I'm a little surprised not to see Albert Porter's efforts with the Technics SP 10 Mks II and III mentioned in this thread. If you are a purist, and want only to discuss unmodified vintage DD TTs, then read on only at your peril.
Mr Porter has, in the Forum, described his modification and updating first a Lenco, then a Technics Sp10 Mk II and now a Mk III TT, developing each toward its performance envelope with trial and error. During that time he also owned a top of the line JA Michell table.
While I haven't pursued the thread about the Lenco, Albert describes clearly his development of the SP 10 TTs. An anecdote he mentions in conversation, though not in print, is a showdown between his Michell Proscenium and Technics SP 10 Mk III tables.
JA Michell was in the room, performing every tweak he knew for the turntable of his own design. The Technics table, in Albert's proprietary plinth (Panzerholtz sandwiching Bass wood with aluminum interleaf, lead weight, brass tonearm mounting flanges, etc) with an SME 312S (12") tonearm was, *by mutual concensus* dusting the Michell's performance into the weeds. Cartridges were matching Air Tight PC-1s.
This is not a testament to Albert Porter. It *is* intended to acknowledge what initial quality of design, full development and execution, and meticulous setup can achieve using a vintage DD TT.
The price point of the Mitchell TT is not relevant; what may be of note is that Mr Porter sold the Mitchell and has kept the Technics table. The very latest technology is not paramount: it's how it's applied that matters.
If a 1970's-made DD table can be brought to a reference level of performance, going head to head with one of the very best of today's TTs (using, one would think, the finest of currently available materials and technology) it tells me a lot about the Technics' initial quality of conception --in the engineering sense-- and about the learning amassed in the interim that, when applied with diligence, can give lifelike renderings of The Music. I believe that's what a few of us are seeking in pursuit of the high end. It would seem that it can be done, and done very well.
Mr Porter has, in the Forum, described his modification and updating first a Lenco, then a Technics Sp10 Mk II and now a Mk III TT, developing each toward its performance envelope with trial and error. During that time he also owned a top of the line JA Michell table.
While I haven't pursued the thread about the Lenco, Albert describes clearly his development of the SP 10 TTs. An anecdote he mentions in conversation, though not in print, is a showdown between his Michell Proscenium and Technics SP 10 Mk III tables.
JA Michell was in the room, performing every tweak he knew for the turntable of his own design. The Technics table, in Albert's proprietary plinth (Panzerholtz sandwiching Bass wood with aluminum interleaf, lead weight, brass tonearm mounting flanges, etc) with an SME 312S (12") tonearm was, *by mutual concensus* dusting the Michell's performance into the weeds. Cartridges were matching Air Tight PC-1s.
This is not a testament to Albert Porter. It *is* intended to acknowledge what initial quality of design, full development and execution, and meticulous setup can achieve using a vintage DD TT.
The price point of the Mitchell TT is not relevant; what may be of note is that Mr Porter sold the Mitchell and has kept the Technics table. The very latest technology is not paramount: it's how it's applied that matters.
If a 1970's-made DD table can be brought to a reference level of performance, going head to head with one of the very best of today's TTs (using, one would think, the finest of currently available materials and technology) it tells me a lot about the Technics' initial quality of conception --in the engineering sense-- and about the learning amassed in the interim that, when applied with diligence, can give lifelike renderings of The Music. I believe that's what a few of us are seeking in pursuit of the high end. It would seem that it can be done, and done very well.