AudiogoN Reviews: Technics SL-1200Mk2 Turntable

Review: Technics SL-1200Mk2 Turntable

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

by Ekobesky on 08-20-04

Technics SL-1200Mk2 in black.

Tonearm offers on-the-fly VTA adjustability.

The Shure M97xE is a capable performer.

The SL's controls all have a luxurious feel.

Follow ups

Click title to read one, or click date to read all below it.

08-21-04 Great review. one of the best i've read on audiogon!br ... Muzikat

08-21-04 Agreed , outstanding review . structured well informat ... Brainwater

08-28-04 I stand corrected. the technics overhang jig is accurat ... Ekobesky

10-05-04 Spares for the sl are available from panasonic (http:// ... Ekobesky

10-06-04 Great review. i wish to make just a few clarificatio ... Kabusa

01-19-05 i got mine couple of days ago. not upgraded, just regu ... Eldragon

03-04-05 Does anybody have experience with upgrading the sl's wi ... lekkermuziekje@

03-04-05 Origin live offers a kit and it seems relatively easy t ... Ekobesky

05-25-05 I am a dance music dj, and i'd like to record electroni ... beefree303@

05-25-05 Ekobesky, should you ever choose to leave your d ... Mario_b

05-26-05 I had a 1200mk2 back in the 80's. i agree it is beauti ... Kevziek

05-26-05 to beefree303@yahoo.com: unfortunately, neither th ... Ekobesky

05-27-05 Great review ed, you could write for positive feedback. ... Albertporter

08-04-05 Why technics continues with this turntable is a total m ... Ferrari

08-04-05 I have to agree with ferrari on most of his comments. i ... Ekobesky

10-15-05 Wrong--both you guys. alex has said that the m ... Psychicanimal

Maybe -- but only conditionally
It's possible the Technics arm might outperform a Rega -- but only with the high compliance cartridges it was designed for use with. That's fine if you want to restrict yourself to low to mid-priced moving magnets from Shure, Ortofon, Stanton, etc.

I've tried the Technics with a low compliance Denon DL-110 and the results were...well, okay. It was acceptable but not a match made in heaven. Granted, you can always add the KAB Fluid Damper, which I have no dobuts about, but the fact remains it's an aftermarket patch designed to nudge the arm toward modernity.

It's also possible that the Rega arm and the Technics table just aren't a good match. Happens sometimes.

So, I'll leave it at this: the stock Technics arm may well outperform the Regas, but only on a Technics 1200. The real test would be to stick the stock Technics arm on a Rega P3 or Linn LP12...then we'd see what it's really made of. If anyone's crazy enough to cut an armboard and do it, I'm sure the 10 or 12 of us who care would be eternally grateful for your impressions.

Anyone?
Ekobesky 10-16-05

Review: Technics SL-1200Mk2 Turntable
Ed - No sense in flogging a dead horse. However the Technics tone arm EPA 100,250 or 500 on a Rega or a Linn. Now that would be very interesting indeed.
Ferrari 10-16-05

Interesting Findings
Hello

Good thing I had a browse of reviews, and found your own posted here. I believe that theoretically all the 'proper' direct drive decks should wipe the floor with there modern day contemporaries. When I say 'proper' I mean the SP10, SL1200, Onkyo's, Denons, Marantz, and most of all the EMT's.

I say this because Vinyl was the main format at Radio Stations, and in homes then. Big Japanese companies, and one German one, threw all their resouces at their designs, and even with economies of scale factored in, they were more expensive than Linn Sondecks!

On the other hand, when the multi-national boffins turned their minds to CD, the majority of those left designing turntables were excentrics - sorry but it is true. This is because analogue playback was to all intents and purposes irrelevant obsolete technology.

My justification for this is to simply take a look at an EMT 948, 927, 950... manual. Each was about 30 pages or more and explains every facet of the design. Compare that to the current crop of super decks, and they are very wanting, and more than anything they rarely justify there designs.

What I am saying is simply this, I am happy that you like your SL1200, as it introduces vinyl to whole new generation without the pretentiousness of many pieces of kit, and when plugged into a good amp, and kitted out with a nice cartridge it can really sing too.

I say all this on the back of me having an Amazon Model One, with a Transfiguration Temper Cartridge, and an EMT 950 on the way for restoration.

Lohan
Lohanimal 10-16-05

Review: Technics SL-1200Mk2 Turntable
Ed? I'm a bit perplexed!?!?

"I've tried the Technics with a low compliance Denon DL-110 and the results were...well, okay."

I just purchased a DL-110 for use on a Technics SL-1210 based partially upon your glowing review in Positive Feedback:

"The Denon DL-110 is a winner. Setup is fuss-free and tracking superb. After a brief break-in period, it goes about its business with an ease and refinement that belies its modest price. If you've been wondering why many audiophiles prefer moving coil designs, you'll find some enlightenment here, but be forewarned—unlike most beer-budget cartridges, the DL-110 exhibits genuine character."

http://www.positive-feedback.com/Issue15/denondl110.htm
Slate1 11-22-05

The Denon DL-110/DL-1200 match is...OK
When I said the results were "okay" I was referring to the COMPLIANCE match between the cartridge and arm, not the resulting sound quality of a given setup taken as a whole.

The post you're referencing deals specifically with the quality of the Technics tonearm in comparison with the Rega RB250/300 -- not arm/table combos -- so what we're talking about there is the ability of either arm to wring maximum performance out of a given cartridge in purely theoretical terms, not the performance of any one arm or cartridge mounted and playing on a turntable.

As I emphatically stated in my review for Positive Feedback, the compliance match between the Denon and the Technics is acceptable but for some it might be out of their comfort zone. Not mine, though.

The DL-110 itself is an amazing bargain but people who use it with the SL-1200 should know that they're combining a low-mass arm with a medium-low compliance cartridge. The Technics arm is best suited to the high compliance cartridges that were popular when it was designed (i.e., Shure V15, Ortofon OM series, Stanton, etc.) Of course, there are two simple solutions:

(a) Add a bit of mass at the headshell by using either the balancing plate supplied with the Denon or a Technics accessory weight. Not a complete solution but a cheap, practical and effective one that I lived with happily.

(b) Install the KAB Fluid Damper which eliminates much of the possibility for any stray resonances resulting from arm-cartridge mismatching.

In most situations -- 95% of the time or greater, in my testing -- the DL-110 and the un-damped SL-1200 arm with added mass got along more than acceptably well.

As an aside -- about 15 years ago, Stereophile's Sam Tellig tested the DL-110 and DL-160 on his Dual CS-5000 (with low-mass arm) and noted no problems.

I enjoyed the pair for quite awhile and feel that the DL-110's cavernous (some might say exaggerated) soundstaging helps make up for the SL-1200's tendency to sound a bit constricted in terms of soundstage width, if not depth.

With any afforable arm-cartridge combo, there will likely be some issues to resolve. This is one of them. Don't let it stop you from enjoying your rig and don't waste time listening for problems that may or may not be audible. You're better off tweaking VTA, VTF and bias (and of course, your alignment) which will make far more of a positive difference.

One note, though: as with nearly all cartridges in my experience, track the DL-110 at the high end of its acceptable tracking weight -- at least 2g.
Ekobesky 11-23-05

Mat for SL-1210
I have a new SL-1210M5G and wonder what mats others recommend. I bought my table from KAB, so I have the upgraded mat that Kevin supplies. I also have a fiber/felt mat of unknown make. I like the mat KAB sells with the table better, but I am open to trying other things. Please email me with your thoughts. Bruce at blmcycle@aol.com
Blmcycle 01-15-06

Review: Technics SL-1200Mk2 Turntable
Nice review; I had one of these way back in the 1970s and thought it was pretty good for the money.
Bobgates 01-16-06

Review: Technics SL-1200Mk2 Turntable
Nice review and very helpfull. Just went to the Audio show in Mtl and saw the Music Hall 5 and the Project...
To be honest a glass platter or a high density board platter does no do it for me. THe tables look really cheap for the money..

I just bought a used technics Q2 turtable..Its also heavy at about 20 pounds or so- but no tonearm VTS ajustment.So I will get a SL-1200 that has the VTA.

I have a cheap but major modification that I did and do recommend: simply put the turntable on top of metal cones!! The base of the cone is on the bottom and the point on into the bottom of the turntable...
THe difference with the Q2 was like night and day! It cleaned up the sound big time...I will also set it up on a TARGET point table....
So I will do the same with the SL1200 and put a fairly good Grado red cartridge.
yves@yvesparadis.com 03-25-06

Review: Technics SL-1200Mk2 Turntable
I meant to post to this thread some time ago and didn't, so I'm glad it's cropped up again. A lot of what I have to say I've already said on other threads before. To briefly recap: I've owned my 1200 for close to 23 years now -- buying it as soon as I could afford to upon first using an SP at my college's radio station -- and don't have in-home experience with other audiophile-worthy tables. While the rest of my system has been replaced at least three times over since I got the SL, I continue to be satisfied using the Technics table. But I sorely lack points of reference for making any claims about where the 1200 falls within the universe of audiophile belt-drivers, either around or above its price range. All I can say is that it's durable, swell to use, its sound doesn't suck or fall short in any obvious way, and is not lacking compared with my digital separates in a system that presently would retail for over $25K* -- not top-drawer, but not chump change. I generally feel that if I did replace my 1200, I'd have to begin looking at around five times its current price, and I'm not sure that the improvement -- if it was even comprehensive -- would necessarily be commensurate.

I upgraded my unit a few years back with Kevin at KAB to include both the fluid damper and the outboard power supply (as well as the 78rpm mod). Both work basically as claimed, and the p.s. in particular is now to my mind a prerequisite for using this table in an audiophile context. I was Kevin's first customer for this accessory, and commissioned him to do a customized installation that provided a method for switching between the stock, onboard p.s. and KAB's outboard one, so I could perform A/B comparison tests. As far as I know, I am still the only owner with this capability, and I can assure those interested in buying the regular mod that its effect is entirely beneficial and worthwhile if you own a high-resolution cartridge and system. The changes are fairly subtle yet all-encompassing -- if you only play Black Sabbath through Cerwin-Vegas you may not hear (or need) them, but for well-recorded, more sensitive material and better systems, the only thing that might obscure the obviousness of the improvement could be the time lag needed to perform the installation and the lack of ability to easily revert to stock operation for comparisons, so making some good before-and-after recordings might be helpful as a reference.

Although I was happy with the table before the p.s. was added, I would now hesitate to call it truly high end without this mod. Not going into flowery descriptives, the outboard p.s. addresses a couple of engineering limitations of the stock table by virtue of being both a stiffer supply and removed from the plinth physically. Providing an across-the-board increase in purity/transparency/resolution, this yields a richer tonality, more detailed harmonic structure, better attack and detail of transients and eludication of decays, an extended bandwidth, wider dynamic envelope both micro and macro, smoother textures, improved clarity, more palpable imaging and deeper and more authoritative soundstaging -- all of which translate into superior musical expression. I assume an improved power supply will do many of these things with any turntable, even belt-drivers not additionally saddled with having their stock p.s. onboard the plinth. The KAB unit is not extravagant, but it's effective and I feel justifies the expense; as the de facto beta-tester, I wouldn't have purchased the mod if I hadn't been able to prove its worth for myself.

Someone above raised the question of platter mats. The 1200's most inherent weakness IMO is that its cast aluminum platter cannot be made to not ring. You can only minimize it. In my tests, all lightweight mats have been shown the door, they can't damp the ring well enough to use. The stock mat on the original 1200 Mk.II is thick, heavy rubber, which is what KAB retrofits to all their 1200's, though Technics has introduced a thinner rubber mat and slipmats for verions other than the Mk.II. The heavy rubber mat does a good job of damping the platter. I prefer the sound of an equivalently-thick Sorbothane-type mat (used with a clamp), which also damps the platter well, but ultimately have combined this with one of the Technics thin rubber mats underneath, and that double-mat arrangement, with different materials doing different jobs (the rubber mat damps the platter with help from the heavy Sorbothane above, the Sorbothane mat damps the vinyl record and is isolated from the platter by the rubber mat in between), works best out of all usable options tried, although the increased thickness can make clamping dicey with 180g or heavier pressings (you can run out of spindle to grip unless the felt clamping washer is removed; KAB's screw-down clamp/spindle may eliminate this difficulty). This is an inelegant and partial solution, and I believe Kevin has investigated various approaches to modifying the platter in order to eliminate the energy store-and-release at its source, but for the time being it's the best method I've found, and might well be no worse or possibly better than a glass-plattered Rega with their felt mat or the punningly-named Ringmat.

About the arm, I feel it's more medium-mass at 12g than low-mass, and have had no problems using medium-compliance MC's from AQ, Benz and van den Hul (with and without the fluid damper, which I reviewed previously), as well as higher-compliance Ortofon and Shure MM's. The bearings have been excellent, with no friction detectable, and zero play apparent until just recently, not bad for over two decades of pretty heavy useage. (The only other items now wanting replacement are the cover hinges whose springs have become a little droopy.) I'll also want to upgrade the lead-out cabling and try KAB's strobe disabler.

*[I'll restate the system context as it applies to vinyl: Benz Glider M2, vdH DDT-II, and Shure V15-III carts, Camelot Lancelot phono, Levinson 380S pre, VTL MB-185 amps, Thiel CS2.2's, ExactPower and Power Wedge Ultra PLC's, vdH carbon IC's, Audience Au24 SC's, Shunyata and HT PC's, Symposium Shelf on FoculPods for TT, Salamander Synergy rack]
Zaikesman 03-26-06

Review: Technics SL-1200Mk2 Turntable
This review, and most of the comments, are better than what we (often) get from the professionals writing in the audiophile journals.

Just one remark, that I see often, bugs me, and it is not really part of Ekobesky's observations, but just mentioned in passing.

About direct drive... "the circuit is constantly hunting for the perfect speed without success". Belief that this behavior is inherent in a servo control loop is a myth derived from ignorance about servo design. A servo that acts this way (especially now that the control laws can be implemented by digital algorithms) is just plain designed wrong. Perhaps some particular DD turntables had lousy servos, but that proves nothing about DD turntables in general.

Hurrumph!
.
Eldartford 03-26-06

Review: Technics SL-1200Mk2 Turntable
Eldartford, regarding your comments.

This review, and most of the comments, are better than what we (often) get from the professionals writing in the audiophile journals.

Please see my post of 5-27-05.

Great review Ed, you could write for Positive Feedback.

Ed is a reviewer for Positive Feedback and in my opinion, writes balanced reviews based on good common sense.
Albertporter 03-26-06

Review: Technics SL-1200Mk2 Turntable
Regarding the arm...It appears that VTF is provided by adjustment of the balance weight. A similar vintage TT that I once owned (Empire) generated VTF using a clock balance wheel spring. This meant that the arm was mass-balanced around all axes so that vibration, or even thumps, had little or no effect on cartridge forces, and therefore on the sound. I found that this simple feature was very valuable in minimizing vibration problems.
Eldartford 03-26-06

Review: Technics SL-1200Mk2 Turntable
Dear Ed i must complement you on your review of the sl1200
Turntable and has kept me coming back to this site and reading more reviews. i service turntables only sl's in Australia for DJ's and hire companies, it would make you cry the way they treat them, I have change close to 300 arms in 4 years, mostly due to bearing problems as they transport them in road cases with the counter weight on. i was asked around 2years ago to change a arm on a sl1200 due to problems scratching and that his friends were laughing at him with this skinny looking arm so today I went to my work shop a dug it out and after some research from this site I found it to be a Audio Technica AT1100 with a Stanton 681eee cartridge. It just shows you today it’s not what it sounds like it’s what it looks like.

Bigkev 04-20-06

Review: Technics SL-1200Mk2 Turntable
Concerning modification and/or ideas on this turnatble, I made two 3/8'' acrylic platters and stacked them together instead of the rubber mat....
Also, the table was and is set up on 3 inverted metal cones pointed into pennies. (I removed the 4 fat feet. The table is on an MDF 5/8'' board resting on an old TARGET wall turntable stand that holds the board from under, using 4 spikes...The board replaces the flimsy original one. Soon I want to play with the idea of making a more massive base under the turntable & see what I hear...I am also using a GRADO red as cartridge.

Now, back to the sound effect of using 2 X 3/8'' acrylic platters....
When I first made the one 3/8 platter the sound opened up considerably. On the Pie Jesus of Fauré's requiem, I now could hear the air around the voice and the subtle details of the echo and her voice reverberation. All in all, much more detail & clarity.
So this morning, since I had enough Plexiglas left for 3 more platters, I made a second platter....( you need a router and some jig to make a circle)
2 platters still leaves just enough spindle space & I was able to adjust the 1210 VTA of the tone arm in no time.
The result of using 2 acrylic platters was staggering...
The voice was so, so smooth, the details more pronounced and the soundstage even better. I really got the impression that the person ''was just over there''. Everything but everything just sounded better and so much more detailed....

I did make an acrylic platter years ago (read in the Absolute Sound about that idea) on a custom made Oracle I put together with an SME V. That table used the original AC oracle cogging motor and the speed had always to be monitored via a strobe I glued to the bottom of the table and verified with a flat mirror.
But, with the Technic sl-1210, the speed is so perfect; I simply hear things I never heard before using the double acrylic platters...
I spent some $22 Can or $20 US on the piece of acrylic at the local hardware store.

The rest of the system is made of 3 Citations 16 amps. Two amps are bridged mono to drive the base part of the AR9 speaker towers. The third Citation 16 drives the mid’s and the highs of the speakers. I boosted the main capacitors of the amps from 10,000 mf per channel to an extra 72,000 mf/channel. Each amp has thus 4 capacitors on top and big as beer cans…Doubled monster cables are hard wired into the amps and connected to large custom (read from hardware store...) brass binding posts. As for the Audio Research SP-7, I also boosted the capacitance by 10 times or so and re-wired with silver wire.

Now, I would appreciate getting info on a DIY method to further making the speed more stable & accurate on the SL-1210. Mind you, I read about the KAB modification & may just buy it. The KAB mod uses bigger capacitors and a bigger power supply& that is just what I have been doing all along (as far as the capacitors go)….so I would really like to have another DIY project….
For me, most of the fun is making something and trying things out....

Does anybody have ny ideas on further enhancement of the speed regulation on this already great Technic 1210 turntable??
Citation16 05-22-06

Review: Technics SL-1200Mk2 Turntable
Kab regulated power supply PS-1200 (or DIY unit.)
Any comments on the sound effect or enhancements of using a regulated power supply on the Technics?
I have never but never heard such amount of detail by the mere fact of the speed being dead on and stable....and using 2 layer of 3/8 '' acrylic platters...
What more can the regulated power supply do?
A DIY idea would be nice.
However, I may jut go for KAB's unit but really would like to hear comments on anybody who is using a regulated power supply mod on the Technics.
Citation16 05-22-06

Correction - acrylic platters are 4.5 mm each..
The acrylic platters I made for the 1210 are really 4.5mm each. Both come to 9MM or 3/8 '' for BOTH platters.
Citation16 05-22-06

Review: Technics SL-1200Mk2 Turntable

"Any comments on the sound effect or enhancements of using a regulated power supply on the Technics?"

Did you see my post of 3/26 above? In my experience this was a more important improvement than my playing around with various platter mat arrangements. BTW, the cast aluminum platter of a 1200 has a slight, straight 'dish' to its profile (lowest toward the center, higher toward the perimeter -- this can be seen with the mat removed by laying a straight edge across its diameter), which works out well when a clamp is used. Mats (as well as LP's) are flexible and can follow this contour, but I'd imagine that a 3/8" acrylic flat, not machined to account for this deviation, would result in a loss of solid contact with the platter away from the edge and the formation of a resonant cavity in between.
Zaikesman 05-22-06

Review: Technics SL-1200Mk2 Turntable
I just read your post and find it very helpfull.
I will likely get the KAB power supply, as Kevin has already provided positive and helfull feedback on my previous questions.

As for the acrylic mats I made, actually totalling 3/8 '' for both, the sound difference is really worth a listen.
In my mind, the acrylic mat opens up the sound while the rubber mat closes it or restrains it, once you make a comparison. Even my wife, who is quite into music, hear the difference. The differenc is quite noticable...

Any event, I will possibly get the super mat, as it will not bankrupt me. I will then compare but hold little hope.

But my previous Oracle turn table had a screw clamp and rubber mat. Then again the acrylic mat made a better open and airy detailed sound.

As for the record not being flat, I also worried about the same thing Zaikesman mentions. It turn out,the record was mostly flat. One 4.5mm acrylic mat made a big difference, but the second mat on top made it even better. I possibly will try later a weight clamp, as I have not much left to clamp on...

As for the ring of the platter mentionned, I just wonder if those dots (used by another member on the tone arm & that I will try...) would do the tric...?
Also, an aggressive thing to do would be to spray the inside of the platter with foam in a can...When the whole mess would dry and look really ugly, I would simply carefully cut off the excess foam with a fine tooth saw to that you cannot see it when put back into place...
Replacing the platter is not a king's ransom but the foam thing should not damage the platter & magnet I presume...

But I will try the dots first on the aluminium platter and see what the company who sells them recommend as placement...

Citation16 05-22-06

Review: Technics SL-1200Mk2 Turntable

"In my mind, the acrylic mat opens up the sound while the rubber mat closes it or restrains it"

That is quite possible -- I have not found that use of a damping soft-type mat in conjunction with a clamp makes the sound 'airier', but rather better focused and more solid. The "Ringmat" is often noted for producing an 'airy' sound, and by design it leaves most of the record's underside unsupported, and therefore undamped, with a cavity in between. My own suspicion (based not on auditioning the Ringmat, which isn't suitable for use with the 1200's platter, but various solid mats with and without clamping) is that this result, while maybe pleasing to some, is spurious and caused by undamped HF resonances. To get some idea of what contributes to the sound in this situation, you could experiment with turning off the volume and listening to the unamplified acoustic response of the stylus tracing the grooves on the acrylic vs. a mat -- the less 'needle-talk' you hear throught the air, the less resonance is developing.

"I possibly will try later a weight clamp, as I have not much left to clamp on..."

KAB's screw-clamp may be the best thing for this problem. At any rate, I'd be wary of adding too much weight to the platter with the acrylic plus a heavy clamp, because that could change the speed-control dynamics. (My own solution employs the thin Technics rubber mat under the Spectra Dynamics soft mat, which together weigh roughly in the same vicinity as the stock Technics heavy mat, plus the lightweight Michell clamp.)

"As for the ring of the platter mentionned, I just wonder if those dots (used by another member on the tone arm & that I will try...) would do the tric...?"

Marigo-type dots aren't enough to perceptibly damp the platter resonance, I wouldn't bother with this.

"Also, an aggressive thing to do would be to spray the inside of the platter with foam in a can"

I doubt this would do much either. The underside of the platter is already encased with 1/4" heavy rubber. As an experiment I once covered about 2/3 of this surface with strips of a proven effective, adhesive-backed triple-constrained-layer damping material about 1/8" thick and quite dense, but it did so little to change the platter ring I later removed it (so it couldn't disrupt the platter's rotational balance). My observations indicate the only way to further damp the platter is to address its undamped surfaces, meaning of course the playing surface through choice of mat. In another experiment I once treated the platter's undamped outer periphery-weight/strobe-area by wrapping it in a couple layers of duct tape, which although it did slightly (very slightly) decrease the ring, couldn't work in use due to lack of clearance with the plinth around the edge (and besides looked ugly as hell ;^) If you remove the mat and platter, and lightly hold the platter flat against your abdomen, you'll find it basically doesn't ring at all anymore; effective damping of the top surface is what's needed to kill the resonance.
Zaikesman 05-23-06

Platter ring & spurrous noises....
Well,
I first verified Zaikesman assertion that the acrylic mats I made were in fact floating on the outer rim of the platter. This is not the case, since the acrylic mats I made just barely touch the outer & higher rim of the platter. When I remove the mats, their is a definite suction of the platter separating from the acrylic mats.
I did notice some faint shrill in the high notes of voices from one acrylic mat, but when I made a second and put both on top, that was gone & I got even more sonic information similar to the clever and erudite terminology you use to describe the sonic benefits of the KAB power supply. I specially like the term:…elucidation of decay….

I did not weight the double acrylic mats but doubt they are more than the super matt.

The screw clamp would have to have a longer spindle for me to use with the acrylic mat. When I used the Oracle clamp and platter, I did crack a few records...! Now I realise that most records are quite flat anyways....will have to play/experiment more with this idea...
Quote ''the less 'needle-talk' you hear through the air, the less resonance is developing.'' this I seem to hear when the volume knob on the AR SP-& goes past 10:30 or 11 o’clock mark. I would term this more as hearing the motor or god knows what, but will have to install the KAB PS to hear the difference. Also, I am told or read that the Grado cartridge does have a tendency to pick up noises more readily...There is a motor turning under the platter, and this, is my mind, is what I hear. I have never heard anything like it with the other turntables I had.

The benefits of the 3/8 inches of acrylic renders so much more information, clarity and detail, that one must really try it to really decide for one self…

Also, I took off the large feet and put 3 inverted metal cones on pennies AND the whole table on a TARGET wall mounted turntable stand. This in itself also opens up the sound and gives cleaner bass, just as numerous other audio gear & speakers benefit from this treatment.

But there is no doubt that the precise speed of the Technic 1200/1210 makes a world of sonic difference; puts my old Oracle to shame…
Citation16 05-23-06

Review: Technics SL-1200Mk2 Turntable
Please keep the comments and ideas on the SL-1210 coming.

I now have mine mounted on 4 Mapleshade 2 inch high Heavyfeet with M6 threads screwed tight into the four corners. I could not find 3 flat places on the bottom of the table to do the 3 point mounting thing. The Heavyfeet are sitting on a 2 inch thick custom size maple base from Mapleshade that is on four Isoblocks. The change was very noticable. More defined bass. Fuller midrange. Less distortion up high. And the dynamic contrast is much greater. And I am using the ever modest Shure M97xE.

Next may be the KAB fluid damper. And I have traded messages with Kevin about having him mod my table with his power supply, strobe off switch, and interconnect cable adapter. He told me a new mod is on the way that will lead the tonearm wires overboard to direct connections to the interconnects.

Here is a free idea I may try. Pierre of Mapleshape recommends that interconnects that are moulded together should be separated. I tried this with a cheap Monster mini to RCA I use and it seemed to improve the sound. The stock connecting cables on the 1210 are moulded together, and could easily be cut apart. Get out the Exacto knife.

Cheers
Blmcycle 05-23-06

2 inch high Heavyfeet with M6 threads screwed t
Very interesting Blmcycle,...What does the M before the 6 stand for?
Is that the right size thread? and does it harm the thread?
I would be curious to try them.
I put my inverted metal cones in the cavities where the feet used to be. In the front, I just put one in the middle. But it’s a bit cumbersome to set up since they fall easily. I may just try the hardware store & find the matching thread to make spiked feet....into the original treaded feet cavities of the table.

They also offer heavy hats. I did try that idea with the old Oracle turntable using a diving lead belt weight - not nice looking, but effective.
On the Technics, I see I have no space to put such a big lead thing...on the top of the table.

It would be nice if they made an after market solid plinth to support and house the Technic 1200/1210 turntable mechanism (with the outboard KAB power supply) and tone arm! This would really be fantastic and could be made of layers of MDF and other heavy stuff....
This way we could get rid of all the extra plastic and go back to some expensive models they use to make that way...
Citation16 05-23-06

Review: Technics SL-1200Mk2 Turntable

"It would be nice if they made an after market solid plinth to support and house the Technic 1200/1210 turntable mechanism (with the outboard KAB power supply) and tone arm! This would really be fantastic and could be made of layers of MDF and other heavy stuff....
This way we could get rid of all the extra plastic and go back to some expensive models they use to make that way..."

Not sure what you mean by "get rid of all the extra plastic"? The 1200 is made almost entirely of cast aluminum, internally encased with heavy rubber -- the only plastic (other than the removable dustcover of course) is a few small trim bits and the cover for the electronics (hidden under the platter). Much better construction than any amount of MDF.
Zaikesman 05-24-06

Review: Technics SL-1200Mk2 Turntable
Citation16: The M6 thread is a metric size thread that is the same as the threads on the stock 1210 footers. I just took one of the stock footers to a hardware store to make sure of the thread size. Mapleshade sells the Heavyfeet with M6 threaded mounts as one of their standard sizes, although they say they can do any size thread, I think.
Blmcycle 05-24-06

Review: Technics SL-1200Mk2 Turntable
Quote :''I now have mine mounted on 4 Mapleshade 2 inch high Heavyfeet with M6 threads screwed tight into the four corners.''
-----thanks Blmcycle, I just ordered 4 of the same from Mapleshade....
Curiosity got the better part of me & the 3 metal cone feet I use are not that heavy and a bit of a pain to set up.
Should sound as good as they look...
But I will put a penny or quarters under the each feet in an effort to get more of the effect since I will see if its better than just pointing into wood!?
Citation16 05-24-06

Cartridge for Technics SL-1200Mk2 Turntable
Here is another question for you 1200/1210 folks. What cartridges do you like with this table and why do you like them? It will help if you tell us (me) what type music you listen to and what qualities you like about the cartridges you recommend.

Thanks.
Blmcycle 05-24-06

Sound dots or something similar...
Reading about sound dots applied to the tone arm counter weight and other people coating the arm with liquid latex to absorb the vibration, I tried something possibly similar yesterday.
I went to the hardware store in the section that sells various types of feet to protect objects and furniture....
I bought, 3 various sizes (from 9.5 up) soft polyurethane transparent dots. The name on the package is Pro-Tec-Tors and its made by Faultless/Madico in the US.
The dots are cut outs on a rectangular piece of flat sticky poly. So, for the tone arm and counterweight, I simply cut a 1.5 inch long strip by 3 or 4 millimeters wide. One I applied to the tone arm length wise and the other partly around the counterweight. Then I took 6 large soft transparent dots and stuck them near the front and back corners of the SL-1210.

At first listen, the soundstage was more definite. The solo voice was much more palpable and real. And there is less of a shrill to the high notes… I will have to play with the dots & strips over the week end, when I have more time but initial results seem similar to other comments about similar treatment of the tone arm.

Apparently every component from the preamp, the amp, the speakers, the windows could benefit. The next on my list would be the pre-amp; we will see/hear…....
I spent $6 Can or some $5 US. A cheap experiment and mod to have fun with and make the table/arm sound better….

If any of you try this very expensive esoteric mod I would like to hear your comments and perceptions.

I still want to get some of the KAB modifications ; the PS looks very promising.
Citation16 05-31-06

Review: Technics SL-1200Mk2 Turntable
I treated my 1200 'arm with the Music Direct tonearm wrap, a very thin, lightweight, elastic, self-adhering (without glue -- an advantage, to me) black polymer tape that's wound spiral-fashion to give complete, intimate-contact damping coverage for almost the entire length of the armtube. I've had mine on for so long now, and never attempted to take it off again for comparisons, that I can't tell you exactly how it affects the sound, but the 'arm certainly seems non-resonant with it on when tapped with a finger, and it's stayed in place beautifully and doesn't look too funky. MD seems not to show this item in their catalogs recently, but it is still available for $20 online.
Zaikesman 06-01-06

4 Mapleshade 2 inch high Heavyfeet with M6 thread
I finally also got the Mapleshade brass heavyfeet with M6 thread. This replaces the 3 inverted metal cones I was using in lieu of feet. I also use the acrylic platter I made & vibration absorbing cheap silicone buds& strips I bought at the hardware store.
The effect of the 4 heavy feet is that it increases the mass of the turntable by 8 pounds. Using still the Grado Red, the soundstage was bigger, more definite and seemed very real and stable. Yes, fuller midrange; more presence. A definite wortwhile upgrade and a stunning visual enhancement to the look of the black Sl1210 MKV.

I am seriously thinking now about the KAB power supply.
Their seems to be a very slight trembling on some notes & the KAB power supply should do wonders in addressing this....!?

In the distant future, possibly a fully modified RB250 or silver tonearm from Origin Live.? But will it be worth it?
The table sounds great as is now...

Citation16 06-18-06

Review: Technics SL-1200Mk2 Turntable
I think the power supply will be worth it to you, judging from the other tweaking you've been undertaking. However, your description of a "trembling" symptom on some notes sounds like a much grosser effect than what the PS addresses in my experience. This wasn't something I heard either before the addition of my PS, or became aware of in retrospect afterward. I suppose it's possible that the on-board transformer in your example could be a worse vibrational contaminator than the one in mine, or maybe we just have a different conception of what the word "trembling" signifies. But as I heard it, shortcomings of the stock 1200 which the outboard PS reveals and remedies aren't nearly as blatant as quavering of pitches.
Zaikesman 06-19-06

Review: Technics SL-1200Mk2 Turntable
Thank you for your comments,
Possibly this ''quavering'' needs another listening session... listening to other quality recordings.
As far as the Maplewood 2 inch brass heavy feet, the effect is very noticable as I have previously written...

Will definitly get the power supply some time in the next month or so, (while I sell a bunch of nearly new motorcycling riding gear).
Citation16 06-19-06

Review: Technics SL-1200Mk2 Turntable
Not to disparage any of the respondents of this thread. But for all the time,expense and grief of dealing with this aging design, one could be in a Rega P5, VPI Scout or a entry Sota turntable. In my view of 48 years in this hobby/business I cannot see any justification for this,in light of what is readily available. Just a thought.
Ferrari 06-19-06

Not to disparage any of the respondents
Possibly, but what is the price of a P5, the VPI scout or an entry level VPI ? I suspect at least double or more than the sl1200/10. The scout goes for $900 dollars or $1600 with the arm. Now the Rega P5 is some $2,000 and has a glass platter and plastic part underneath the platter....Something you would want to modify right away...

As for the expense of the SL1200 at some $425/450 US. You can add a cheap acrylic platter, put some metal coned feet and some cheap silicone dots and you have a fantastic value and sound. I actually get a beleivable and solid soundstage, depth and acuracy. Will a $1000. Rega or Project get this kind of sound? The Technics speed is dead on; can we say the same for the Rega table and the others for double or triple the money...?

True, a Rega silver arm would be nice at $900 or so, a proper turntable would be nice at $1,000 and a proper motor and speed power supply would also be nice at some $1500. from OL. So lets cap it off at $3,000 without the cartridge.

Well, I just ordered a fully modified RB250 for the SL1200.
Its not that it really needs it - but half the fun is for some changing things and to see how it sounds.

For sure its not a $2,000 turntable. It cost only 25% or $500 but its by far a superior made table that has plenty to offer.

Definitely worth alisten & look !
Citation16 06-19-06

Review: Technics SL-1200Mk2 Turntable
One can get a Rega P 5 or VPI Scout in the secondary market for $900.00 to $1,100.00. The Sota Sapphire for $400.00 to $600.00 depending on tone arm provided.

Case in point I recently upgraded a Rega P 3 to achieve Rega P 5 performance. The Rega P 3 was acquired new for $500.00. Add to that the upgrades that ran 704.00. So for $1,204.00 I achieved performance level of the Rega P5. In retrospect, would have been better off just to buy the P5 and be done with it. It has near VPI Scout performance, but falls a little short and for the $400.00 difference, the VPI Scout should have been way to go. Hindsight is always 20/20. For me at the time, was a test on cost effective upgrades. Performance vs dollars. Few upgrades in audio will ever have the full benefit, as opposed to buying in at a higher level. Plus the ever present future re-sale is always higher on products that are upstream.

Next year sell the Rega P 3 and invest in the VPI Scout. At 63 now, should be my last turntable.
Ferrari 06-20-06

Review: Technics SL-1200Mk2 Turntable
Citation16, how do you put a new arm on the Technics?
Drubin 06-20-06

Review: Technics SL-1200Mk2 Turntable
Ferrari: I feel like "time, expense and grief" are probably some things I'm avoiding by staying with this "aging design". But I'd switch anyway if I wasn't happy with the sound.
Zaikesman 06-20-06

Citation16, how do you put a new arm on the T....
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
Citation16 06-20-06

Re: Ferrari - Hindsight is always 20/20
'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!

Citation16 06-20-06

Review: Technics SL-1200Mk2 Turntable
Holy cow! Origin Live sells an armboard for the SL1200 for £39. This will fit any Rega arm and all of their OL arms. Has anyone else tried this?
Drubin 06-20-06

Review: Technics SL-1200Mk2 Turntable
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...
Zaikesman 06-20-06

Rega 250 arm on a 1200/10
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 - : forum.audiogon.com/cgi-bin/fr....)

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.
Citation16 07-01-06

Tried the hifi mod to the Rega arm- fantastic
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.:

forum.audiogon.com/cgi-bin/fr....#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.
Citation16 07-01-06

About the KAB power supply for the SL-1220/10
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….
Citation16 08-06-06

Review: Technics SL-1200Mk2 Turntable
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.
Zaikesman 08-07-06

Technics SL-1200Mk2 Turntable - Power supply
''...and I sense you agree it was worth the upgrade cost.''

Yes, definitly worth the upgrade cost. No question.
I cannot really explain all the physical & electronic reasons for it but I can really hear the results!
Citation16 08-07-06

Review: Technics SL-1200Mk2 Turntable
Please describe the installation of the power supply. Do you have to take the table apart?

Thanks
Blmcycle 08-07-06

installation of the power supply
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.
Citation16 08-07-06

Review: Technics SL-1200Mk2 Turntable
Here is a link to an article about a shoot out between CD players and a 1210. Interesting reading.
http://www.positive-feedback.com/Issue26/technics.htm
Blmcycle 10-08-06

Review: shoot out
Godd article. But had he compared the Technics with the KAB power supply and put the turntable on points instead of the standard feet, it would have made a world of a difference. The amaizing thing about the Sl1201/10 with the power supply is the incredible ''dead on'' pitch and timbre.
Citation16 10-10-06

Review: Technics SL-1200Mk2 Turntable
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.
Jdcook 10-22-06

Review: Technics SL-1200Mk2 Turntable
What cartridge are you using ? I had to get extra spacers to increase the thickness to fit the RB 250 and a VTA ajuster. Did you do the same?
Citation16 10-26-06

Review: Technics SL-1200Mk2 Turntable
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..
Jdcook 10-28-06

Review: Technics SL-1200Mk2 Turntable
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.
Jdcook 10-30-06

About the ground cable
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...
Citation16 10-31-06

Review: Technics SL-1200Mk2 Turntable
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.
Jdcook 11-01-06

A puck and another cheap modification
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 01-11-07

Review: Technics SL-1200Mk2 Turntable
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?
Zaikesman 01-12-07

Review: Technics SL-1200Mk2 Turntable - damping
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.

Citation16 01-13-07

Review: Technics SL-1200Mk2 Turntable
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.
Zaikesman 01-14-07

''Your approach to treating the chassis seems ''
...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...

Citation16 01-14-07

Review: Technics SL-1200Mk2 Turntable
there is another tweak that worth trying..but much more expensive, the isonoe feet that are made specialy for your 1200 stop the vabration before they enter the structure of the table and they do look very good . the results realy worth their 200 dollars ,availaible at kab
Jdcook 01-16-07

Review: Technics SL-1200Mk2 Turntable

"...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).
Zaikesman 01-17-07

Want to modify from the top part
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 01-25-07

Review: Technics SL-1200Mk2 Turntable
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.
Zaikesman 01-26-07

Review: Technics SL-1200Mk2 Turntable
BTW, KAB already offers a threaded spindle modification for their dedicated screw-down clamp (which I haven't tried in place of my Michell).
Zaikesman 01-26-07

Treaded spindle re: Zaikesman
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.
Citation16 01-27-07

Review: Technics SL-1200Mk2 Turntable

"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.
Zaikesman 01-27-07

Review: Technics SL-1200Mk2 Turntable
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.
light12a@excite.com 02-08-07

Technics overhang jig - yes or no?!
Thanks for the excellent review. I've always been very happy with the sound of the Technics SL-1200s, but then I am an ex-DJ which I guess makes me a bit biased! I'm currently in the process of modifying one for more audiophile listening and for archiving my LPs onto my computer. I have the KAB arm-damper installed (which I'm very happy with) and I recently purchased a Denon DL-160 based on a huge number of positive online recommendations.

BUT I am extremely confused about how exactly to align the cartridge in the headshell and I hope you can clarify some points you made about the overhang gauge.

My personal experiences are in line with your comments in the initial review - if I use the overhang gauge I find it impossible to successfully align the cartridge using a 2-point protractor (like the one that came with my HiFi News Test LP). To successfully align it using the protractor I have to have the cartridge much further out in the headshell - about the half-inch that you noticed yourself.

However you then went on to say:
"I stand corrected. The Technics overhang jig is accurate if used properly."
And your explanation completely baffled me! The only way I can see it working is if the cartridge isn't straight in the headshell, which strikes me as unlikely.

Would you (or any of the other members you mentioned - Kevin at KAB, Psychicanimal, Woody) be able to provide a simple step-by-step set of instructions on how to align a cartridge using the overhang gauge and a two-point protractor? Or should I just ignore the overhang gauge?
mr.harrison@mac.com 03-03-07

Review: Technics SL-1200Mk2 Turntable
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.
Zaikesman 03-07-07

Review: Technics SL-1200Mk2 Turntable
...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?
Zaikesman 03-07-07

Review: Technics SL-1200Mk2 Turntable
I'm baffled...
Psychicanimal 03-07-07

Alignment
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.
Ekobesky 03-09-07

Review: Technics SL-1200Mk2 Turntable
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).
Tvad 03-09-07

Rewiring the arm and RCA terminals
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.
Blmcycle 03-16-07

Review: Technics SL-1200Mk2 Turntable
modded/re-wired Rega RB250
Yes it has been done ! Read the threads above by others and Citation16
Citation16 03-23-07

Ed, I owe you one!
After 20 years of an all-digital household, I gingerly stuck my toe back into the vinyl analog waters and liked what I heard and felt. I was surfing the web to find info to help me decide among a Rega P2 or P3, a Music Hall MMF-5, a Pro-Ject Expression or RM-6, or a Sota Moonbeam when I found a link to Mr. Kobesky's weigh-in at www.positive-feedback.com/Issu... for Positive Feedback's 2004 awards. After a lot more reading, I came home with a Technics SL 1210 M5G. I picked the m5G for the better tonearm wiring, and I got a ridiculous deal from Guitar Center. For the price ($500), I'd rather deal with a '70s-era tonearm and old-school design in favor of rock solid speed accuracy over the 1% fast Regas in this price range. My wife has spooky-good perfect pitch and I'm a lifetime drummer and tempo-nut, so for us, getting a TT with the Technics pitch and tempo accuracy was the way to go.

I also have a Shure M97xE on your recommendation, and it's great on heavily warped records. For day-to-day listening, however, I like the Ortofon OM 10 better for linearity and inner detail.
blackmongoose@msn.com 03-27-07

Review: Technics SL-1200Mk2 Turntable clone ?
''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.
Citation16 04-03-07

Review: Technics SL-1200Mk2 Turntable
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.
Tvad 04-03-07

Review: Technics SL-1200Mk2 Turntable
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.
Tvad 04-03-07

Review: Technics Turntable VS Stanton ST150
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 -
Citation16 04-04-07

Review: Technics SL-1200Mk2 Turntable

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.
Tvad (Threads | Answers)

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.
Tvad 04-04-07

Review: Technics SL-1200Mk2 Turntable
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.
Johnnyb53 04-04-07

Review: Technics SL-1200Mk2 Turntable
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...
Tvad 04-04-07

Review: Technics SL-1200Mk2 Turntable
OK. I was looking at the STR8 (Straight--get it?) 150. Needle Doctor publishes the same specs for the STR8-150 and the ST-150, which didn't seem right, so I checked the specs at Stanton's website for the ST-150 w/S-arm: www.stantondj.com/v2/prod_st15... You'll see that the Stanton has the same effective length as the Technics (230 mm, or 9-1/16"). I doubt that the Stanton tonearm would track better than the Technics, and may track worse, since its downforce and antiskating ranges are designed for DJ and scratch (high VTF) applications. My previous comments about the difference in turntable wow & flutter & rumble specs still apply and significantly favor the Technics for home use.
Johnnyb53 04-04-07

Casing resonance
Hi, I'm very interested in turntables, particularly the sl-1200. I'm a sound engineer and amongst other things work in a very well respected nightclub in the UK. We have a Funktion-One sound system installed which has a reasonably linear response (intentionally bass heavey) from about 25Hz up to about 18kHz. I've measured spl in the club at 126dbA with program music before hitting limiters in the center of the dance floor although this would not have been the maximum. In the DJ's position it's actually a bit louder with the monitors hitting about 129 before limiting although there is not the bass power here. Basically I'm saying the system is increadably loud and bassy.

The problem I encounter is FEEDBACK!

The table in the DJ stand is supported by 6 steel girders which go right down to the foundations. The weak link in the chain is the piece of wood placed accross them, there is then a wooden coffin which is place ontop of this with squash balls to de-couple it from the table top. Then each turntable has it's feet unscrewed and is placed in it's own compartment in the coffin with squash balls wedged in each corner of the compartments. This configuration works well and very rarely feeds back.

However if you place the turntable directly on the wood table-top with it's own Technics feet screwed in it will feed back well before the system reaches it's normal operating level. The feedback usually happens at around 50Hz Also sound quality is greatly reduced as the feedback approaches and distortion sets in with the transmitted vibrations.

I have found that unscrewing the feet so that the rubber parts of the feet do not touch the rubber base helps considerably. Also tried placing many different materials and combinations of materials underneath the feet such as concrete, high density foam, rubber mat, spounge, orange juice cartons! and also various custom feet. The combination I have found works best by far is a slab of concrete supported by 1 squash ball in each corner and then the technics feet unscrewed slightly and placed directly onto the concrete, this combination usually won't feed back until the system is limiting heavily and at almost painfull sound levels (if I stand on the dance floor my eyes vibrate so that I can't see properly).

I imagine that this method with some of the KAB feet would be even better still.

Anyway my long and drawn-out point is that my experience of resonance in the body of the 1200 is very GOOD!! I find that all problems are in vibrations being TRANSMITTED to the body and not in the body itself, if the unit can be pounded by sound to the extent that I can't see properly and still not feed back it must be pretty good at rejecting vibrations. The let-down is definately in the feet.

-----------------------------------------------------
sub-point....

if you've read this much and can still be bothered to read on...

I took it one stage further, took a turntable onto the dance floor which is foundational (presumably concrete) and covered with some very hard wearing lino type stuff (the kind that isn't damaged by broken glass being stapmed into it repeatedly) this is glued directly to the concrete.

I just put the turntable with it's (slightly unscrewed) technics feet direct on the floor about 3m away from one of the stacks which has an infra-bass unit also directly on the floor. I used my usual method of placing the stylus on a staionary record and turning the volume up until feedback sets in. Sure enough it started to feedback but not until typical club night gain settings so a good result, but interestingly I was able to get it even louder by using my previously mentioned squash ball and concrete slab trick. I don't really understand this, I can only put it down to the lino transmitting some LF vibration that the squash balls and concrete remove further.

Another interesting point in this same little experiment is the audible noise from the mains transformer, power the deck up at high enough volume and you can clearly hear the hum, I don't know if this is physical or elctro-magnetic or a combination, but it's clearly there.

One last point is that seemingly identical decks under identical test conditions seem to have different feedback performance.

I'd be interested to hear any comments people have on this little investigation or any questions, or if anyone has any suggestions or even just want me to try something else. Please feel free to email me any questions, requests or comments.

regards

Thomas
tcd_email@yahoo.co.uk 04-17-07

Review: Technics SL-1200Mk2 Turntable

One last point is that seemingly identical decks under identical test conditions seem to have different feedback performance.

The first runs of the SL-1200Mk2 came without the Pocan middle layer in the plinth (just solid rubber), and are more susceptible to feedback. So if you're using decks of unknown age, that might be the reason.
Virak 05-08-07

Review: Technics SL-1200Mk2 Turntable
I had a lot of turntables, but the SL1200 mk2 is the one i have now and i'm happy with it. It's strong points are very accurate (i mean really accurate !) speed control, you just know the pitch is going to be steady within 0,01% , continuously. The arm is very good too. You can put a cheap MM cartridge in it (like an ortofon om20) and still have very good results. The start-stop button is nice to use too. What is also nice is the dynamics. Sounds just pop out the speakers, very rapid and dynamically. Bass is good too. Very dry balanced studio-like sound. Ok there are better turntables out there, but given the price the SL1200 mk2 is a no-brainer steal...
A011996 09-03-10

Review: Technics SL-1200Mk2 Turntable
Well with the above post causing this most excellent review thread to pop up once again, I'm prompted (after re-reading all activity) to update my findings based on further modifications since I last posted.

Three more significant mods have been installed since the ones I've reported on previously (which were the KAB fluid-damper and KAB external power supply). These include the KAB strobe-defeat and KAB Cardas tonearm rewire, plus replacing the stock feet with ttweights.com's SoundPoints adjustable cone feet.

Strobe-defeat: Wonderful, no downside and a total no-brainer. Comes surprisingly close to being as important as the external PS, in some similar ways, yet is much less costly. KAB's slick mod (kit or installed) permits easy electronic switching of the strobe function via the regular power on/off switch with no cosmetic changes, but I suppose the same sonic improvement might be had for free by simply disconnecting the strobelight and foregoing switchability. (To me the main benefit of switchability isn't that I ever feel the need to sometimes use the strobe to confirm speed accuracy, but that it made performing extensive before/after sonic comparisons a snap.) Either way this is an essential mod, and kudos to Kevin Barrett (his original idea, based on his research).

Arm rewire: According to the conventional wisdom of the Web, one of the most-mentioned alleged strikes against the SL-1200 has to be its tonearm, and in particular its tonearm wiring. This KAB mod replaces the interior tonearm wiring with Cardas and removes the stock external cables in favor of a custom jackplate (RCA or DIN, mounted to the tonearm-side cover hinge receptacle, which remains functional). This is a more expensive and difficult mod (not available as a user-installed kit I don't believe), which of course also entails investing in your preferred set of interconnects.

For me the surprise here was how small of an improvement it made (with my reference interconnects that cost the better part of what the basic TT itself does, assessed in multiple real-time trials using before/after recordings made on my Alesis MasterLink -- I'm not a believer in the validity of single-trial comparisons dependent on arual memory over a weeks-long interregnum!). I found the midrange and treble texture was slightly more refined, as were transients, and the frequency extremes a little more extended, which overall led to a sound that was a little less concentated in the midrange and therefore smoother and more open and laid-back, but the differences were incremental, with preference subject to program material, and dynamics may actually have been a touch more impactful without the extra RCA connectors in the signal path. Probably the most consistent improvement was that voices sounded a little less nasal or gruff, a bit more natural. Naturally all this will be largely dependent on what interconnects you use, but apparently the stock Technics tonearm wiring and captive output cabling aren't nearly the handicap that all the talk (or humble appearance) would lead audiophiles to believe. Worthwhile in absolute terms but not a sonic bargain, though I don't doubt the price is fair (again excluding the need for interconnects). Do if you must to satisfy yourself, but prioritize this below all the other KAB mods -- in fact, don't do it at all if you're not also getting those other more significant mods first.

ttweights.com SoundPoints feet: Very expensive, but very well made and probably the only product there is for this application that combines integral fine-adjustability and locking, for perfect 4-point height adjustment without play or chatter. As these are solid coupling cones, you'll also need to invest in a suitable isolation platform to act as a vibrational sink (I use a Symposium shelf, sitting on compliant-polymer FoculPods to decouple from my rack and external impulses). Fit the turntable perfectly (M6 studs, aluminum finish), although the added height took a while to get used to visually.

With the SoundPoints' built-in adjustability, you use the studs only to screw their bases tight to the 1200's underside for maximum coupling, rather than for coarse, unlocked height-adjustment as with the stock feet (or any other replacement feet of which I'm aware). If your cartridge and the rest of your system justify it, a very effective method of revealing and improving upon the nontrivial limitations of the Technics feet (again assessed using controlled before-and-after recordings). In conjunction with the isolation platform, significantly decongests the soundstage, better defines images in (and in relation to) surrounding space, purifies textures and tonalities, reveals more fine detail, adds dynamic snap, solidifies the bass and lowers the noisefloor.
Zaikesman 09-03-10

Review: Technics SL-1200Mk2 Turntable
Hard to believe this thread is still going strong, six years later. Zaikesman's excellent post reminded me that I've tried a few tweaks myself and failed to follow up, so I guess an update is overdue.

I've come to the conclusion that the arm itself is a generally sound device except for one element: the armtube. Ideally, it would be great if it could be removed and replaced with something more rigid. Until someone figures out how to do that, wrapping it with teflon tape helps somewhat but the result is too ugly to live with. Luckily, the more aesthetically pleasing KAB Fluid Damper cleans up the performance significantly, as advertised, and as a bonus allows the stock Technics arm to be used more confidently with higher quality cartridges including low-output MCs.

Coincidentally, yesterday on Vinyl Engine I happened across an October 1996 review of the 1200 LTD (a gold plated anniversary edition) by Ken Kessler in Hi-Fi News where he pressed no less than a Lyra (no specific model identified) into service and wrote, in part:

"I was slapped upside the head with a major dose of reality. The blow knocked out any last vestiges of resistance to direct drive decks...How on earth does such a subtle, delicate, quiet, commanding performance ever manage to adapt itself to deliver the brain-numbing, ear-bashing ruckus demanded by club conditions? Or more accurately, vice versa? It was like finding out that a John Deere tractor can handle like a Lotus and ride like a Jag...Nothing, and I mean nothing, indicated that the Lyra was fitted to something other than one of its normal rides. There was detail by the bushel, convincing soundstage re-creation, delicious background silences, top-to-bottom coherence...This DJ's workhorse is something of a Lipizzaner."

The Herbie's Way mat was another significant improvement. You can read about that in more depth here: positive-feedback.com/Issue46/...

A few other tweaks are worth investigating, including the Audio-Technica AT618 record weight from Japan and the aforementioned Sumiko headshell. I wouldn't be without either.

I settled (for now) on a Denon DL-103 cartridge because it seems to help the Technics open up a bit, but that's a matter of taste which addressed my own personal priorities. For those similarly inclined, word has it the Shelter 501 is even better at coaxing out a more expansive performance.

I've lived with a number of other decks in the intervening years. Some of them were superior, but the combination of the Technics' build quality, reliability, operational convenience, musical virtues, sensible price and cost-effective tweakability means it's never too far from my equipment rack.
Ekobesky 09-08-10

Review: Technics SL-1200Mk2 Turntable
I have owned technics turntables since 1979 with the original D7 and that was entry level. fell in love with technics since. Technics turntables are like volkswagon beetle or the air force's C-130 transport, been around since 1949. In other words, like the bug and the hercules(c-130) it was designed as a workhorse and made to last. The term built like a tank often said by owners is the most ACCURATE depiction of this great turntable. Sure denon made higher end turntables which I owned too such as the DP 59L SERIES built like a tank but on the higher end and the lighter DP 57 which is still a TANK. The technics sl 1200 is probably the most multipurpose turntable made. It may not be in the category of the ultra high end belt drives and the unique utlra high end MICRO SEIKI of the past, but like the volkswagon bug, the most versatie vehicle which people used to modify in so many configuraitons, the C-130 aircraft which is the most modifyable and long lasting aircraft made, the technics sl 1200 is in the same line of LONGEVITY AND WORKMANSHIP, designed for multi purpose and longetivity. The other work of art that the long lasting and tough SL 1200 is compared to besides the BUG, THE HERCULES, is the army's browning MARK 2 50 cal machine gun which was designed to last forever and no need of a design change since world war 1, and still being used today. The history of the technics sl 1200 turntable falls into those same engineering designs!
Armyscout41 01-10-11

Review: Technics SL-1200Mk2 Turntable
So I got myself an SL-1200 mk2 and wow what a difference over my fisher mt-6330--I got it for a steal @ $200.00 from a friend. I have exchanged several emails with Kevin from KAB and he sure knows his stuff. I have fitted mine similar to your setup with the exception that after an unfortunate (or in this case fortunate) incident with a swiffer duster; I replaced my stylus with a JICO SAS. Whoo boy... good sound? shoebetcha. However, I think I found the route I will go with my mods at this website:
www.soundhifi.com/sl1200/index...

Every self respecting SL-1200 owner owes it to themselves to at least look at this site. Bearing upgrades, armboards, A ridiculous selection of mats, and also full tables for sale. I plan on going with cardas wires and a fluid damper from KAB. Then I plan on using an archomat, bearing, and power supply from soundhifi.

If I ever win the lottery or my rich uncle gets out of the poor house (lol) then I might do an arm upgrade with a more exotic cartridge. Kabusa have nice plinths as well which I have toyed with in my mind. However, I was a friend who is a woodworker and he volunteered to build me a very nice plinth and will be out of some mahogany with black(ish) stain to match the rest of my components.

I am also toying with the idea of a black overlay since my table is silver.

Long live the sl-1200!!! You are gone but not forgotten. Maybe technics will re release you and the venerable sp-10 one of these days. Also I wish technics would bring back the idea of the sl-120 which came without an arm. Or better yet an armless version with an intergrated adjustable arm board similar to the sl-1200 that accepts entry level rega and project arms but with the ease of vta the original offers... Just my 2 pennies...

Cheers,
Ben
Bc5k 01-17-11

Review: Technics SL-1200Mk2 Turntable
Small report: Got my first digital VTF gauge the other day, one of those newly ubiquitous Chinese jobs made of metal with a readout to three decimal places, that sell for around $80 from many sources (mine came from Acoustic Sounds under their Acoustech label).

I've never fussed or worried overly about my 1200's tracking force adjustment from an 'accuracy' perspective, just trusting that the VTF as indicated by the set-ring is roughly in the correct neighborhood and making my decisions based on sound and tracking performance when playing music. But my current cart does seem to track best and sound just as good at about .15g above the upper limit of its recommended range (1.65g vs. 1.5g), so I thought maybe I oughta get real and do a precision check, just in order to know whether it's the tonearm setting or this cartridge that deviates slightly from spec (to my ears).

Short story shorter, as far the 1200 goes I needn't have worried. It's probably been 2-3 months of frequent playing since I last had occasion to zero-balance the tonearm and reset the VTF, but straight off the bat with no fiddling or double-checking the digital gauge told me that I was within a couple hundredths of my intended VTF as indicated on the set-ring. So now I know that my cart really does do better a bit above its recommended downforce (and also that my eyeballing of the zero-balance is fine).

From what I can tell through multiple static trials (i.e., without making any changes), up to a couple hundredths variation is the intrinsic resolution limit of this digital gauge in any case (or at least in this application), so that much deviation can't bother me. I then tried different VTF settings in .5g increments above and below the normal range, down to 0.5g and up to 2.5g (not playing records of course, just setting and measuring), and with each setting, the actual force as measured by the digital gauge matched the tonearm's adjustment reading to within the same small margin of gauge error -- in the process confirming that my shiny new toy is basically irrelevent for my purposes.

So for me at least -- with good eyesight to balance the 'arm and read the set-ring (knock on wood) -- any potential issue of the 1200's inherent VTF adjustment accuracy has been laid to rest, and that spanky digital gauge will probably sit in its box on the shelf or get sold off.
Zaikesman 03-05-11

Review: Technics SL-1200Mk2 Turntable
Great report, Alex!
Drubin 03-05-11

Review: Technics SL-1200Mk2 Turntable
This review came just in time that I get into vinyl again.
I had a SP15 before with Ortofon SPU and it seemed likea a good match with SME 3009. I want to do the same again.
My only problem is how to mount another arm to this, namely'another SME.
Great review, thank so much.
Csokayahoo 08-07-11

Review: Technics SL-1200Mk2 Turntable
Since a few have commented on this ancient thread, I might as well chime in. I haven't seen a 1200 in years, but way back when, I have modded several... Here are a few easy mods that made a noticable differnce. Use acoustical dampening putty around the motor, leave room for ventalation, putty the bottom of the platter, weigh out your putty in 4 equal parts and add to the bottom of the platter in sections. Heat shrink the tonearm. If you are savey enough rewire the arm. I preferred litz. Thats all i've got, I hope someone gets something out of this.
Timlub 09-09-11

Review: Technics SL-1200Mk2 Turntable
Timlub: In addition to some other mods I probably mentioned above, among the items you list I have rewired my tonearm (Cardas/KAB) and wrapped it too (Music Direct Armwrap). I also tried adding extra damping material under the platter (adhesive-backed, constrained-layer polymer/metal-foil) but eventually chose to remove it, for making no noticable difference sonically while undoubtedly unbalancing it somewhat. But maybe I should try some kind of putty there instead if you found it effective. (In the meantime I deal with the platter ring via a combination of aftermarket mats.)

However, I'm curious about your statement: "Use acoustical dampening putty around the motor, leave room for ventalation". My question is, what do you mean by the word "motor" in this application?

The only moving part of the turntable's drive system is the platter itself; the 1200 doesn't use a self-contained motor assembly in the usual sense (its platter *is* the rotor, that is, it's the moving half of the motor, and there is no driveshaft). I don't see the point of adding damping putty around the fixed stator elements in the chassis which drive (electromagnetically induce rotation of) the platter, assuming that's what you did.

To do so would be little different from adding damping material anywhere else on the chassis, inside or out, but frankly it doesn't need it -- unlike its platter, which as you know is prone to ringing, the 1200's chassis is highly vibrationally-inert as-is. Although it presumably couldn't hurt, I'm doubtful that adding putty to it would accomplish much.

(As opposed to doing what I've done: Replace the stock feet -- like the platter, another weak point of the design for audiophile purposes, but easier to improve upon -- with solid coupling cones, then place the turntable on a vibration-absorbing isolation base that's compliantly decoupled from the supporting rack by self-damping footers.)
Zaikesman 09-10-11

Review: Technics SL-1200Mk2 Turntable
Hi Zaikesman,
Yes, At Marcof electronics, we used to pull the bottom and dampen the motor also for resonance transfer to the platter. We made our own mat called a glasmat and we glued it to the platter. Our putty as I called it was made for us and it was a silicon/latex product similar to rope caulk that you can handle. We also made our own cables. I still have some litz tonearm cables. All in all this ended up being a fine sounding table. At the time, we carried Oracle, Walker and Linn. A fully modded technics held its own. Still a little dry, but quite nice in the right system.
as far as your mods, I'm glad they worked out for you, we never tried replacing the feet.
Timlub 09-10-11

Review: Technics SL-1200Mk2 Turntable

"we used to pull the bottom and dampen the motor also for resonance transfer to the platter"

For the mechanical reasons I outlined above (i.e, the platter *is* half of the motor, the rotor portion), I feel that as a definitional matter your description doesn't make sense in the context of the 1200.

(And in any event, the stator portion of the motor -- i.e., its fixed coil array -- which is mounted to the top of the cast-aluminum upper deck beneath the platter, can only be accessed from above by lifting off the platter, not from the bottom. However, there is no room around this assembly to add caulking here, not that there's any need to.)

IMO what you were actually doing is adding damping material to the chassis, plain and simple, I suppose in between the hard-resin middle layer and the underside of the aluminum top-deck and/or the heavy-rubber bottom encasing, wherever there was a gap you could fill with your goop.

Although like I said, this presumably couldn't hurt, I take exception with the idea that what you were doing was "damp[ing] the motor also for resonance transfer to the platter". To me that description doesn't apply to the 1200, and I find it misleading.

The reason I'm making a point of saying so is that there may be those reading this thread who are unfamiliar with the 1200, and could be given a misimpression from your statements about how the turntable works and is constructed. So I'll lay it out again: Any electric motor has two halves, a stationary half and a rotating half, and in this turntable the stationary half is the chassis and the rotating half is the platter -- there is no separate, self-contained motor/housing assembly, and no driveshaft.

My take is that vibration from the touchless drive system is the last thing anyone should worry about with the 1200. (Remember, since the platter/bearing is the only moving part, therefore the motor rotates at a low 33.3rpm, or about half a hertz.) However, it's true that disabling the stock power supply in favor of an outboard supply does have a beneficial effect, and part of that may certainly be due to eliminating vibration from the onboard power transformer.
Zaikesman 09-12-11

Review: Technics SL-1200Mk2 Turntable
Just an added note to make clear, as with any turntable, there is still the issue of dealing with signal-correlated resonance induced at the stylus/groove interface, as well as airborne and floorborne resonance induced by the output of the loudspeakers. It is for these reasons why I find it beneficial to replace the stock feet with coupling cones in order to 'ground' the turntable to a good vibration-absorbing isolation base, that is in turn decoupled from the suporting rack (and floor). The stock feet, simply and unsurprisingly, aren't the best thing available for this job, provided you're willing to expend the resources necessary to improve upon them.
Zaikesman 09-12-11

Review: Technics SL-1200Mk2 Turntable
Hi Zaikesman,
Whether you think it is beneficial or not, thats what we did, never had any issues, dampening never hurts. We probably modded 50 or 60 tables over time. If I did one today for myself, I'd still do it. Thanks for the tip on the feet. If I ever feel the need, I'll take a look. The 1200 has a very nice platter in itself, but dampening the platter, clearly removed ringing.
The good news is the 1200 is a wonderful perfomer, at its price it is hard to beat.
Timlub 09-12-11

Review: Technics SL-1200Mk2 Turntable
Hi Timlub: Like I said, I pass no judgement on whether adding caulking to the chassis is beneficial in any detectable way or not, presuming that it probably couldn't hurt.

And also like I said, the platter certainly could use more damping than is provided by the stock mat. Whether adding caulking to the rubber-lined underside of the platter accomplishes this, or whether it is worth potentially creating some unbalance in the platter, is something I can't comment on.

My only point of disagreement was your description of exactly what you were damping (the motor) and what it was accomplishing (the damping of resonance transfer from the motor to the platter). As I explained above, I feel this description is fundamentally not applicable or correct, in theory and in practice.

I did question whether the chassis of the 1200 actually 'needs' added damping (unlike the platter, which definitely does). But adding damping is adding damping, and doing so will probably make some response change in any turntable.

In any case, I find it interesting to learn that your shop had occasion to perform those mods on so many 1200s!
Zaikesman 09-12-11

Review: Technics SL-1200Mk2 Turntable
Thanks Zaikesman,
As far as dampening the platter... As I stated, we manufactured an item called glasmat. It was 1/4 inch of glass with felt on both sides. The best platter dampening we did was dampening the bottom of the platter along with gluing a glasmat to the platter. I am currently a Panasonic dealer (video) but this thread has brought back so much intrigue and so many memories, I just may have to buy One of the 1200 current versions and try it all again.
Thanks for the memories.
Tim
Timlub 09-12-11