Listen to the Psychic...
but first you've got to read the post: "in my home office system." Having an automatic TT is a great convienience--you're *supposed* to be working and might be on the phone with a customer or vendor when the album is over...
My first tweak would be to have the interconnects and the headshell wires changed (and Pro Gold everything) and the spindle oiled.
Second: Get a good base--I use a marble cutting board (garage sale) with four adjustable brass cones under; an Ikea Rack table supports all this. Make sure everything is level and correctly installed.
Third: Get a record clamp--I use a JA Michell but Kevin's is also supposed to be real good (www.kabusa.com) too.
Fourth: place a Bob Regal foot or a brass cylinder on top of the plinth to the left of the tonearm gimbal--you'll have a new turntable!
Fifth: talk to Kevin of KABUSA and find out if the tonearm fluid damper he's designed for the 1200 can be adapted to the 1600--it's an impressive upgrade for $149.
Sixth: Kevin is working on an outboard transformer for the 1200. That's what starts making noise after a few years. I wouldn't bother for a home office system, though.
Seven: make your own protractor to optimize the Shure's performance. You can download the software from www.enjoythemusic.com
Eight: upgrading the caps on the circuit board. Again, not worth for a home office unless you're having problems.
Caveats:
1) Don't mess with other mats--the 1600 has no VTA adjustment. They might make the bass floppy, too.
2) Phono stage is usually more important than TT/cartridge combination, so that and good line filtering is paramount.
3) Make sure you get work done!
I am getting true high end performance out of my modded 1200--would not trade it for a Linn, Rega, Pistol or anything similar. It is an awesome deck for what I've invested. So far only one A-goner has auditioned it (Deano). Where's Sean & Bob Bundus? Come hear for yourselves!
but first you've got to read the post: "in my home office system." Having an automatic TT is a great convienience--you're *supposed* to be working and might be on the phone with a customer or vendor when the album is over...
My first tweak would be to have the interconnects and the headshell wires changed (and Pro Gold everything) and the spindle oiled.
Second: Get a good base--I use a marble cutting board (garage sale) with four adjustable brass cones under; an Ikea Rack table supports all this. Make sure everything is level and correctly installed.
Third: Get a record clamp--I use a JA Michell but Kevin's is also supposed to be real good (www.kabusa.com) too.
Fourth: place a Bob Regal foot or a brass cylinder on top of the plinth to the left of the tonearm gimbal--you'll have a new turntable!
Fifth: talk to Kevin of KABUSA and find out if the tonearm fluid damper he's designed for the 1200 can be adapted to the 1600--it's an impressive upgrade for $149.
Sixth: Kevin is working on an outboard transformer for the 1200. That's what starts making noise after a few years. I wouldn't bother for a home office system, though.
Seven: make your own protractor to optimize the Shure's performance. You can download the software from www.enjoythemusic.com
Eight: upgrading the caps on the circuit board. Again, not worth for a home office unless you're having problems.
Caveats:
1) Don't mess with other mats--the 1600 has no VTA adjustment. They might make the bass floppy, too.
2) Phono stage is usually more important than TT/cartridge combination, so that and good line filtering is paramount.
3) Make sure you get work done!
I am getting true high end performance out of my modded 1200--would not trade it for a Linn, Rega, Pistol or anything similar. It is an awesome deck for what I've invested. So far only one A-goner has auditioned it (Deano). Where's Sean & Bob Bundus? Come hear for yourselves!