100 speakers it becomes clear what quality recordings can do to a person.
If it can be described in words, for me the English "Pristine" (pure, untouched) qualifies.
Thank you Wim!

Vincent Goris, Leuven

Pianist and Composer KLARA

"Music begins where the word ends". I don't remember where this statement came from, but it is apt to describe the K100 speaker. Words are just not enough to list all the positive features of this speaker, and I can say nothing more than to listen to this speaker first. One of those positive qualities I do not want to withhold from the reader: from the first listening I noticed that this speaker succeeds with a natural ease not to put itself in the foreground, but to leave the word to the music. As a musician who sees himself and his instrument as a means to let the music speak. Pure class for me, not to mention the incredible design...


Pierre Jolie, Destelbergen

<<It's lifelike! You hear everything. It displays mercilessly correctly everything that was recorded (also via FM radio). You hear a clear difference between the quality of the various recordings, not only that signal but also in terms of placement of the micro's e.d..... Each instrument comes into its own and you hear things on your recordings that you never heard before (some pizzicato's, triangle,...). The dynamics are also impressive. The percussion in symphonic works is phenomenally lifelike and powerful. It makes you jump off your chair! There is never any distortion, no matter how loud you set the installation. One tends to set the music just as loud as the experience in the concert hall. The other day I had a visit from my brother-in-law. He is a horn player in a large internationally renowned symphonic orchestra. He has spontaneously set the music as loud as it sounds inside the orchestra. Also in the other places of the house you can hear the music crystal clear. It is as if music is really being played. It is unbelievable what comes out of those relatively small K100 boxes with only two loudspeakers and I can hardly think how it can be improved....>>.


Wim Joos

Drongen

After your very valuable help in putting together and upgrading my entire setup, it was finally the turn of the speakers.
After years of listening to man-sized hi-fi speakers, I decided to go for music.

Since a few weeks I have my own K100's. Although I had heard the K100 and K50 several times during the selection of my other equipment, the K100s still exceed my expectations. The musicality and neutrality with which everything is reproduced is truly unsurpassed. The exact placement of the music in 3D borders on the unbelievable. I no longer listen to woofers and tweeters, but to instruments, vocals,... music. I would rather label the K100 as an instrument, not a loudspeaker.
The K100, an instrument that succeeds in reproducing the emotion and music of the recording. A gift that few speakers have in them, regardless of the price range.
The reproduction is so precise that you can really perceive the timbres of the instruments. This is the first time I have experienced this with a speaker. Such characteristics are world-class. As far as I'm concerned, the bar for the competition is a bit higher again.



Johan Strypsteen , Leuven

"The LINK k100 speakers are a true revelation. From the first minute they caught my attention. Three hours later, when we regretfully ended listening, I knew it wasn't because of some inexpensive effect. We could have gone on for hours discovering music through these transparent speakers. This seems to me to be their main feature: they bring you in direct contact with the music. "Open", "fast", "dynamic" are descriptions that have to do with that. But also: "precise timbres". The kind of speakers where you can let your attention blow over the whole thing to occasionally pick out a performer (instrument), depending on your "mood" or on what you suddenly notice, just like a "life" performance.
Finally, it may also have had something to do with the setup (close-by listening) but often I had the impression of hearing from the privileged place of the recording engineer, or the conductor".



Rob Van Bergen

(saxophonist,NL)

<< What an experience. I have listened with Wim to numerous recordings, of very diverse nature; classical piano music, Sonny Rollins, Kooyanisqatsi, old recordings and new ones, vocals, double bass, percussion. Wim wanted to know what I think of his loudspeakers as a musician.
So I listened attentively, critically, almost looking for deviations. As a musician you hear instruments all day long and there is always a difference between a live sound and a reproduction of a sound, I'm not fooled in that respect. I always hear if someone is honking in my ear or if there's a sound system in between, or more. A sound system, an amplifier can color sound quite often, vinyl crackles of course, the speakers color or usually limit the flow of sound. I didn't notice any of this during our listening session. I got the strange sensation that the music was behind a half permeable screen.
We can hear the musicians but they can't hear us, we can't see them, but they are very close. But not really in this space. What is the difference ? I once heard tape noise, that must be an old recording, not digital. A few times I heard the limitations of the microphone used in the recording. As if you look through a keyhole, not everything is on the tape. With some instruments I heard the limiters, the sound pressure was not right of course. When Sonny is honking his horn two meters away from you, you can feel your glasses shaking on your nose of course.
After some time I started to notice that the imperfections I heard, the anomalies compared to the real instruments, were actually all at the back of this imaginary screen. The loudspeaker ruthlessly exposed everything, the limitations were actually always in the recording technique.
The speakers are good, very good. When can you use the word perfectly? ..>>

Peter P. , Kortenberg

Less than a month ago I became the happy owner of a set of beautiful K100s.

After the installation Keith Jarrett put in his Bye Bye Blackbird and I was immediately overwhelmed. I got tears in my eyes and, just to be clear, not from misery. What a difference with the Regas. I had drawn the curtains behind the speakers and asked my wife what she thought of them. Her answer: it looks like the musicians are behind the curtains! Although I thought I saw them before the curtains.

Moments later I had Melanie De Biasio perform a few songs. In short: pleasing to the ear, it almost seemed like a live performance in our living room. Is this the virtual reality for audio?

In the meantime, the speakers have reacted with some remarkable experiences. In a previous life I played the piano. As an amateur it is true, but I know what a piano sounds like. I was always disappointed when I heard piano work through a sound system. It almost seemed as if the proper reproduction of the typical timbre of a piano was an impossible task. Recently I heard Abdullah Ibrahim's "The song is my Story" at work via my K100's: improbably true to nature! With our eyes closed, there was another piano in our living room. Finally the timbre of a piano. I gladly took the sounds of Ibrahim's efforts.

Another surprise was Grieg's Peer Gynt Suite. I still had an old recording (1972) that I had put aside after purchasing a recent recording. With the K100 I have to turn it around. The old recording sounds incredibly beautiful.
Wim had warned me: I will have to do a re-evaluation of my CD collection.

Another remarkable thing with the "The Organ of Bach" by Blindman. The organ music here is played by a quartet of saxophones (soprano, alto, tenor and baritone). In a neighbouring room I noticed how these 4 saxophones still sounded perfectly as individual instruments and created the illusion that, although of course there was no stereo image, I thought I could hear the instruments playing on different positions in the living room.
Where with the previous speakers the sounds flowed into each other earlier.

Besides the ears, the eyes are spoiled as well. However, my wife was a bit surprised about the dimensions when she took them out of the car. Indeed, when viewed from the side, they are impressive. I saw a "as long as it comes right in the sitting area" in her eyes.
Once placed she talked about decoration.
They give me the impression of a beautiful instrument.

Wim, you have made another customer happy, thank you for that!