Citation16, how do you put a new arm on the Technics?
Review: Technics SL-1200Mk2 Turntable
Category: Analog
If you’re reading this, you’re likely wondering one of two things. Why would a lowly DJ deck be evaluated alongside “serious” analog gear? Or, number two: Is the recent positive buzz on Audiogon and the web about this venerable disk spinner merited?
The first question is easiest to answer. That’s because the Technics SL-1200Mk2 wasn’t originally intended as a DJ machine. It was unveiled in 1972, years before the arrival of hip-hop and disco. At that time, the Sugarhill Gang was still in junior high and Ian Schrager was selling steaks on Long Island. No, the original Wheel of Steel was billed as a premium turntable for home use that combined the performance of Technics’ pioneering (armless) SP-10 broadcast ‘table with the convenience of an integrated tonearm.
The second question – whether the SL-1200Mk2 deserves to stand alongside the likes of Rega, Pro-Ject, Music Hall and other ‘audiophile’ designs – is a bit trickier. But I’ll do my best.
WHERE’S THE BELT?
True…the SL-1200Mk2 is a direct drive design. For many people, that means it can’t possibly be any good. And those people would have a point. Most Japanese mass-market direct drive ‘tables were pretty lousy. But for the most part, the direct vs. belt drive argument is tiresome, mainly because there are good and bad examples of both designs. Technics, Kenwood and Denon produced a number of prized direct drive units that command respect to this day. Denon in particular continues to build highly competitive direct drive ‘tables – beautiful, gorgeous-sounding machines like the new DP-500M.
Also true is that direct drive ‘tables can sound a bit bright compared with belt drive models. Those who care to analyze the phenomenon attribute this to the fact that, in the case of Quartz-controlled models like the SL-1200Mk2, the circuit is constantly hunting for the perfect speed without success. The resulting jerky micro-variations in speed impart an edgy character to the sound. Then there are the motor vibrations that are inevitably transmitted through the spindle and to the platter.
Of course, belt drive on a budget has drawbacks of its own. Speed variations are sloooower, but manifest themselves as audible and annoying warbles in pitch. Also, critics claim certain ‘tables (Regas in particular) tend to run about 1% fast – enough to audibly alter timbre, if not pitch. And don’t forget, belts transmit variation too. There’s really no way to completely decouple a motor from the plinth and platter (unless you use an air drive or something) though clever design – as on the Music Hall MMF-7 – can help minimize any undesirable effects.
I suppose turntables are like cars: some people love rear wheel drive, others prefer front wheel. I wouldn’t choose a car based solely on which end the tranny is connected to. Likewise, I wouldn’t discount a turntable based on how it gets the platter spinning. So on to the next issue…
QUALITY
The Technics SL-1200Mk2 is built like a bank vault, weighing in at over 26 pounds. Heavy gear isn’t necessarily better sounding, and lightweight gear isn’t necessarily garbage. One thing’s for sure: the SL-1200Mk2 is the only $550 turntable on the market today that stands a chance of being handed down to my grandchildren. Mine may even outlast the format entirely. This is an heirloom product, the only one in its class as far as I’m concerned. Parts are widely available and affordable, so the SL-1200Mk2 could well be a lifetime investment.
The reason Technics can afford to offer such a well-constructed piece of gear for such a reasonable tariff is simple: the tooling is paid for. Just as Rega wouldn’t likely be able to create a cost-effective tonearm in the digital age, Technics surely couldn’t design and build the SL-1200Mk2 for $550 per copy in 2004. (You’ll find a more involved thesis on this at www.kabusa.com which, though laced with salesmanship, is mostly right on the money.)
The Music Hall MMF-2.1 (which I owned) and the MMF-5 (which I auditioned) can’t hold a candle to the SL-1200Mk2 in terms of quality. Neither can the lower-end Thorens turntables: the TD170, TD 185 (which I also owned) and TD190. My beloved Rega P2 is a higher-quality unit than any of the Music Hall or Thorens models, but next to the Technics, it feels like origami. Plus, the P2 arrived with a few minor quality control gaffes (broken dustcover hinges, etc.) that I had to correct or replace. The Technics, which is mostly hand built in Japan to this day, was 100% perfect out of the box save for a tiny scuff near the pitch slider. Impressive.
OPERATION
Here’s where the Technics stands head-and-shoulders above, well, everything else. Virtually every control has a positive, very expensive feel (except the pitch slider, which feels a little ‘scratchy’ as it moves). Tap the ‘start’ button and in 0.7 seconds, the platter is up to speed. Tap it again and it stops just as quickly. Adjustable electronic braking can bring the platter to an even quicker halt if for some reason one second isn’t fast enough.
The platter weighs five pounds and is damped with hard rubber on the bottom. Whack it with a baseball bat and it still won’t ring. (The rubber record mat adds another 17 ounces.) Give the platter a spin with your hand, and it whirls like a greased roulette wheel. I wondered if it would ever stop spinning! It has great flywheel action, and judging by the smoothness of rotation, the bearing must be pretty well machined.
Want to adjust VTA on the fly? Give the VTA adjustment ring a careful turn. Above the VTA ring is a cueing lever that feels fine, except the damping isn’t nearly as creamy as on the Rega RB250. About the only problem on the tonearm end of things is the lift itself. The part that contacts the arm is coated with a sticky, rubbery material. As such, when you move the arm towards the record it moves in bumpy steps, making it difficult to cue exactly. No big deal, as this corrects itself in a few weeks as the part wears in.
Being able to switch from 33 to 45 at the touch of a button is a joy. I sold most of my 45rpm LPs because it just didn’t seem worth the bother to play them with my previous turntables. Now, no more lifting the platter to change speeds. (Also, if you use a dry brush, you can really speed up your pre-play record dusting by simply tapping the 45 button!)
Finally, my favorite feature: the pop-up cueing lamp. At the touch of a button, a tiny bulb sheathed in swanky brushed aluminum glides skyward to light the way. If you like to listen to LPs late at night with the lights dimmed and don’t feel like clamping a reading lamp to your equipment rack, you’ll surely love this bonus extra.
TONEARM
If the SL-1200Mk2 has a weak point, at first glance this would seem to be it. The Rega RB250 feels like a surgical instrument; in contrast, the Technics tonearm feels precise but a bit less elegant. I’d say that, in use, it’s on par with the mid-end Pro-Ject arms, though it looks and feels more expensive. It’s not, though: a replacement tonearm assembly for the Technics costs about $70 sans cable – a fraction of the Rega RB250’s price.
Of course, the Technics arm offers flexibility the RB250 can’t match. As previously mentioned, VTA is fully adjustable. The removable headshell, though compromising the arm’s rigidity somewhat, makes installing/swapping cartridges a snap. It’s a boon for those who own both mono and stereo cartridges. Should you ever accidentally yank too hard on a wire or snap off a clip, simply replace the entire headshell for about $30 – much cheaper and easier than having your arm professionally rewired (or having to break out the miserable soldering iron.)
Speaking of wires, the Technics tonearm cabling is pitiful. Then again, it’s pitiful on most turntables in this price range, too. I’ve never been cable-crazy, but I’d like to see something a bit more substantial. A do-it-yourselfer might want to take a crack at rewiring it; after all, if you screw it up, a new arm costs just $70.
Technics provides a blast-from-the-past, Thorens-style overhang gauge that, if it actually worked, would be a treat to use: slide it over the headshell, align the stylus with the correct point, be sure the cartridge is parallel in the headshell, and you’re done. Or so you’d think, until you double-checked the geometry with a proper two-point gauge. The Technics device placed my Shure M97xE about a half-inch from where it should have been. My advice: throw the gauge in the garbage immediately.
Origin Live offers a slick-looking conversion kit for the SL-1200Mk2 that allows you to mount a Rega arm like the RB250 (or their modified DJ version of the RB250). The collar is just £39 (plus shipping and import duty), so adding an RB250 can be accomplished for around $300 provided you get a good deal on the arm. But before you go rewiring things or swapping arms, it’s probably best to listen to the stock SL-1200Mk2 first. So here we go…
THE DOCTOR IS IN
Stethoscopes are like tennis courts…if you have one, you use it. I never thought to give my turntables the “breathe deep and cough” treatment, but now that I own a stehoscope I find it’s actually pretty useful…especially if you like to experiment with damping materials. (You know who you are.)
My Rega P2 is mostly free from motor rumble where it counts: on the platter. The plinth is also relatively quiet. I couldn’t find a flat enough place on the tonearm to give that part a listen, but I’d guess it’s fairly well damped. Obviously, you’d like to hear nothing at all when examining your patient, but I don’t think that’s possible in this price range.
Surprisingly, the Technics is also commendably quiet, especially considering the powerful drive system. Chalk it up to the expensive brushless DC motor and top-flight bearing that there’s also little audible vibration on either the platter or the deck. I’m sure the 20 pounds of chassis don’t hurt, either. (Using the ExtremePhono None Felt mat in place of the standard Technics rubber mat reduced the noise even further, but in use, I preferred the static resistance of the stock rubber mat.)
LISTENING…TO OTHER TECHNICS OWNERS
The Technics SL-1200Mk2 is the first turntable I considered after getting back into vinyl. Of course, everyone said not to do this. That’s why I ended up buying a (used) Linn Axis, a Denon DP-47F and a Music Hall MMF-2.1 before finally settling on a Rega P2. (Oh, and a used Thorens TD115 and Luxman PD284 just for fun.)
The Rega P2 is a very musical ‘table. But after moving my music room the second floor, I needed something a little more immune to footfalls and vibration because my neighbors aren’t exactly light on their feet. The only table I could think of was the SL…if it can withstand the force of 2,000 spring breakers jumping up and down in a Cancun disco, then it can surely slough off any vibrations from my heavy-footed neighbors next door.
I also know that many audiophiles are enthusiastic about this table. Europeans seem particularly keen on it, even though it costs significantly more overseas ($650-$700 is the prevailing discount price range for the U.K.). So I contacted every owner I could locate for advice. What I learned is that some people use the SL-1200Mk2 as their only table and are perfectly content; others have multiple tables (one fellow has the classic Thorens TD125 with an SME arm; another has a Pro-Ject RM9). In every case, they described the SL-1200Mk2 as a musical, un-fussy and high-quality analog playback device. Most swore they’d never part with it, regardless of how sophisticated their main ‘audiophile’ rigs become.
Then there’s resale. A 20-year old SL-1200Mk2 sells for around $300. But a two-year-old SL-1200Mk2 sells for…well, around $300. Why? Because apparently you can’t kill these things. They maintain a high level of precision for an extended service life, so it really doesn’t matter much (for DJs at least) if you buy an old one or a new one. Thus, plenty of pros are always in the market for these decks. That said, I would never buy a used SL unless I was damn sure it was never used for mixing or scratching. But should you decide to sell yours, rest assured you’ll quickly find a buyer, particularly if the headshell and dustcover are intact.
LISTENING…TO THE SL-1200Mk2 (FINALLY)
An SL-1200 owner from Europe promised I’d “damn soon overcome any perceived sound quality issues [I might have], especially with the [Shure] M97xE.” So that’s the cartridge I chose. True to his word, and despite some initial skepticism, I quickly came to appreciate my SL. (It should be noted that I had to track the Shure at a higher force on the Technics arm than I did on the Rega – 1.45g vs. 1.35g – to clear the first three bias tracks on the HiFi News Test Record.)
I hate to keep comparing the SL-1200Mk2 to the Rega P2. Ideally, live music should be my reference. But most people know what a British belt drive ‘table sounds like, though very few are likely familiar with the 1200. Besides, if you’re comparison shopping in the $500 range, the P2 is probably high on your list. So with that in mind, here we go.
First up was Peter Gabriel’s “So.” (Geffen; GHS 24088) Filled with punchy dynamic shifts and toe-tapping hooks, it’s a great piece with which to evaluate the SL-1200Mk2’s pace, rhythm, attack and timing.
Pleasant surprise #1: the SL-1200Mk2 has tremendous attack and crackerjack (though not perfect) timing. In fact, it handles dynamic contrasts with greater aplomb than the Rega or, for that matter, any ‘table I’ve ever owned including my departed Linn Axis. No wonder this deck sounds so good in clubs – if it could, it would grab you by the scruff of your neck and toss you onto the dance floor. Turns out the British aren’t the only purveyors of PRAT.
Pleasant surprise #2: the Technics SL-1200Mk2 has the quietest backgrounds I’ve ever heard on any table under $1000. I was shocked by the utter silence between notes. (Don’t sell your Lingo’d LP12…I’m talking relative quiet here.) There’s a tradeoff, though, and it’s this: typical of direct drive turntables, the SL-1200Mk2 isn’t great at minimizing the intrusiveness of imperfections. Tics, pops and scratches are definitely in the foreground at all times, a tendency exacerbated by the Shure cartridge. It’s a compromise I can easily live with. (A good low-output MC might help matters, provided you think the Technics arm is up to the job.)
Pleasant surprise #3: the Technics tonearm is far better than you’d suppose. It coaxes out a satisfying amount of detail, though the Rega RB250 ultimately squeezed more performance from the Shure cartridge. Nothing is missing, though hard-to-resolve passages can sometimes get muddy, and delicate instruments (tinkling chimes, high hats, gently shaken maracas, top-octave woodwind notes) are often relegated to the far end of the mix. However, the Technics exhibits much greater soundstage depth than my Rega P2. Another fair tradeoff.
Pleasant surprise #4: stable pitch makes a dramatic difference. Fellow audiophiles and dealers often downplay the importance of spot-on speed control in budget decks. And it’s true, there’s a lot more to vinyl playback than this. But once you hear proper decay, you wonder how you ever lived without Quartz lock. Plus, the Technics’ tenacious motor refuses to be slowed by needle drag or for that matter, decelerated by a Decca brush pressed firmly to a dusty LP. All the while, the speed remains spot-on.
Where the SL-1200Mk2 falls short is in providing that extra bit of insight you get from a good British belt drive. Mostly that’s the fault of the tonearm. This is still a high-resolution playback system, however. You give up nothing significant by going with this deck over a Rega or Music Hall – and you gain additional soundstage depth, greater attack and blacker backgrounds.
One other area of concern is that some music lacks a bit of heft and presence on the SL-1200Mk2. It’s odd, because where it counts – particularly with large scale orchestral music – the SL-1200Mk2 has plenty of punch, slam and swagger. But overall, compared with the Rega P2, there’s something missing that’s hard to define. Unless, that is, the Rega is adding something that’s not supposed to be there – maybe some extra midbass? On this point, I have to concede that I can’t come to a definitive conclusion because it’s been nearly a year since I’ve been to a live indoor classical performance.
Generally speaking, bass is not quite as deep on the SL-1200Mk2 as it is on my P2, but it’s also tighter. The midrange sounds slightly recessed to me in comparison, and really high notes suffer a bit, too. That translates to a certain lack of air and space, but for $550, you can’t have everything. Overall, the SL-1200Mk2 strikes a pleasant balance.
Across a wide spectrum of music – from Muddy Waters’ “I’m Ready” (Blue Sky; PZ34928) to a direct to disc pressing of Prokofiev’s “Romeo and Juliet” (Sheffield Lab 8) to Talking Heads’ “Stop Making Sense” (Sire; WI-25186) – the Technics did far more right than wrong. Moreover, it always felt like an active participant in the music making process. Like a good German car, it demands that you get involved without getting pushy about it. It’s not in your face, but at the same time, it won’t let you settle for background music. This deck has power that others in its price range don’t. It’s addicting.
BUYING AN SL-1200
I chose the Mk2 version over the newer Mk5 because it’s oriented more toward home use (in a black finish, which technically makes it an SL-1200Mk2PK). The Mk5 differs from the Mk2 in that it features a pitch reset button and auxiliary headshell carrier, both of which I found superfluous for my purposes. More annoyingly, the Mk5 doesn’t include hinges for the dust cover. That means you’ll need to buy a hinge kit and disassemble the turntable to mount it, because the hinges install on the inside of the cabinet.
Be careful out there…many of the low prices you see on 1200s are actually for gray market units with no warranty coverage. These units also often require adapters for use in the U.S. power outlets. That’s why it’s worth the extra $50 to buy from a reputable dealer.
I can’t think of a better source than KAB Electro Acoustics. I didn’t order from KAB, but that’s only because I found a local dealer and thus felt obligated to patronize my neighbors. Though KAB doesn’t stock the Mk2 (apparently preferring the Mk5), they will be happy to special order it for you. Judging by the company’s website and a few e-mail exchanges, Kevin at KAB is probably the most knowledgeable man in America when it comes to Technics SL setup for audiophiles. You’ll get a good price and the added assurance of a personal pre-ship quality control check free of charge. Plus, he’ll even install the dustcover hinges for you if you buy a Mk5. That alone will save you at least an hour. And the company offers a range of custom performance-enhancing accessories (including an SME-style fluid damper and an outboard power supply) that’ll have tweakers’ mouths watering.
CONCLUSION
In terms of quality, you can’t buy a better-built turntable than the SL-1200Mk2 anywhere near its $550 retail price (let alone the $500 street price). Yes, the tonearm leaves a bit to be desired, and the cabling really sucks rocks. But the 1200’s speed stability, quiet backgrounds and ease of operation more than make up for its shortcomings. Plus, this turntable is a blast to use – the most rewarding I’ve ever experienced in terms of silky-smooth operation. If Acura made a record player, this might be it.
In purely technical terms, sound reproduction is impressive at this price point – and I’ve owned or heard nearly everything you can buy for around $500. But as with all things analog, the CHARACTER of the sound must be considered. That is, after all, what makes the difference between a series of musical notes and actual music. If the Rega P2 is a warm hug from your significant other, then the SL-1200Mk2 is a firm handshake from your boss for a job well done. That’s neither a good nor a bad thing.
Minor caveats aside, I like the SL-1200Mk2 very much. Paired with the Shure M97xE or similarly warm-sounding cartridge (I hear the V15VxMR makes for a sublime synergistic match), it’s highly listenable and non-fatiguing, yet very involving. Once set up, it makes vinyl nearly as hassle free as CD. It even brings digital-like image and pitch stability to analog while preserving the magic of vinyl. And it promises rock-solid reliability for decades to come.
I still love the Rega P2…but I also love the Technics SL-1200Mk2.
Associated gear
NAD Monitor Series 3400 integrated amplifier with MM/MC phono section
NAD C521i CD player
Technics SL-1200Mk2 turntable system
Shure M97xE phono cartridge
ProAc Tablette 2000 loudspeakers
MonsterCable Z-Series 10’ speaker cable
Audioquest Diamondback interconnect
MonsterPower HTS2500 Power Center
AudioQuest MC cartridge demagnetizer
Record Doctor II record cleaning machine
Sennheiser HD580 Precision headphones
Sony ProAudio MDR-7506 studio monitor headphones
StudioTech racks
Similar products
Denon DP-47F
Dual CS-505
Linn Axis/Basik Plus
Luxman PD284
Music Hall MMF-2.1
Music Hall MMF-5
Rega P2
Thorens TD-115
Thorens TD-185
If you’re reading this, you’re likely wondering one of two things. Why would a lowly DJ deck be evaluated alongside “serious” analog gear? Or, number two: Is the recent positive buzz on Audiogon and the web about this venerable disk spinner merited?
The first question is easiest to answer. That’s because the Technics SL-1200Mk2 wasn’t originally intended as a DJ machine. It was unveiled in 1972, years before the arrival of hip-hop and disco. At that time, the Sugarhill Gang was still in junior high and Ian Schrager was selling steaks on Long Island. No, the original Wheel of Steel was billed as a premium turntable for home use that combined the performance of Technics’ pioneering (armless) SP-10 broadcast ‘table with the convenience of an integrated tonearm.
The second question – whether the SL-1200Mk2 deserves to stand alongside the likes of Rega, Pro-Ject, Music Hall and other ‘audiophile’ designs – is a bit trickier. But I’ll do my best.
WHERE’S THE BELT?
True…the SL-1200Mk2 is a direct drive design. For many people, that means it can’t possibly be any good. And those people would have a point. Most Japanese mass-market direct drive ‘tables were pretty lousy. But for the most part, the direct vs. belt drive argument is tiresome, mainly because there are good and bad examples of both designs. Technics, Kenwood and Denon produced a number of prized direct drive units that command respect to this day. Denon in particular continues to build highly competitive direct drive ‘tables – beautiful, gorgeous-sounding machines like the new DP-500M.
Also true is that direct drive ‘tables can sound a bit bright compared with belt drive models. Those who care to analyze the phenomenon attribute this to the fact that, in the case of Quartz-controlled models like the SL-1200Mk2, the circuit is constantly hunting for the perfect speed without success. The resulting jerky micro-variations in speed impart an edgy character to the sound. Then there are the motor vibrations that are inevitably transmitted through the spindle and to the platter.
Of course, belt drive on a budget has drawbacks of its own. Speed variations are sloooower, but manifest themselves as audible and annoying warbles in pitch. Also, critics claim certain ‘tables (Regas in particular) tend to run about 1% fast – enough to audibly alter timbre, if not pitch. And don’t forget, belts transmit variation too. There’s really no way to completely decouple a motor from the plinth and platter (unless you use an air drive or something) though clever design – as on the Music Hall MMF-7 – can help minimize any undesirable effects.
I suppose turntables are like cars: some people love rear wheel drive, others prefer front wheel. I wouldn’t choose a car based solely on which end the tranny is connected to. Likewise, I wouldn’t discount a turntable based on how it gets the platter spinning. So on to the next issue…
QUALITY
The Technics SL-1200Mk2 is built like a bank vault, weighing in at over 26 pounds. Heavy gear isn’t necessarily better sounding, and lightweight gear isn’t necessarily garbage. One thing’s for sure: the SL-1200Mk2 is the only $550 turntable on the market today that stands a chance of being handed down to my grandchildren. Mine may even outlast the format entirely. This is an heirloom product, the only one in its class as far as I’m concerned. Parts are widely available and affordable, so the SL-1200Mk2 could well be a lifetime investment.
The reason Technics can afford to offer such a well-constructed piece of gear for such a reasonable tariff is simple: the tooling is paid for. Just as Rega wouldn’t likely be able to create a cost-effective tonearm in the digital age, Technics surely couldn’t design and build the SL-1200Mk2 for $550 per copy in 2004. (You’ll find a more involved thesis on this at www.kabusa.com which, though laced with salesmanship, is mostly right on the money.)
The Music Hall MMF-2.1 (which I owned) and the MMF-5 (which I auditioned) can’t hold a candle to the SL-1200Mk2 in terms of quality. Neither can the lower-end Thorens turntables: the TD170, TD 185 (which I also owned) and TD190. My beloved Rega P2 is a higher-quality unit than any of the Music Hall or Thorens models, but next to the Technics, it feels like origami. Plus, the P2 arrived with a few minor quality control gaffes (broken dustcover hinges, etc.) that I had to correct or replace. The Technics, which is mostly hand built in Japan to this day, was 100% perfect out of the box save for a tiny scuff near the pitch slider. Impressive.
OPERATION
Here’s where the Technics stands head-and-shoulders above, well, everything else. Virtually every control has a positive, very expensive feel (except the pitch slider, which feels a little ‘scratchy’ as it moves). Tap the ‘start’ button and in 0.7 seconds, the platter is up to speed. Tap it again and it stops just as quickly. Adjustable electronic braking can bring the platter to an even quicker halt if for some reason one second isn’t fast enough.
The platter weighs five pounds and is damped with hard rubber on the bottom. Whack it with a baseball bat and it still won’t ring. (The rubber record mat adds another 17 ounces.) Give the platter a spin with your hand, and it whirls like a greased roulette wheel. I wondered if it would ever stop spinning! It has great flywheel action, and judging by the smoothness of rotation, the bearing must be pretty well machined.
Want to adjust VTA on the fly? Give the VTA adjustment ring a careful turn. Above the VTA ring is a cueing lever that feels fine, except the damping isn’t nearly as creamy as on the Rega RB250. About the only problem on the tonearm end of things is the lift itself. The part that contacts the arm is coated with a sticky, rubbery material. As such, when you move the arm towards the record it moves in bumpy steps, making it difficult to cue exactly. No big deal, as this corrects itself in a few weeks as the part wears in.
Being able to switch from 33 to 45 at the touch of a button is a joy. I sold most of my 45rpm LPs because it just didn’t seem worth the bother to play them with my previous turntables. Now, no more lifting the platter to change speeds. (Also, if you use a dry brush, you can really speed up your pre-play record dusting by simply tapping the 45 button!)
Finally, my favorite feature: the pop-up cueing lamp. At the touch of a button, a tiny bulb sheathed in swanky brushed aluminum glides skyward to light the way. If you like to listen to LPs late at night with the lights dimmed and don’t feel like clamping a reading lamp to your equipment rack, you’ll surely love this bonus extra.
TONEARM
If the SL-1200Mk2 has a weak point, at first glance this would seem to be it. The Rega RB250 feels like a surgical instrument; in contrast, the Technics tonearm feels precise but a bit less elegant. I’d say that, in use, it’s on par with the mid-end Pro-Ject arms, though it looks and feels more expensive. It’s not, though: a replacement tonearm assembly for the Technics costs about $70 sans cable – a fraction of the Rega RB250’s price.
Of course, the Technics arm offers flexibility the RB250 can’t match. As previously mentioned, VTA is fully adjustable. The removable headshell, though compromising the arm’s rigidity somewhat, makes installing/swapping cartridges a snap. It’s a boon for those who own both mono and stereo cartridges. Should you ever accidentally yank too hard on a wire or snap off a clip, simply replace the entire headshell for about $30 – much cheaper and easier than having your arm professionally rewired (or having to break out the miserable soldering iron.)
Speaking of wires, the Technics tonearm cabling is pitiful. Then again, it’s pitiful on most turntables in this price range, too. I’ve never been cable-crazy, but I’d like to see something a bit more substantial. A do-it-yourselfer might want to take a crack at rewiring it; after all, if you screw it up, a new arm costs just $70.
Technics provides a blast-from-the-past, Thorens-style overhang gauge that, if it actually worked, would be a treat to use: slide it over the headshell, align the stylus with the correct point, be sure the cartridge is parallel in the headshell, and you’re done. Or so you’d think, until you double-checked the geometry with a proper two-point gauge. The Technics device placed my Shure M97xE about a half-inch from where it should have been. My advice: throw the gauge in the garbage immediately.
Origin Live offers a slick-looking conversion kit for the SL-1200Mk2 that allows you to mount a Rega arm like the RB250 (or their modified DJ version of the RB250). The collar is just £39 (plus shipping and import duty), so adding an RB250 can be accomplished for around $300 provided you get a good deal on the arm. But before you go rewiring things or swapping arms, it’s probably best to listen to the stock SL-1200Mk2 first. So here we go…
THE DOCTOR IS IN
Stethoscopes are like tennis courts…if you have one, you use it. I never thought to give my turntables the “breathe deep and cough” treatment, but now that I own a stehoscope I find it’s actually pretty useful…especially if you like to experiment with damping materials. (You know who you are.)
My Rega P2 is mostly free from motor rumble where it counts: on the platter. The plinth is also relatively quiet. I couldn’t find a flat enough place on the tonearm to give that part a listen, but I’d guess it’s fairly well damped. Obviously, you’d like to hear nothing at all when examining your patient, but I don’t think that’s possible in this price range.
Surprisingly, the Technics is also commendably quiet, especially considering the powerful drive system. Chalk it up to the expensive brushless DC motor and top-flight bearing that there’s also little audible vibration on either the platter or the deck. I’m sure the 20 pounds of chassis don’t hurt, either. (Using the ExtremePhono None Felt mat in place of the standard Technics rubber mat reduced the noise even further, but in use, I preferred the static resistance of the stock rubber mat.)
LISTENING…TO OTHER TECHNICS OWNERS
The Technics SL-1200Mk2 is the first turntable I considered after getting back into vinyl. Of course, everyone said not to do this. That’s why I ended up buying a (used) Linn Axis, a Denon DP-47F and a Music Hall MMF-2.1 before finally settling on a Rega P2. (Oh, and a used Thorens TD115 and Luxman PD284 just for fun.)
The Rega P2 is a very musical ‘table. But after moving my music room the second floor, I needed something a little more immune to footfalls and vibration because my neighbors aren’t exactly light on their feet. The only table I could think of was the SL…if it can withstand the force of 2,000 spring breakers jumping up and down in a Cancun disco, then it can surely slough off any vibrations from my heavy-footed neighbors next door.
I also know that many audiophiles are enthusiastic about this table. Europeans seem particularly keen on it, even though it costs significantly more overseas ($650-$700 is the prevailing discount price range for the U.K.). So I contacted every owner I could locate for advice. What I learned is that some people use the SL-1200Mk2 as their only table and are perfectly content; others have multiple tables (one fellow has the classic Thorens TD125 with an SME arm; another has a Pro-Ject RM9). In every case, they described the SL-1200Mk2 as a musical, un-fussy and high-quality analog playback device. Most swore they’d never part with it, regardless of how sophisticated their main ‘audiophile’ rigs become.
Then there’s resale. A 20-year old SL-1200Mk2 sells for around $300. But a two-year-old SL-1200Mk2 sells for…well, around $300. Why? Because apparently you can’t kill these things. They maintain a high level of precision for an extended service life, so it really doesn’t matter much (for DJs at least) if you buy an old one or a new one. Thus, plenty of pros are always in the market for these decks. That said, I would never buy a used SL unless I was damn sure it was never used for mixing or scratching. But should you decide to sell yours, rest assured you’ll quickly find a buyer, particularly if the headshell and dustcover are intact.
LISTENING…TO THE SL-1200Mk2 (FINALLY)
An SL-1200 owner from Europe promised I’d “damn soon overcome any perceived sound quality issues [I might have], especially with the [Shure] M97xE.” So that’s the cartridge I chose. True to his word, and despite some initial skepticism, I quickly came to appreciate my SL. (It should be noted that I had to track the Shure at a higher force on the Technics arm than I did on the Rega – 1.45g vs. 1.35g – to clear the first three bias tracks on the HiFi News Test Record.)
I hate to keep comparing the SL-1200Mk2 to the Rega P2. Ideally, live music should be my reference. But most people know what a British belt drive ‘table sounds like, though very few are likely familiar with the 1200. Besides, if you’re comparison shopping in the $500 range, the P2 is probably high on your list. So with that in mind, here we go.
First up was Peter Gabriel’s “So.” (Geffen; GHS 24088) Filled with punchy dynamic shifts and toe-tapping hooks, it’s a great piece with which to evaluate the SL-1200Mk2’s pace, rhythm, attack and timing.
Pleasant surprise #1: the SL-1200Mk2 has tremendous attack and crackerjack (though not perfect) timing. In fact, it handles dynamic contrasts with greater aplomb than the Rega or, for that matter, any ‘table I’ve ever owned including my departed Linn Axis. No wonder this deck sounds so good in clubs – if it could, it would grab you by the scruff of your neck and toss you onto the dance floor. Turns out the British aren’t the only purveyors of PRAT.
Pleasant surprise #2: the Technics SL-1200Mk2 has the quietest backgrounds I’ve ever heard on any table under $1000. I was shocked by the utter silence between notes. (Don’t sell your Lingo’d LP12…I’m talking relative quiet here.) There’s a tradeoff, though, and it’s this: typical of direct drive turntables, the SL-1200Mk2 isn’t great at minimizing the intrusiveness of imperfections. Tics, pops and scratches are definitely in the foreground at all times, a tendency exacerbated by the Shure cartridge. It’s a compromise I can easily live with. (A good low-output MC might help matters, provided you think the Technics arm is up to the job.)
Pleasant surprise #3: the Technics tonearm is far better than you’d suppose. It coaxes out a satisfying amount of detail, though the Rega RB250 ultimately squeezed more performance from the Shure cartridge. Nothing is missing, though hard-to-resolve passages can sometimes get muddy, and delicate instruments (tinkling chimes, high hats, gently shaken maracas, top-octave woodwind notes) are often relegated to the far end of the mix. However, the Technics exhibits much greater soundstage depth than my Rega P2. Another fair tradeoff.
Pleasant surprise #4: stable pitch makes a dramatic difference. Fellow audiophiles and dealers often downplay the importance of spot-on speed control in budget decks. And it’s true, there’s a lot more to vinyl playback than this. But once you hear proper decay, you wonder how you ever lived without Quartz lock. Plus, the Technics’ tenacious motor refuses to be slowed by needle drag or for that matter, decelerated by a Decca brush pressed firmly to a dusty LP. All the while, the speed remains spot-on.
Where the SL-1200Mk2 falls short is in providing that extra bit of insight you get from a good British belt drive. Mostly that’s the fault of the tonearm. This is still a high-resolution playback system, however. You give up nothing significant by going with this deck over a Rega or Music Hall – and you gain additional soundstage depth, greater attack and blacker backgrounds.
One other area of concern is that some music lacks a bit of heft and presence on the SL-1200Mk2. It’s odd, because where it counts – particularly with large scale orchestral music – the SL-1200Mk2 has plenty of punch, slam and swagger. But overall, compared with the Rega P2, there’s something missing that’s hard to define. Unless, that is, the Rega is adding something that’s not supposed to be there – maybe some extra midbass? On this point, I have to concede that I can’t come to a definitive conclusion because it’s been nearly a year since I’ve been to a live indoor classical performance.
Generally speaking, bass is not quite as deep on the SL-1200Mk2 as it is on my P2, but it’s also tighter. The midrange sounds slightly recessed to me in comparison, and really high notes suffer a bit, too. That translates to a certain lack of air and space, but for $550, you can’t have everything. Overall, the SL-1200Mk2 strikes a pleasant balance.
Across a wide spectrum of music – from Muddy Waters’ “I’m Ready” (Blue Sky; PZ34928) to a direct to disc pressing of Prokofiev’s “Romeo and Juliet” (Sheffield Lab 8) to Talking Heads’ “Stop Making Sense” (Sire; WI-25186) – the Technics did far more right than wrong. Moreover, it always felt like an active participant in the music making process. Like a good German car, it demands that you get involved without getting pushy about it. It’s not in your face, but at the same time, it won’t let you settle for background music. This deck has power that others in its price range don’t. It’s addicting.
BUYING AN SL-1200
I chose the Mk2 version over the newer Mk5 because it’s oriented more toward home use (in a black finish, which technically makes it an SL-1200Mk2PK). The Mk5 differs from the Mk2 in that it features a pitch reset button and auxiliary headshell carrier, both of which I found superfluous for my purposes. More annoyingly, the Mk5 doesn’t include hinges for the dust cover. That means you’ll need to buy a hinge kit and disassemble the turntable to mount it, because the hinges install on the inside of the cabinet.
Be careful out there…many of the low prices you see on 1200s are actually for gray market units with no warranty coverage. These units also often require adapters for use in the U.S. power outlets. That’s why it’s worth the extra $50 to buy from a reputable dealer.
I can’t think of a better source than KAB Electro Acoustics. I didn’t order from KAB, but that’s only because I found a local dealer and thus felt obligated to patronize my neighbors. Though KAB doesn’t stock the Mk2 (apparently preferring the Mk5), they will be happy to special order it for you. Judging by the company’s website and a few e-mail exchanges, Kevin at KAB is probably the most knowledgeable man in America when it comes to Technics SL setup for audiophiles. You’ll get a good price and the added assurance of a personal pre-ship quality control check free of charge. Plus, he’ll even install the dustcover hinges for you if you buy a Mk5. That alone will save you at least an hour. And the company offers a range of custom performance-enhancing accessories (including an SME-style fluid damper and an outboard power supply) that’ll have tweakers’ mouths watering.
CONCLUSION
In terms of quality, you can’t buy a better-built turntable than the SL-1200Mk2 anywhere near its $550 retail price (let alone the $500 street price). Yes, the tonearm leaves a bit to be desired, and the cabling really sucks rocks. But the 1200’s speed stability, quiet backgrounds and ease of operation more than make up for its shortcomings. Plus, this turntable is a blast to use – the most rewarding I’ve ever experienced in terms of silky-smooth operation. If Acura made a record player, this might be it.
In purely technical terms, sound reproduction is impressive at this price point – and I’ve owned or heard nearly everything you can buy for around $500. But as with all things analog, the CHARACTER of the sound must be considered. That is, after all, what makes the difference between a series of musical notes and actual music. If the Rega P2 is a warm hug from your significant other, then the SL-1200Mk2 is a firm handshake from your boss for a job well done. That’s neither a good nor a bad thing.
Minor caveats aside, I like the SL-1200Mk2 very much. Paired with the Shure M97xE or similarly warm-sounding cartridge (I hear the V15VxMR makes for a sublime synergistic match), it’s highly listenable and non-fatiguing, yet very involving. Once set up, it makes vinyl nearly as hassle free as CD. It even brings digital-like image and pitch stability to analog while preserving the magic of vinyl. And it promises rock-solid reliability for decades to come.
I still love the Rega P2…but I also love the Technics SL-1200Mk2.
Associated gear
NAD Monitor Series 3400 integrated amplifier with MM/MC phono section
NAD C521i CD player
Technics SL-1200Mk2 turntable system
Shure M97xE phono cartridge
ProAc Tablette 2000 loudspeakers
MonsterCable Z-Series 10’ speaker cable
Audioquest Diamondback interconnect
MonsterPower HTS2500 Power Center
AudioQuest MC cartridge demagnetizer
Record Doctor II record cleaning machine
Sennheiser HD580 Precision headphones
Sony ProAudio MDR-7506 studio monitor headphones
StudioTech racks
Similar products
Denon DP-47F
Dual CS-505
Linn Axis/Basik Plus
Luxman PD284
Music Hall MMF-2.1
Music Hall MMF-5
Rega P2
Thorens TD-115
Thorens TD-185
121 responses Add your response
I found out about the fitting an arm on the Technics at the Origin Live web site.(www.originlive.com). In the shop section, go to the tonearm section - there at the bottom, click on the 'click for options'. There you will see the DJ armboard they sell to fit a REGA arm. Origin Live also has on their site the instructions to fit the arm. I just ordered the board & so I expect that the instruction will also be included. I did print once the intructions - the modification is fairly simple. Mind you, I will keep the original Technics arm. One day, if I ever trade up to a VPI, or whatever, I could use the Rega based arm...or just let things be |
'Few upgrades in audio will ever have the full benefit, as opposed to buying in at a higher level.' Consecutive upgrades and trading up has mostly not been cost efficient for me. But I have a lot of pleasure doing it. I once made a custom Oracle turntable & fitted an SME V tone arm. But I got the Oracle parts free from the then Oracle company president and the SME for $1,500 (second hand, 50% off) some 18 years ago. Once in a while we see real deals. I seldom buy something new which is a big saving. But I am basically happy with the Technics (bought one year old) and having pleasure to modify it with a Rega arm I just bought second hand from a member of Audiogon. But the Technics is good enough as is or with minor cost effective improvements, having heard & owned costlier turntables. I basically got a turntable again to enjoy the records stored in my basement. After reading quite a bit on the internet, the Technics SL1200 came up again & again as a great buy and great sounding turntable. All this is not necessarily cost effective. It may be, if I grow up, and just enjoy the music…and let the table be. There is a high end audio store in Montreal where I live. The owner explained to me that many clients upgrade their system constantly but hardly play their turntables and simply keep playing 2 or 3 recordings just to hear the new modification they bought! They are now selling a 3 month old Origin Live Encouter tone arm because the person bought a Graham tone arm… So, to each their own perception and desires…..and budget! |
Dan: Alex_yakovlev's thread is one place to check for info about using a Rega 'arm on a 1200, though I'm not sure if he used the Origin Live part. I'd imagine there must opinions about this on the web from Brit DJ's though... |
Well I finally got the Origin Live arm board to fit a Rega 250 on the 1210. I installed a Carda rewired RB250 with the Michell weight. The board comes with instructions easy enough to follow. For any of you attempting to open the turntable, I simply used a bowl with a rim diameter slightly larger than the circle of the top of the turntable, once the platter is removed. Once I removed the initial hard rubber casing underneath, I found another piece to remove made from a plastic composite!? – I would be curious to know if the earlier tables had a molded metal piece instead? Any event, removing the Technics arm is easy and installing the Origin Live Arm board is also simple. When re-installing the rubber casing, you have to make the hole bigger to access the arm lock nut easily. Finally, I put the whole thing together and played a record. Mind you, this is using the Grado red, an acrylic platter of some 8 mm, Maplewoods heavy brass feet (adding 4 X 2 pound feet) and on a Target wall table. The difference in the sound was readily quite apparent, even before I sat down in front of the speakers. The sound is more defined or realistic, the soundstage is deeper and wider and I am finally getting some bass response. The elucidation of sound decay, as on Audigon member would write, is much better. I also hear more detail – stuff I never knew existed. I did NOT yet try the hifi mod to the Rega arm, consisting of using Blu Tak to stick 2 hollowed out lead bullet weights fixed laterally on each side of the horizontal pivot. (See the write up of TWL Strange Tonearm Tweak. Long - : http://forum.audiogon.com/cgi-bin/fr.pl?eanlg&1032024188&read&keyw&zzstrange) But the VTA is a bit high since I am missing an extra packing ring to use the VTA adjuster that is higher than the ¼ inch packing ring. Since the acrylic platter considerably raised the platter, I finally had to use the locking nut on top and the VTA adjuster on the underneath to hold the arm! (Yuck!) When I do get the needed parts from Origin Live, I will adjust the VTA just a bit lower & report again on the sound. The VTAFF looks also interesting but would have to be glued in the whole, because of the thin arm board, and would also add some $150 more to this experiment. As for the Technics arm, It seems very well made and some parts I thought were made of plastic are in fact made of metal. I will definitely want to change the RCA wires on the Technic arm with Carda wire of something similar. This should make a big difference. I heard or read that Kevin @ KAB may be coming forth with something in this regard? To make a long story short, in my opinion, the Carda RB 250 wired arm with Michell weight does make a very noticeable an worthwhile improvement in the sound of the 1210. But I have yet to hear a re-wired Technic arm... Finally, I put the plastic turntable cover on the turntable and called it a day. But no! The back of the arm prevented the cover to properly fit. So I simply took off the light aluminum weight adjuster at the very end; then the cover could be put on. |
If you have a Rega 250 arm - you must try this simple modification I tried today & will never take it off. The difference is night and day ! I posted my remarks on the TWL thread.: http://forum.audiogon.com/cgi-bin/fr.pl?eanlg&1032024188&openflup&248&4#248 This brings me back to how good the SL1200/10 turntable is. Its speed stability and quality construction is a big thing. I just bought today the latest Stereophile magazine. In it, they talk about the effect of the speed stability hook up to a inexpensive Pro-Ject turntable. Apparently the effect is very dramatic on the sound dynamic and bass response. Reading is further pushing me into the getting the KAB power supply, ultimatly going into the $1,000 territory of other seemingly fine turntables that may require me to still get their power supply unit for again more money! But for me , half of the fun is getting there and to try things. If I get the KAB power supply, I will have the pleasure of still bettering the Sl1200... Also to its credit, the SL1200 is a no fuss turntable - no belt to verify, immediate speed, an efficient design and a worry free dependability. |
I finally decided to order the power supply from Kevin at Kab. After reading a number of articles about the merits of a better regulated power supply, my curiosity got the better part of me. Having previously a turntable with a cogging AC motor and an ever temperamental rubber belt that changed elasticity during record play, over time and also with the humidity levels, I was ever more interested in true speed control. But would I ever hear the difference? After all, this turntable (the SL-1200/10) has based its reputation on the ever so perfect (dead on) speed…The wow and flutter is apparently so negligible, nobody could ever hear a speed variation. Even the manual that came with the power supply only spoke of less vibration and a quieter turntable. Before the installation of the power supply, I thus dutifully played 3 well known recordings of mine to do a before and after sound test. Would I hear a difference? Would I feel compelled to motivate spending $250? But after quite a number of modifications to my system, I approached the power supply mod as another test or experiment. The installation of the power supply took very little time, as the instructions are very clear and the procedure quite simple. I then played the ‘Agnus Dei’ sung by Victoria de Los Angeles from Fauré’s Requiem. I immediately heard a difference: the voice is more natural, the soundstage is more open, the air around the voice is more noticeable and there is more base. Also, the elucidation of detail and the sound decay reached new levels… Then I played Sunflower by Milt Jackson. The sound is definitely richer, fuller and has a more believable sound. Everything just flows better. I would not have noticed it had I not connected the KAB power supply and hear the difference. I found similar results listening to the famous guitarist Narciso Yepes, playing the popular guitar piece The Forbidden Games (Les Jeux Interdits). Then to Ali Akbar Khan with Pre Dawn to Sunrise Ragas. I also played a number of other recordings. Overall, a definite change in the musical presentation. The music is more palpable and the sound is more relaxed since everything is presented with a better timbre, more open soundstage, more base; I simply find listening to the music more relaxing. The speed is definitely more even and/or controlled; it opens a whole new dimension since sounds float and emanate more easily, effortlessly...naturally… Even more incredible is that the difference can be heard on the Sl-1200/10 that already has negligible and near perfect speed control. Kudos to Kevin at KAB to making the power supply. I can now hear and comprehend the whole issue of speed control on this and other turntable power supplies that claim sonic wonders…. What if I added more capacitors to this new found toy? I can already hear my wife chasing me with the kitchen knife with very clear, naturally sounding, expletives…. |
Told ya! :-) It's not just a speed-control issue: the stock onboard PS has a transformer that contributes some micro-vibration to the chassis, and installing the outboard PS removes that source of vibration. How much of the improvement is due to that, and how much to the stiffer supply itself, is something even Kevin at KAB says he can't be sure of. But you've got the nature and the degree of the improvement pretty well pegged, and I sense you agree it was worth the upgrade cost. |
Installation of the KAB power supply requires only removing the platter. You then remove the black plastic cover held by 4 to 6 screws. Then you snip 2 wires well indicated & easy to find. The new power supply grey wire is fed through a whole near the entrance of the power cord of the turntable. You solder the new wire ends (in any order) to the same posts that you sniped the wires from. I simply made a U with the wire around the tops of the post.. Then, not needing to hold the connections, I soldered then in place. Should take to more than 10 to 15 minutes going real slow…. The other end of the grey wire goes in the back of the power supply. The original power cord is plugged in the back of the power supply also. The power supply itself is connected to the 120 Volt wall socket. You then turn on the power supply & use the turntable as if nothing happened. |
For those of you asking questions about the origin live armboard...i just install it yesterday and the first results are spectacular! whit the rb300 everything is better, bass,focus,details ,sound stage and the quality in general is improve ,this is no small upgrade...it is the union of the best affordable turntable and tonarm in the world. |
i am using a clearaudio aurum beta s ,and the tonarm is the rb 300 and it fit just fine, maybe a little negative but i prefer to keep the rigidity. next week i will install and ortofon om40 and i expect the match to be very good. The real big question is what to do whit the ground, the technics arm was grounded to the picth control and i am asking myself if it could be a way to do it.. |
finally i installed an ortofon om40 on my technics sl1200 whit the rega rb300 ,and this not very good in fact it whas a much better match whit the technics arm. so the final story will be the 1200 whit rb300 and clearaudio cartrige. for those of you who keep the technics arm try the ortofon pros40 from kab it works well. |
I am using a re-wired RB250 cardas. It has its own ground wire. Dunno about the RB 300 if you have a ground wire... I suppose if you do not get a hum or feedback you are OK... As for the Clearaudio aurum beta S, I would love to try it on my system. Seems to be very well recommended by a number of critics. The cart cost as much as the turntable...but seems woth it... |
the cartridge is at a fair price,it s the 1200 that is not enougth expensive....but whit that series off clearaudio you get perfect alignement for vta if you use the thin rubber mat. one last tweek..i use a center puck made stainless steel that i bougth in a store in montreal. it is made by a machinist and it si not treated , the result is simply spectacular ,it s seems that adding 1 or 2 pounds in the center helps a lot. |
I also got a puck. It’s made of brass. Under their are 2 rubber circular rings: one on the outer perimeter & one just around the spindle hole. This produces more bass and the sound is overall bettered. I also tried it on an Oracle with vastly improved the sound. I did something else last week end to the turntable. I turned it upside down and took off the rubber shell. I did this first to re install the metal part that holds the feet of the turntable. I was using the mapleshade large brass feet and the weight caused the small metal parts holding the feet to come loose since they are only fixed into the rubber. I thus put some silicone glue to solidify and better bond that area to the large rubber shell. Then I took off the rubber shell covering the whole base and also took off the hard plastic type shell covering the core metal casing. My idea was to put some kind of damping between the plastic casing and the core metal casing and then also put some damping between the rubber base cover and that plastic part. I first covered part of the metal casing with some type of saran wrap and then applied silicone glue to the inner part of the plastic casing. I then pressed the plastic casing to the core metal base (covered with saran wrap) and re-installed the screws holding it into place. I did the same procedure with the rubber casing to get a better fit between the rubber part and the plastic part (again using saran wrap on one side to that removal is made easy). I have yet to fully audition the difference as I did not play the turntable for a few weeks before. But the sound definitely appears less shrill for lack of a better description. I will play the turntable this week-end and try to comment more. I suppose I could have also used some seal & strip material used to seal windows in the winter; this most likely would have worked also. The thing is, the two major pieces under the turntable are very well held together with screws, but do not appear to be properly damped and/or mated in any way. The rubber piece is held by many many screws but is not really that well mated to the inner piece; witch piece is not really well mated to the core metal base. I would be very curious to hear from others who may try this modification and what material they use and what they hear out of it... The manufacturer went to great lengths to dampen the platter and seemingly did the same when you look at the bottom of the turntable. But when you open it up, it’s a ifferent matter it seams…. |
Citation16: I haven't pried around inside my 1200 for quite a while, but I'm trying to envision what you're talking about. I thought the inner rubber casing of the cast-aluminum chassis was adhesively bonded to it, not mechanically fastened, and the internal plastic cover just serves as an additional protection for the electronics below when the platter is removed and is not a structural element? |
The outer rubber casing is only mechanically fastened to the middle hard plastic piece. Its not very well bonded,it does not really make good contact with the middle piece, thus the room for some better bonding and/or contact. Mind you all the damping I put is around the center of the turntable, as the corners are mostly just covered by the outer bottom rubber casing. The middle hard plastic piece is mechanically fastened to the cast-aluminium chassis. Again no real bonding and plenty or air between... The middle of the cast aluminium piece can be seen from under the table, as a round piece. I further put some blue tack (damping) on it. I also put some seal & strip around the large brass feet where they meet the rubber base. I also hope by this to pread the weight of each 2 pound feet. Tomorrow I will listen more to the turntable and try to make some sensible comments about the modifications. But all in all, the pieces are just mechanically fastened to the core aluminium chassis ; no real bonding and/or damping is done, at least for my turntable wich is a recent issue. |
Well this was a useful education, I never knew the totality of what was in there because I never took it apart this far before. The hard plastic inner piece I was absolutely unaware of, and it's probably the single most massive part of the table. I'm not exactly sure what its function is though except to add mass, it seems like the TT could work fine without it. Maybe the damping is better with this in between the cast-aluminum and the rubber encasement to form a 3-layer sandwich of different materials. It certainly affects the mass distribution as well, but from what I can tell seemingly not in a way that would equalize it. I also didn't realize that the rubber encasing you can feel from above through the chassis cutouts beneath the platter was in fact the same piece as the bottom outer casing. I'd assumed most of the rubber encasing was internal and adhesively bonded, but that's where the hard plastic lives instead. I didn't realize all those screws underneath were actually holding on a massive piece of rubber -- I thought the external rubber was kind like a coating on top of an aluminum substrate and that these screws served some other internal purpose. Live and learn. You're right, none of this is adhesively bonded together in mine either, which is an '83. However, to me the bottom line is that chassis has always seemed extremely vibrationally inert -- including compared to the platter, and that piece *is* adhesively bonded to its rubber undercasing, yet rings anyway. But you seem to feel the platter is exemplary in its damping, so we appear to have opposite opinions about what part of the TT could use some damping help the most. Your approach to treating the chassis seems reasonable, I'm just not convinced it's necessary enough for me to try something like it. On the other hand, it probably can't hurt any. |
...yes, reasonable... Well I just spent the morning listening to the turntable having put some silicone damping as previously described. Their is definitely more backround information,more low level information, more bass, a more substantive sound and a better image. All this for a very simple and inexpensive modification.. I am also using a modified RB250,a Grado Gold, a 2 pound puck, an acrylic platter, the famous KAB power supply and the four 2 pound each Maplewood brass feet & some other minor modofications. All this on a "target" table bolted to the wall. So I went to the basement & pulled out the Peter Gabriel LP, SECURITY. On that album their is a lot of bass and the Tecknics did deliver serious chest pounding bass using an Audio Research SP-7 pre-amp and some 1,000 per channel of power using 3 older modified Citations 16's. I had the same results from the Dire Straits, Love Over Gold album and the Marianne Faithfull - Broken English album. The thing it does better than my former custom made Oracle and SME V combo is that the speed is so dead on with the Technics and the KAB power supply, that I hear lots more detail. To conclude, a modification worth considering... |
"...the isonoe feet that are made specialy for your 1200 stop the vibration before they enter the structure of the table..."I'm sure the Isonoes work well at isolating the table from external vibration. But Citation16 is talking about the resonant/self-damping qualities of the table structure itself. This has to do not just with such outside inputs as the sound coming from the speakers, but also with self-generated mechanical energy resulting from the needle riding in the groove (and, to a much lesser degree, the rotating motor bearing). Since vibration is a two way street what supports the table can have some mitigating effect on the behavior caused by all these factors, however isolation feet can't compensate for resonances inherent in the table (like the platter ring). |
I plan to open up the top of the table to see if the spindle part can be better fixed and possibly put some damping. I wonder if Keven from Kab has ever played with the idea of making a super replacement spindle made to a better tolerance and/or a different metal. That, it seems would be the next step in modification heaven. Also, would possibly a 1/4 inch or so metal platter added to the existing one, improve the sound? |
Citation16: Are you talking about the spindle per se, or the bearing? Personally I think both are fine, but wonder how you can add damping here. About the platter, adding any kind of hard topper will be very difficult due to the slight conical concavity of the platter's surface profile. From what I understand Kevin has investigated this possibility (proposed using Delrin) and been unsuccessful, either in getting a machinist to take it on, or to take it on at a price he could market. (I think part of the problem may lie in the engineering involved in arriving at the proper contour, for which I believe Panasonic will be of no help.) I suspect the result could be worthwhile if it can ever be done but am not optimistic about it happening. |
I am sure the threaded spindle from KAB would most likely be a major improvement as your Michell clamp. I however use a brass puck that is almost one kilo and the results are stunning in deeper bass and image and timbre. I also tried the brass puck on an Oracle turntable since Oracle has a threaded spindle also. I personally prefer the puck over the threaded clamp but do not claim to have a monopoly over what is better since both methods seem to work quite well.. Soon, I will open the top of the sl-1200 report on what I could or could not do. The wonderful thing about this Technics turntable, is that it works so well, is very reliable, cheap for the expensive engineering & built,sounds fabulous, and nothing but nothing comes close for the price even some more expensive turntables. |
"I am sure the threaded spindle from KAB would most likely be a major improvement as your Michell clamp. I however use a brass puck that is almost one kilo and the results are stunning in deeper bass and image and timbre."I'm reluctant to add much mass to the platter, on the theory that the speed control/motor system is optimized for the existing platter mass (and in general, I'm not of the school which seems to feel the solution to most turntable design considerations is to keep adding mass). I chose the Delrin (black) Michell because it is lightweight and non-resonant, and also properly designed to clamp in conjunction with a soft mat without causing unwanted edge lift. I've held off trying the KAB screw clamp until I can get a look at it in person, I have some design questions concerning its smaller effective clamping diameter and its clamping surface profile. |
I recently tried out the Iron Audio Acrylic Turntable mat for my SL-1200. Its made of a gloss black acrylic for the top with some sort of dampening material on the bottom to tame the resonances of the platter. I liked look of the solid brass inner recess...made my turntable look really nice!! Gave the best improvement in the sound (detail, dynamics, bass) for my turntable since I switched cartridges to a Denon moving coil recently. |
Mr. Harrison: Since nobody that you called out -- or anyone who posted previously suggesting the Technics alignment jig may be off -- has responded, I will try. The 1200 manual specifies an effective arm length (distance from tonearm pivot point to stylus tip) of 230mm, with an overhang (minimum distance between spindle center and stylus tip -- not actually measureable by the user in this as in most turntables due to the tonearm not traveling that far inward over the spindle) of 15mm. This implies a mounting length (distance from pivot point to spindle center) of 215mm, and the offset angle (the angle formed between an imaginary line from the pivot point to the stylus tip [the effective length] and a line congruent to the cartridge's cantilever [assumed to be parallel to the cartridge body sides if you're aligning without a mirror with which to view the cantilever]) is specified at 22 degrees. |
...Continued (sorry, I hit the wrong button by mistake!) Also specified is that the tracking error will be "within" 2'32' at the outermost groove and "within" 0'32' at the innermost groove of a 12" record. According to the data on the calculated table for the SL-1200 available at vinylengine.com, the two null points (radial distances from the center spindle at which the tracking error falls to zero) of this arrangement will be located at 58.5mm and 113.5mm. (vinylengine.com also states that tracking errors aren't worrisome until they cross the 2'50' threshold.) The upshot of all this is, if these null-point calculations are correct, that it seems to imply an overhang setting when using the jig which doesn't equal the most prevalent Baerwald standard (which I believe aims to equalize tracking error at the beginning, middle and end of the grooved area) but is closer to the Stevenson standard (which according to vinylengine.com aims to minimize tracking error and the end of the grooved area, on the thoery, if I understand it correctly, that this is where overall distortion is worst). Again judging by what's written on vinylengine.com, this alignment may be similar to what Rega apparently achieves when using their cartridges on their arms with their third mounting screw employed to positively define their preferred set geometry. But the assumption of a Stevenson-like alignment seems not to agree completely with what I can measure with a (non-mirrored) protractor using a couple of different cartridges, although I don't get an exact match either with the null points listed on vinylengine.com, or with the Technics innermost and outermost groove error specifications. So maybe the jig is either off a bit or just difficult to use, and/or ditto the protractor. In any case, from what I can guesstimate, if you wanted to achieve a Baerwald alignment it looks like you'd probably have to increase the overhang by around 3mm or so, and presumably also adjust the offset angle so that the cartridge body was no longer parallel with the headshell sides. (And again it would be different for a Loefgren alignment.) However, where the mentions of 1/2" (about 13mm) worth of overhang disagreement come from I don't know, I can't see that much variation myself. (In fact, with all four of my carts there's not even near 1/2" worth of travel adjustment available in the headshell slots, either forward or backward, from the settings defined by the jig, the slots themselves being only about 7/16" in length total.) But it sure is easier just to set the cartridge parallel to the headshell and use the jig, and from what I can tell this probably won't result in an alignment that exceeds the acceptable error range anywhere on the playing surface, although the null points may be somewhat farther apart than is typical and the inner one may actually lie a bit beyond the innermost groove. Anyone else care to weigh in? |
For the record, I rely on the Technics alignment jig these days. There's no reason not to use a two-point gauge if you prefer and neither is "wrong" inasmuch as there is no such thing as perfect alignment with any pivoting arm. All you can do is choose where you want to minimize tracking error most. Try both and see which works best. |
Curious to know if anyone has experimented with, or has considered experimenting with replacing the Technics arm with an Origin Live or Incognito modded/re-wired Rega RB250. Origin Live makes a RB250 mount specifically designed for the Technics SL12xx series tables. There has been some favorable discussion of this combo on AA, and a review from the British review mag "HiFi World" (April 2004). |
I recently bought the KAB RCA terminal plate to install on the back of my 1210. I now see that Kevin has other parts on his website for complete tone arm rewiring, but he advised me that some of this work cannot be done by a DIYer like me. The question I have is how much benefit will I get by just adding the RCA terminals and using a high quality phono cable? (I have a Cardas Neutral Reference). The stock wire will still run from the RCA terminals to the circuit board, and the circuit board will still be there as will the stock wires in the arm. I wonder if I should wait until KAB sells completely rewired tone arms that can be installed easliy. Thanks for your comments. |
''The ST/STR8-150 is undeniably a superior turntable to the recently upgraded Technics Mark 5G, while attractively also costing around £50 less for a pair. Every major DJ equipment manufacturer now has some serious contenders in their range to take Technics scalp, but 1210s remain notoriously enduring and popular.'' The above quote was taken from the Needle Doctor web store about the Stanton... I wonder if any of you have any info about the Stanton ST-150 turntable - it look very similar to a Technics? I get a bit anoyed when someone claims they have a better product than the Technics & do not explain such a claim. |
First, the quote from Needle Doctor was taken from DJ Magazine, so the comment is in the context of DJ turntables using DJ criteria...not audiophile criteria. Second, having looked at a photo of the Stanton table, it appears to have a striking resemblance to the Technics table. It wouldn't surprise me if the two tables were manufactured side-by-side in the same factory with the same parts. The Stanton appears to have a few upgraded features over the Technics table. |
BTW, I tried to do a side-by side comparison of the Stanton and Technics tables on Needle Doctor, and the specs require conversion from English to Metric to make any meaningful comparison. So, I cannot conclude that the Stanton has anything improved over the Technics (or vice versa) because frankly I am too lazy to do the conversions and comparisons. However, the fact that the measurements are in different systems makes me skeptical that the two tables are different in any meaningful way that would have meaning to audiophiles, or that the Stanton has superior audiophile specs. |
When I downloaded the user manual off the Needle Doctor web site for the Stanton, I was then asked if I wanted to install the Chinese language!! This may very well mean that its made in China since apparently the 25 year Tecknics patent expired. The only major difference is that its weight is now some 38 pounds! Also,in no way part and mod availability is as good as with the Technic - But an audio comparo would be interesting - |
However, the fact that the measurements are in different systems makes me skeptical that the two tables are different in any meaningful way that would have meaning to audiophiles, or that the Stanton has superior audiophile specs.As a point of clarification. When I wrote that the measurements are in two different systems, what I meant was that the specs for the Stanton are in the Metric system, and the specs for the Technics are in the English system. |
From an audiophile standpoint, the differences between the Stanton and Technics completely favor the Technics. The Stanton's DIN B-weighted S/N is 60 dB; the Technics' is 78 dB. The Stanton JIIS wow & flutter is .1%; the Technics (with the same weighted measurement) is 4x as good at .025%. And look at the tonearms. The Technics tonearm is S-shaped to minimize tracking error; the Stanton is ramrod straight with a straight-ahead headshell. It doesn't even display a pretense of regard for tracking angle because DJs evidently prefer un-canted cartridges for scratching. The effective length of the Stanton tonearm is 194mm; the Technics' is 230, for a 36mm (1.41") longer effective length. The only Stanton spec I can see that is higher/better than the Technics is motor torque for faster spinup, which for audiophile use is irrelevant because the Technics is torquey enough. And as previously mentioned, DJs might prefer the straight arm/straight headshell, but not home users. |
I was looking at this Stanton ST-150 on Needle Doctor, which has an "S" tonearm that looks nearly identical to the tonearm on the Technics. FWIW... |