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
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.
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
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
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.
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 ...
<<"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
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
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....>>.
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"
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
Rob Van Bergen
<< 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
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
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
Peter P. , Kortenberg
Less than a month ago I became the happy owner of a set of
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
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
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
Where with the previous speakers the sounds flowed into each
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!