The SL1200G is a complete redesign from the ground up; its appearance is unfortunate as it looks like the older SL1200s which tends to cause the casual observer to think it might sound like one too.
Can a Technics SL-1200G challenge the state of the art?
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The SL-1000 is the combination of SP-10 with the obsidian plinth and the Technics EPA-100 tonearm. I have multiple units of the SP10 with obsidian plinth but I couldn't acquire the Technics arms so I had to use different arms. Of all the Technics I owned, the SP-15 on a wood plinth was my favorite. At this point I have no interest in any DD tables without a coreless motor.
Alright, it seems you haven’t experienced either the old or new SL-1000 models.
Coreless motor or not, I have no interest in direct drives, personally. That said, out of all the top direct drives I’ve heard, the Exclusive P3 stands out as the best and is definitely worth mentioning.
Some comparison with Nagaoka JT-80 - Audio-Technica ART-9 - ZYX 4D ...
Hello, I have done some comparison with Nagaoka JT-80 - Audio-Technica ART-9 - ZYX 4D ... You will say : What to do with ? It is not the same price !!! I agree, but prices do not all... hs I have 3 turntables : - Technics SL-1210 MKII for my 18 year's old...I am not 18 year's old now...LOL -...
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Technics SL-1000R is the best turntable I owned, but I must admitted that the choice of the cartridges is very delicate. For the moment, the best choice is the zyx cartridge.
When the plinth is made of different materials, such as seen in the SL1000 or the Pioneer Exclusive P3, colorations can be introduced.
To understand this, imagine that the arm board is heavily damped in the way that most audiophiles like to hear and read about. But the part of the turntable supporting the platter bearing is not. What this means is the the platter, when subjected to vibration from whatever source, now has induced motion that is different from that present at the base of the tone arm (which is likely a lot less). So a microscopic difference between the two exists. Of course the groove of the LP has a microscopic aspect too!
So when you see a really nice turntable which is mounted to wood, obsidian, panzerholz or other material that does not include both the platter bearing and the tonearm base in the same assembly, you instantly know a coloration exists.
Now there are aftermarket plinths for machines like the Technics SP-10, but if they don't have you removing the motor from the original mini-plinth of that machine and installing it to the improved plinth, its likely that such a plinth is still introducing coloration although it might sound quite a lot better than the stock configuration.
This is a strength of the SL1200G because its plinth includes the platter bearing mount (the motor in this case) and the base of the tonearm. The plinth is also damped, fulfilling the other requirement for a good plinth.
To understand this, imagine that the arm board is heavily damped in the way that most audiophiles like to hear and read about. But the part of the turntable supporting the platter bearing is not. What this means is the the platter, when subjected to vibration from whatever source, now has induced motion that is different from that present at the base of the tone arm (which is likely a lot less). So a microscopic difference between the two exists. Of course the groove of the LP has a microscopic aspect too!
So when you see a really nice turntable which is mounted to wood, obsidian, panzerholz or other material that does not include both the platter bearing and the tonearm base in the same assembly, you instantly know a coloration exists.
Now there are aftermarket plinths for machines like the Technics SP-10, but if they don't have you removing the motor from the original mini-plinth of that machine and installing it to the improved plinth, its likely that such a plinth is still introducing coloration although it might sound quite a lot better than the stock configuration.
This is a strength of the SL1200G because its plinth includes the platter bearing mount (the motor in this case) and the base of the tonearm. The plinth is also damped, fulfilling the other requirement for a good plinth.
I highly doubt that if you have ever been in the same room with Exclusive P3 let alone listened throughly to call it colored.
You are correct and that doesn't matter. I simply stated the theory of good plinth design.
Sort of a twin of ^this^, is that the interface between the two can be important.
There is a discontinuity to some degree, which can mismatch the <mechanical> impedance or maybe there is a different term for a reflection point?
It should be a tight, and coupled as possible, or if it is one material interfacing with another, then a third layer that is between them in terms of properties can help.
Maybe thinking of it like an anti reflection coating on glasses is appro pos ?
Which is 1/2 way in refractive index between air and the 1st glass element… and cuts down the reflections.
You really want the two points, the base of the platter bearing, and the base of the arm, as rigidly coupled as possible, while also being damped. Our model 208 worked pretty well in that regard. We never implemented it but the next step would have been to install an additional strut that encompassed the platter bearing mount and the base of the arm, just to make it that much more dead and rigid.
Again, this is to insure that whatever vibration was at the base of the platter, it's the same at the base of the arm, thus preventing the arm from transducing it.
Very well explained! Just a small addition: there shouldn’t be any damping between the bearing base and the plinth, or between the tonearm base and the plinth. Damping should be applied to the plinth itself. The tonearm’s original design is responsible for managing vibrations, so the tonearm must be tightly bolted to the plinth for optimal performance.
If you look at the SL-1200G, you’ll notice it doesn’t fully align with this approach. While it’s fitted to the plinth, the tonearm isn’t tightly bolted down. It’s held in place by simple screws, with some plastic components, making it feel flimsier compared to the SL-1000.
A common approach to this issue on higher tables is to use an armboard made from the same material as the plinth, or something stiffer. The tonearm is then bolted to the armboard, and the armboard securely attached to the plinth. That’s how it’s done on SL-1000. The proper way.
Although the SL1200G arm is pretty good, I prefer to run something else so designed an armboard that has a tight fit to the top panel arm cutout and bolts to the subchassis. BTW you'll notice the plinth has screws nearby the arm to facilitate coupling between the top panel and the subchassis. The two together are the actual plinth, not just the top panel.
I saw that but tonearm and bearing/motor assembly mounted to the lower panel not the top one. I prefer a robust connection securely bolted to both panels instead of good looks.
By 'panel' do you mean the subchassis? If yes, consider that the subchassis is anti-resonant with the top panel and that they each contribute rigidity to the other.
Some comparison with Nagaoka JT-80 - Audio-Technica ART-9 - ZYX 4D ...
Hello, I have done some comparison with Nagaoka JT-80 - Audio-Technica ART-9 - ZYX 4D ... You will say : What to do with ? It is not the same price !!! I agree, but prices do not all... hs I have 3 turntables : - Technics SL-1210 MKII for my 18 year's old...I am not 18 year's old now...LOL -...
Technics SL-1000R is the best turntable I owned, but I must admitted that the choice of the cartridges is very delicate. For the moment, the best choice is the zyx cartridge.
I use a Lyra Atlas on mine.
Hi,
It is good to know that.
What is your phono preamplifier, please?
The sound of the Lyra Atlas is musical and with live music?
Perhaps if I can, I will try Ikeda TTS cartridge or Etsuro cartridge with the SL-1000R.
The SL-1000R lets the SL-1210 MKII on place, no doubt.
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