Can a Technics SL-1200G challenge the state of the art?

Although the SL1200G arm is pretty good, I prefer to run something else...
Well, they say that good things come to those who wait and I have certainly waited for this! Ordered on 3rd March and delivered yesterday, hence the long hiatus in my little project. Unfortunately I will be traveling next week and won't have time to mount it before I leave, but I have something to look forward to on my return!

Nicely packaged is my first impression. No rubber underpants in mine (see the conclusion of Mikey's review) but a pair of fairly industrial looking rubber gloves..IMG_1907.jpgIMG_1908.jpgIMG_1909.jpgIMG_1910.jpg
 
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wow looks great - still waiting for mine, ordered a bit later than you. Is that a custom colour you have there?
I ordered mine in silver to match my 1200G which may have contributed to the waiting time. However I didn't pay any extra so I take it that silver is (or at least was) considered "standard".
 
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You are correct and that doesn't matter. I simply stated the theory of good plinth design.

The P3 plinth is just there to look nice.
It has a complete sub plinth that is isolated down to 5hz and isolated from the wood plinth.

Sounds amazing in my room, as does my SP10MK3 with Acoustand plinth.

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The P3 plinth is just there to look nice.
It has a complete sub plinth that is isolated down to 5hz and isolated from the wood plinth.

Sounds amazing in my room, as does my SP10MK3 with Acoustand plinth.

View attachment 138899
Interesting! The SP series machines were always in dire need of a proper plinth!
 
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No brainer.
And that, my friend, summarizes the whole thread. ;)

There are very successful vinyl playback systems that are very different from each other. There are lots of paths that can work … more that don’t, and even more that can’t.

There are virtually plinthless systems. Sprung and unsprung systems. Arms fixed to plinths. Arms fixed to platters. Every type of drive.

Turntables are the playground for tinkerers from every country and every walk of life.

The proof of what a TT can do is in listening to it in the context of a system and environment. Until you’ve done that, you’re just puffing when you pontificate and compare things you’ve never actually heard.

I’ll check back when this thread is 50 pages … it will get there eventually :rolleyes:
 
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Well, they say that good things come to those who wait and I have certainly waited for this! Ordered on 3rd March and delivered yesterday, hence the long hiatus in my little project. Unfortunately I will be traveling next week and won't have time to mount it before I leave, but I have something to look forward to on my return!

Nicely packaged is my first impression. No rubber underpants in mine (see the conclusion of Mikey's review) but a pair of fairly industrial looking rubber gloves..View attachment 138864View attachment 138865View attachment 138866View attachment 138867

Nice!

Now, to the gloves... being honest, I don't think they've thought them through.

I was expecting some surgical-grade gloves, but these look like they're more suited to pruning roses... or for perpetrating some heinous crime!

I can't imagine trying to fettle a sophisticated new tonearm - which this most definitely is! - with these "lobster gloves."

Hand on heart: Did you use these gloves? Or did you pass them on to Grandma?

All joking aside, congratulations man! :cool:

This deck must be awesome!

Can you reveal a little more about how it sounds - in comparison to other decks you've lived with? Appreciated.
 
Cogging is a significant problem with belt drive too- don't fool yourself- even if the platter is fairly massive.

To really see how this works, a Sutherland Timeline is a handy device. The SL1200 can keep one of the dots in the same place all day long while the LP is being played. Belt drive machines (as much as I like them) can't do that.

Ralph, my belt drive machine can do that, and I suspect there are others that can also. Do you have a video showing a "dot" from the Timeline? Mine are always a dash given that the platter is rotating at 33.333 RPM while the strobe light is on for an instant. The longer the distance from the spindle to the dash on some wall, the longer the dash is. I've never seen a dot if the platter is rotating fast. I have seen a non moving dash though. The SP10 Mk3 Timeline results are excellent as would be expected.
 
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I’m no engineer, nor am I wealthy. I joined to learn about the best, which does not always mean expensive, or the same thing to all. I replaced the stock mat on my 1500c with an Isolate Sorbothane mat with a Teac paper and carbon on top of it. My thinking was it would further isolate any micro vibrations ala a wool mat etc instead of coupling to the platter. My very subjective ears says it did.
 
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I’m no engineer, nor am I wealthy. I joined to learn about the best, which does not always mean expensive, or the same thing to all. I replaced the stock mat on my 1500c with an Isolate Sorbothane mat with a Teac paper and carbon on top of it. My thinking was it would further isolate any micro vibrations ala a wool mat etc instead of coupling to the platter. My very subjective ears says it did.
Welcome to WBF, Lsipes!
 
Ralph, my belt drive machine can do that, and I suspect there are others that can also. Do you have a video showing a "dot" from the Timeline? Mine are always a dash given that the platter is rotating at 33.333 RPM while the strobe light is on for an instant. The longer the distance from the spindle to the dash on some wall, the longer the dash is. I've never seen a dot if the platter is rotating fast. I have seen a non moving dash though. The SP10 Mk3 Timeline results are excellent as would be expected.
I don't have a video but my experience is the same as yours- the further from the wall the longer the dash, a word I should have used above.
 

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