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

10-16-05 It's possible the technics arm might outperform a rega ... Ekobesky

10-16-05 Ed - no sense in flogging a dead horse. however the tec ... Ferrari

10-16-05 Hello good thing i had a browse of reviews, and ... Lohanimal

11-22-05 Ed? i'm a bit perplexed!?!? "i've tried the te ... Slate1

11-23-05 When i said the results were "okay" i was referring to ... Ekobesky

01-15-06 I have a new sl-1210m5g and wonder what mats others rec ... Blmcycle

01-16-06 Nice review; i had one of these way back in the 1970s a ... Bobgates

03-25-06 Nice review and very helpfull. just went to the audio s ... yves@

03-26-06 I meant to post to this thread some time ago and didn't ... Zaikesman

03-26-06 This review, and most of the comments, are better than ... Eldartford

03-26-06 Eldartford, regarding your comments. sm ... Albertporter

03-26-06 Regarding the arm...it appears that vtf is provided by ... Eldartford

04-20-06 Dear ed i must complement you on your review of the sl1 ... Bigkev

05-22-06 Concerning modification and/or ideas on this turnatble, ... Citation16

05-22-06 Kab regulated power supply ps-1200 (or diy unit.) an ... Citation16

05-22-06 The acrylic platters i made for the 1210 are really 4.5 ... Citation16

05-22-06 "any comments on the sound effect or ... Zaikesman

05-22-06 I just read your post and find it very helpfull. i w ... Citation16

05-23-06 "in my mind, the acrylic mat opens u ... Zaikesman

05-23-06 Well, i first verified zaikesman assertion that the ... Citation16

05-23-06 Please keep the comments and ideas on the sl-1210 comin ... Blmcycle

05-23-06 Very interesting blmcycle,...what does the m before the ... Citation16

05-24-06 "it would be nice if they made an af ... Zaikesman

05-24-06 Citation16: the m6 thread is a metric size thread that ... Blmcycle

05-24-06 Quote :''i now have mine mounted on 4 mapleshade 2 inch ... Citation16

05-24-06 Here is another question for you 1200/1210 folks. what ... Blmcycle

05-31-06 Reading about sound dots applied to the tone arm counte ... Citation16

06-01-06 I treated my 1200 'arm with the music direct tonearm wr ... Zaikesman

06-18-06 I finally also got the mapleshade brass heavyfeet with ... Citation16

06-19-06 I think the power supply will be worth it to you, judgi ... Zaikesman

06-19-06 Thank you for your comments, possibly this ''quaveri ... Citation16

06-19-06 Not to disparage any of the respondents of this thread. ... Ferrari

06-19-06 Possibly, but what is the price of a p5, the vpi scout ... Citation16

06-20-06 One can get a rega p 5 or vpi scout in the secondary ma ... Ferrari

06-20-06 Citation16, how do you put a new arm on the technics? Drubin

06-20-06 Ferrari: i feel like "time, expense and grief" are prob ... Zaikesman

06-20-06 I found out about the fitting an arm on the technics at ... Citation16

06-20-06 'few upgrades in audio will ever have the full benefit, ... Citation16

06-20-06 Holy cow! origin live sells an armboard for the sl1200 ... Drubin

06-20-06 Dan: a target=_blank href=http://forum.audiogon.com/cg ... Zaikesman

07-01-06 Well i finally got the origin live arm board to fit a r ... Citation16

07-01-06 If you have a rega 250 arm - you must try this simple m ... Citation16

08-06-06 I finally decided to order the power supply from kevin ... Citation16

08-07-06 Told ya! :-) it's not just a speed-control issue: the ... Zaikesman

08-07-06 ''...and i sense you agree it was worth the upgrade cos ... Citation16

08-07-06 Please describe the installation of the power supply. ... Blmcycle

08-07-06 Installation of the kab power supply requires only remo ... Citation16

10-08-06 Here is a link to an article about a shoot out between ... Blmcycle

10-10-06 Godd article. but had he compared the technics with the ... Citation16

10-22-06 For those of you asking questions about the origin live ... Jdcook

10-26-06 What cartridge are you using ? i had to get extra space ... Citation16

10-28-06 I am using a clearaudio aurum beta s ,and the tonarm is ... Jdcook

10-30-06 Finally i installed an ortofon om40 on my technics sl12 ... Jdcook

10-31-06 I am using a re-wired rb250 cardas. it has its own grou ... Citation16

11-01-06 The cartridge is at a fair price,it s the 1200 that is ... Jdcook

01-11-07 I also got a puck. it’s made of brass. under their are ... Citation16

01-12-07 Citation16: i haven't pried around inside my 1200 for q ... Zaikesman

01-13-07 The outer rubber casing is only mechanically fastened t ... Citation16

01-14-07 Well this was a useful education, i never knew the tota ... Zaikesman

01-14-07 ...yes, reasonable... well i just spent the morning ... Citation16

01-16-07 There is another tweak that worth trying..but much more ... Jdcook

01-17-07 "...the isonoe feet that are made sp ... Zaikesman

01-25-07 I plan to open up the top of the table to see if the sp ... Citation16

01-26-07 Citation16: are you talking about the spindle per se, o ... Zaikesman

01-26-07 Btw, kab already offers a threaded spindle modification ... Zaikesman

01-27-07 I am sure the threaded spindle from kab would most like ... Citation16

01-27-07 "i am sure the threaded spindle from ... Zaikesman

02-08-07 I recently tried out the iron audio acrylic turntable m ... light12a@

03-03-07 Thanks for the excellent review. i've always been very ... mr.harrison@

03-07-07 Mr. harrison: since nobody that you called out -- or an ... Zaikesman

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

KAB PS-1200GX power supply for Technics SL-1200
In the summer of ’10 I acquired a Technics SL-1200/IIa from eBay. Within the first week I noticed that the transformer was transmitting some mechanical vibration to the cartridge. You can verify this yourself. Turn on your amplification and set the volume to the usual level; with the ‘1200 turned off, lower the needle to the lead in groove on the motionless LP. When the needle touches the LP the hum level should not change. Now turn ON the ‘1200, but don’t start the motor. Repeat the operation of lowering the needle to the motionless record, but this time you will hear a pronounced hum elevation when the stylus makes contact. With the ‘table turned on there is current flow to the transformer whose mechanical vibration is picked up by the cartridge. This noise will persist when the record is playing. The fact that the hum drops when the needle is lifted even 1 mm from the LP surface makes it clear that the cause is mechanical vibration, not electromagnetic induction. I removed the transformer, bolted it onto a wooden block and sat it on a different shelf with some connecting wire. Under the transformer and block I placed some packing foam. It looked rather shabby, but the problem was solved.

I further improved my turntable by upgrading the stock tonearm to an Origin Live Silver Mk II. It’s a wonderful arm. All the positive press about it is true, and you can check out an excellent review in sixmoons.com. As terrific as it was, the new tonearm didn’t solve a persistent problem with the ‘1200 that others have commented about: a dull recessed midrange. I swapped cartridges and made countless mods to my tube preamp to open things up, but to no avail. What solved the problem was replacing the stock thick rubber mat with a Funk Firm achromat 1200 – the version customized to work with the elevated outer rim of the platter on a Technics turntable. It took only 10 seconds to do a quick swap between mats to confirm: muddy, diffuse, dull sound with stock rubber mat; lively, more solid, better defined, and more accurate tonal balance with the Achromat. And realize I had already added some stick-on Cascade VB-1 sheet to the underside of the platter to dampen its ringing. Apparently the aluminum platter needs a lot of help in this respect.

As the OL Silver/II tonearm uses a Rega 3-point mount; by installing it I surrendered the ability to easily change the VTA that the Technics arm supplied. Later I took Pete Riggle’s VTAF (Vertical Tracking Angle adjuster on the Fly) along with his armboard adapter for Technics turntables. The adapter is superbly well built and improved on both the Technics and the OL mounts. The VTAF allows easy VTA adjustment and decouples the tonearm from the plinth. Big upgrade in convenience; huge upgrade in sonics! Read about it here: www.vtaf.com/id81.html.

I mention the above to show that I was starting from a heavily tweaked and much improved turntable - one in which I might be able to discerned fine differences from further modifications. I’m an upgrade freak and can hardly pass up any kind of tweak or mod. But I hesitated to take the KAB power supply/conditioner, as I felt I had already achieved much of what it had to offer by removing the transformer. I contacted Ken Barton who referred me to Zakesman’s review at this site. The fact that he could switch readily between the internal power supply (PS) and the KAB PS, and described much improved sound with the latter, closed the deal for me.

I got the hardware from KAB: PS-1200GX (power conditioner), in which the DC1200 (PS regulator) and SX1200 (strobe disabler) are included with the price. The PS-1200 is actually two units: the power conditioner and a switch-mode PS that plugs into the outlet. I don’t want to call the PS a “wall wart”, as it’s more like the AC adapter box your laptop. The main PS1200 box filters the voltage from the wall wart, er I mean, power supply. Both the output cable from the PS box and the output cable from the PS1200 are about 2 m – sufficiently long that they can be separated on different shelves. The PS1200 output cable is apparently comprised of 20 AWG stranded wire and runs inside the turntable and connects to the DC1200 board. The DC and SX are circuit boards that the user bolts in and wires up. The DC1200 regulator board replaces a board that contains a single transistor. It was a breeze to install and required only a wire stripper and screwdriver. The SX unit was supposed to come with wires pre-attached to the board and wire nuts, so that a user with no soldering iron could install it. That wasn’t the case; but fortunately, I’m quite handy with a soldering iron, so connecting was no trouble. The papers that came with the devices had minimal installation instructions, so one really had to use the instructions at the KAB website to figure things out. There was no need to remove the bottom plate of the ‘table - only the cover below the platter. For me, it was nice to say “goodbye” to the unsightly three sets of wires dangling out the back of the ‘table: AC line, transformer in, and transformer out. I suppose that most installers would leave the original AC power cord in place, but I snipped it out. It is no longer needed.

I installed everything at once, and then listened. I can say without reservation that I’m happy with my purchase. With the preamp attenuators in their usual position, as soon as I threw the switch, I noticed that hum was lower by 8-10 dB than before the installation. Cool! Most – maybe all – other Technics SL-1200 owners would not have removed the transformer, as I did, and would likely enjoy around 20 dB of total noise reduction. Reducing this amount of noise will unmask some serious detail! For that alone, it’s worth the cost.

The strobe disabler didn’t seem to do much to improve sound quality, but as I mentioned, Ken Barton now throws it in with the deal. Okay, maybe there was a tiny bit more clarity with the strobe off, but the difference was not pronounced in my system. The strobe can be enabled/disabled by holding the ON switch for 6 seconds, so it’s easy to do an A/B comparison. Apparently the strobe light mainly serves to reassume us humans that the quartz clock is doing its job.

But regarding the sonic improvements wrought by the other hardware – Wow! With a stiffer power supply, one might expect more sure-footed dynamics and better bass articulation. I got that – bass lines in either electric bass or bowed double bass are easy to follow. The dynamic aspect of plucked bass (and other strings, too) in the Tchaikovsky scherzo movement of the Symphony # 4, was as convincingly real in its tactility as I ever heard in playback. Both low level and macro dynamics improved. And there was more: more detail, more immediacy; mids were lusher, and highs clearer. Everything just seemed faster and more immediate, as I said. In short, I heard everything that Zakesman described, even though I started without the transformer vibration. The only drawback is that with other sources of noise vanquished, that other noise bugaboo (record surface noise) is more noticeable. What are you going to do? Shut up and enjoy the music.
Moorel 05-21-13

Review: Technics SL-1200Mk2 Turntable
@Moorel

Grave robber, never thought i would this zombie.
Zenblaster 05-21-13