Micro SX-8000 II or SZ-1


Does anybody know if there is a mayor difference between the Micro-Seiki SX-8000 II and the "flagship" SZ-1?
A friend told me I should look for a SZ-1 because it offers a better motor. Having a SX-8000 II I am not shure whether it is worth looking for a SZ-1 or only for another motor-unit?
thuchan
*** I would never use a belt - not on a Micro Seiki nor on any other "belt drive" TT. A belt is always a source of instability and in worst case much more than a filter.

Come on, it acts as filter equivalent no matter what you do and an no matter what coupling topology you use between two axis. Also, I disagree with your comments about belt. Starting with some palter mass it become irrelevant what you use if the tension of your drive is properly applied with respect to marital of the belt/string. I used what imaginable to drive heavy Micros: magnetic tapes, all possible string, many different types of belts… you name it. If methodologically properly each of them used then with the proper mass of palters there is no difference what drives the platter. I might talk about some VERY negligible differences but it is so minor that absolutely discard it as contrived differences and I have a firm believe that no one would recognize them in practical trims.

*** The RX-5000 and SX-8000 were designed by Micro Seiki to be used with string for best results.

It was not what Micro Seiki designer told me….

**** With a string, fairly low tension and symmetrical positioned inertia unit we are looking at a kind of slip regulated drive. In other words - the inertia providing the speed stability and the low tension string applied without horizontal force is just preventing the platter to get slower. Its a tricky idea and it only works with fairly heavy platter (= high inertia) and force free low tension string drive. No belt - no tape - no high tension and no horizontal force vector.
There were papers in japanese magazines floating around by Micro Seiki engineers in the early 1980ies addressing this principle.

And there was zillion pares advocating opposite as well. All those people who write those papers know very little about sound. If you so love the Japanese magazines then go to Japan and listen their funny rice-paper sound. I hate the Japanese sound, it derives from non-morphemic tone of Asian language and I do not value it too much in my reference scale. I wrote about it a lot in past. The Japanese magazines write the same as the US magazines do. Our writers say that on their tonearms they can clearly hear sound of tide on Atlantic Ocean but they have their paper-made TT sitting atop of TV or hoods of working car. Do I need to pay attention to the “writers” or to my own experience and my own definition of success?
Radicalsteve--thanks for the acrylic mat link. Since none on their website seem specifically made for Micro Seiki platters, which model did you choose?
Kip

this the right one for the Micro: Plattentellerauflage aus PLEXIGLAS® 5mm stark D=293mm

Steve
Ho, crash, clang, this no funny non-morphemic sound pepa-tt on top of ah TV, and caan listen to ocean...

It is an interesting point you make, and a Mr. Steen Duelund (bless his souls) had noted the different Asian physic --- shoulders closer to the ears and that as far as he found, attributed to a different sound appreciation.

If you once had the opportunity to listen to Chinese Opera (and in deed survived the occasion) you will absolutely appreciate that there must be a difference here. Head splitting crash cymbals and lots of nasal ha's and ho's is mostly outside of the western ears' idea of 'music' in deed :-)
FM_login,
I am not sure I understand the "non-morphemic tone of Asian language" bit, and I am certainly unaware of how such might relate to "Japanese sound". Japanese language is structurally morphemic, and is not tonal in the way that Asian languages are generally labelled tonal. If "tone" refers to intonation, Japanese is not structurally dissimilar from American English - the intonation is different but the structure of intonation patterns is not.

I think talking about the shape of physique is cute but almost meaningless; in terms of physique the more important aspect might be seating height, as affected by ratio of upper body height vs lower body height combined with average height - the average ear-tuchus span as I think it is technically called :^)...

As for what the Japanese sound is.... some of the favorite tables out there are Linns. For those who play with heavy platter Micros, the most popular arm/cart combos seem to be SME long arms with SPU carts attached. And usually all this is played through a class A amp, in many cases SET.... is that "Japanese sound?"

MUCH more important would be average difference of listening room environment.