Αν επιτρεπεται πως εφτασε στην κατοχη σου το jvc.?
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Από ebay πριν δυο χρόνια.
Να ναι καλα το ebay λοιπον
Ας γυρισουμε στην αγαπημενη μου kenwood
KD 990 και παραλαγες του. Ειτε γυαλιστερο μαυρο ειτε ξεγυμνωμενο...μεταλικη αραχνη
Like many (if not most) of the other Japanese industrial giants, Kenwood was a major player in the HiFi business during the 1960s, ’70s, ’80s, and ‘90s. Eventually, however, Kenwood left the centre stage for good during the ‘90s and, even among HiFi enthusiasts, only few know about their past achievements.
One very worthwhile part of Kenwood’s legacy is a collection of turntables. Kenwood’s bid for the ultimate turntable was the superb Kenwood L07-D (1978), which is arguably one of the greats. In the wake of this table Kenwood produced a sequence of very very good products that retained as many of the L-07D design principles as possible at a much lower price point. The KD-990 is one of those products.
The KD-990 Turntable
The Kenwood KD-990 is part of a family of tables that all share the same basic qualities. In fact, the KP-1100, KP-9010, KD-7010, and KD-8030 seem to differ from the KD-990 only in minor cosmetic aspects. Each of these tables served as flagship of the Kenwwod consumer range in Japan (KP models) or elsewhere (KD models) sometime during the '80s.
Underneath the piano glossed wooden plinth the KD-990 hides an extremely rigid "Closed Loop Frame Structure”. This is a die-cast base that supports motor and arm and ensures shelf decoupling via massive rubber feet. As shown in the picture, some people use the table without the plinth and mount several tonearms on the base.

The inner frame of the Kenwood KD-990 is rock-solid.
The plinth itself, as well as the dustcover, is more like a set of clothes that rests on the diecast frame near the feet with no direct contact to motor, platter or arm. In this way the essential mechanical parts are somewhat shielded from vibrations captured by plinth or cover. Still pretty, though..
The Kenwood KD-990 with plinth is a nice looking table.

The motor is engineered for minimal friction AND durability, and should be good to go for many years yet. The arm is a knife-edge design and the effective mass is 16-18g depending on headshell, and must be considered medium to high mass. Supported speed are 33 and 45RPM and the speed control mechanism is quartz controlled with special care taken to handle temperature variations.
Many cartridges work well in this table, and very satisfying results can be had with something as simple as the Audio Technica AT-440MLb, but generally cartridges with a medium to low compliance should work well.
My personal experience with the table is purely positive. I have had a great deal of tables in the past, and the KD-990 is (one of) the one(s) still in my house, and probably the table that I have used the most. It makes wonderful music, and it just works - apart from the mandatory scratches on the dustcover, the passing of time does not seem to affect it much.
Ας γυρισουμε στην αγαπημενη μου kenwood
KD 990 και παραλαγες του. Ειτε γυαλιστερο μαυρο ειτε ξεγυμνωμενο...μεταλικη αραχνη
Like many (if not most) of the other Japanese industrial giants, Kenwood was a major player in the HiFi business during the 1960s, ’70s, ’80s, and ‘90s. Eventually, however, Kenwood left the centre stage for good during the ‘90s and, even among HiFi enthusiasts, only few know about their past achievements.
One very worthwhile part of Kenwood’s legacy is a collection of turntables. Kenwood’s bid for the ultimate turntable was the superb Kenwood L07-D (1978), which is arguably one of the greats. In the wake of this table Kenwood produced a sequence of very very good products that retained as many of the L-07D design principles as possible at a much lower price point. The KD-990 is one of those products.
The KD-990 Turntable
The Kenwood KD-990 is part of a family of tables that all share the same basic qualities. In fact, the KP-1100, KP-9010, KD-7010, and KD-8030 seem to differ from the KD-990 only in minor cosmetic aspects. Each of these tables served as flagship of the Kenwwod consumer range in Japan (KP models) or elsewhere (KD models) sometime during the '80s.
Underneath the piano glossed wooden plinth the KD-990 hides an extremely rigid "Closed Loop Frame Structure”. This is a die-cast base that supports motor and arm and ensures shelf decoupling via massive rubber feet. As shown in the picture, some people use the table without the plinth and mount several tonearms on the base.

The plinth itself, as well as the dustcover, is more like a set of clothes that rests on the diecast frame near the feet with no direct contact to motor, platter or arm. In this way the essential mechanical parts are somewhat shielded from vibrations captured by plinth or cover. Still pretty, though..

The motor is engineered for minimal friction AND durability, and should be good to go for many years yet. The arm is a knife-edge design and the effective mass is 16-18g depending on headshell, and must be considered medium to high mass. Supported speed are 33 and 45RPM and the speed control mechanism is quartz controlled with special care taken to handle temperature variations.
Many cartridges work well in this table, and very satisfying results can be had with something as simple as the Audio Technica AT-440MLb, but generally cartridges with a medium to low compliance should work well.
My personal experience with the table is purely positive. I have had a great deal of tables in the past, and the KD-990 is (one of) the one(s) still in my house, and probably the table that I have used the most. It makes wonderful music, and it just works - apart from the mandatory scratches on the dustcover, the passing of time does not seem to affect it much.
Πως,Ποτε,Γιατι,Απο Που,Απο Ποιον κολλησατε το μικροβιο του Ηome Cinema?
me πάντως όταν έφτιαχνα το σαλόνι μου ήρθε η φαεινή ιδέα να βάλω μια κουρτίνα. για να μην φαίνεται το κουρτινόξυλο έβαλα ένα τοιχάκι γυψοσανίδας μπροστά. Μετά είπα, με τόσο ωραία κουρτίνα και τοιχάκι, να μην κρύψω και μια οθόνη απο πίσω? έτσι ρε παιδί μου πες ότι παίρνω έναν προτζέκτορα κάποια...
www.avsite.gr
Εξωτικα Nakamichi tx 1000 & Dragon CT
How To Listen to Records
The Nakamichi TX-1000 Turntable
With these remarks, Mischa Elman, one of the greatest violinists, put his finger precisely on a crucial point, that exact pitch lies at the foundation of Western music. 2 This point tends to be taken for granted by musicians. Indeed, it is taken as so obvious that when a musician says of a colleague that he or she has a "good ear", what is invariably meant is a good ear for pitch--not for dynamics, not for inner detail, not for upper-octave frequencies, not for location, but for pitch. (Musicians also treasure rhythmic sensitivity but do not usually think of that as a hearing ability but rather as a separate "sense of rhythm".)
Music history shows that musicians have held pitch considerations to be at the heart of things for many centuries. The first great theoretical discovery in music was Pythagoras's discovery of the harmonic series. Ever since then (Sixth Century BC), tunings and scale temperaments have been a matter of obsessive theoretical concern to musicians; probably they were a practical obsession from even longer ago! The rise of the uniform, even-tempered (well-tempered) scale has seemingly settled the pitch question for keyboard instruments, but performers on instruments with continuously variable pitch (strings, singers, winds to an extent) continue to regard refined pitch selection as an indispensable element of their art.
Under these circumstances, it seems clear that pitch stability and accuracy should be one of the primary goals of high fidelity musical reproduction. Yet pitch has been treated with an indifference almost amounting to contempt by the audio industry. I refer to the fact that virtually no records are center-punched with an accuracy sufficient to give stable pitch. You have no doubt noticed this audibly--fluctuating pitch of sustained notes or, in less severe cases, a sort of general wateriness to the sound--as well as visually--the sideways oscillation of the tone arm, back and forth with each revolution. But probably you have not had the opportunity to hear what records sound like when they are truly accurately centered.
Neither had I until I recently purchased a Nakamichi TX-1000 turntable, which centers the records automatically to an accuracy greater than .01 mm. The result of this centering is quite simply a musical revelation. Once heard, it cannot be forgotten nor easily done without. For me, to return to the world of off-centered, uncorrected records 3 would amount to expulsion from a musical Garden of Eden.
Before I continue with my musical reactions in detail, let's think about numbers for a moment. Suppose we are listening to a groove that is, say, 75 mm from the center of the record; typically, this is still in the music groove region, but near the end of it. (Seventy-five millimeters is about three inches.) Since the record goes around once in 1/(33 1/3) minutes = 1.8 seconds, the velocity of this groove past the stylus is 2 pi (75mm)/1.8 sec. which equals 261.8 mm/sec.
Now suppose the record is 0.5 mm off center. (This is the limit of the correcting motion of the Nakamichi TX1000. Records further off-center than that have to be roughly hand centered before the TX1000 is applied. Most records that do not have badly worn spindle holes meet this standard of 0.5 mm.) Then when we are hearing the part of the 75 mm groove that is furthest from the platter center, the effective radius of the groove is 75.5 mm and the velocity goes up to 263.5 mm/sec. At the closest part of the groove, the radius is effectively 74.5 mm and the velocity goes down to 260.1. The ratio between the maximum and minimum velocities is 75.5/74.5 = 1.0134. Thus the pitch of a note recorded in this groove is a little more than 1.3 percent higher at the part farthest from the platter center than it is at the part closest. In another viewpoint, the wow is ±0.66 percent. Proportionately, smaller center errors give smaller pitch wow, with .25 mm giving about 0.33 percent, 0.1 mm giving .13 percent, etc. Smaller groove radii would give larger wow percentage (inverse proportion) for a given off-centeredness. Off-center wow is worst at the end of the side.
A usually accepted standard for audibility of wow is 0.1 percent. This of course varies from person to person. The pitch discrimination level for A/B matching can be as low as 0.01 percent in people highly sensitive to pitch.4 This is of course a different, probably more sensitive kind of pitch audibility than wow, but in fact the repeated periodic pitch variations of off-center wow are seemingly quite close in nature to the A/B test.
The TX-1000, in the process of centering the records, gives read-outs of how far the records are off-center before the correction. While most meet the 0.5 mm standard, few are centered within 0.1 mm and almost none at the level of, say, 0.03 mm or less. Moreover, spindle-hole looseness generates ambiguities that are often on the order of a tenth of a millimeter, varying with how you put the record on. And, as noted, better than 0.1 mm centering is needed to meet the nominal ± 0.1 percent wow threshold. (Precisely, at 75 mm groove radius, ±0.1 percent wow corresponds to .075 mm centering.) In short, it is numerically clear that some correction process is needed for the vast majority of records, if they are to be audibly pitch stable.
The TX-1000 also gives one the opportunity to compare center-corrected play with non-corrected play, since it can be operated without activating the correction mechanism. At the level of 0.02 mm or so, residual warp wow and out-of-roundness seem to have roughly the same order of magnitude as any off-center wow, and the benefits of centering become not very obvious. But for as little as 0.05 mm-and records rarely are that well center-punched--off-center wow becomes consistently more significant than the other residuals, and the benefits of centering are completely, even glaringly apparent.
It is paradoxical that turntable manufacturers vie with each other for low "wow" figures when in fact the wow from the off-centeredness of the records is much larger, often of a higher order of magnitude or more. After all, .20 mm center error, which is common, causes at 75 mm radius more than ± 0.25 percent wow, which is not a very impressive turntable figure. In practice, not even test records are well enough centered to give meaningful wow figures for really low-wow turntables. Accurate wow figures can then be obtained only by recording a test signal on a magnetizable plate already in situ on the turntable and playing that signal back, or by some other such process not involving a pre-punched record. In short, almost everybody knows that the records themselves are the problem, not the turntables, but nobody does anything about it-except Nakamichi.
The evidence is inescapable numerically that, for steady tones, the off-center generated wow is audible. But how bad is it in practice, with musical material, not test tones? My experience in pre-Nakamichi days was that it is very bad, indeed, that it is one of the principal faults of the playback of vinyl records. Its elimination was almost the only argument in favor of CD that was musically meaningful. But for me that one argument was beginning to seem almost enough, regardless of CD's other problems (which I find severe). I judge from conversations that many people shared this feeling of despair over the pitch instability of records. I speculate that for many musicians, for example--and many do like CD-pitch stability was a decisive factor, whether formulated explicitly or not.
With most audio nuisances, one tends not to realize how annoying they really were until they are eliminated. And, annoyed though I was explicitly by wow from off-centeredness, I was not completely prepared for how marvelous records can sound when properly centered. Of course, there is still warp wow 5, but the geometry of the Mørch DP-6 tonearm that I am using minimizes that, and pitch stability becomes excellent altogether. But such a prosaic phrase as "pitch stability" doesn't do justice to the glories revealed. All of a sudden, there is music, where before there was a wary, pitch-blurred pale imitation. The effect is spectacular on piano recordings, which are notorious for revealing wow. But in fact, the gain is enormous on all musical material with any sustained pitch content, that is to say, all music except the purely percussive.
Πολλοι νομιζω οτι μπορει να διαφωνησουν αλλα νομιζω οτι το κοστος R&D (ερευνας και αναπτυξης) αυτων των μηχανηματων και ακομα η πολυπλοκοτητα και η δαπανηρη σε υλικα κατασκευη τους εφερε την μαζικη επικρατηση των πολυ πιο κερδοφορων σε σχεση με το τελικο οικονομικο αποτελεσμα για τον κατασκευαστη Belt Drive. Δεκτο. Οτι καταφεραν να μας πεισουν οτι υστερουν τα DD σε μουσικοτητα ειναι μια αλλη ιστορια που ισως εχει τις ριζες της στις επιλογες των Ευρωπαιων κατασκευαστων σε αντιθεση με τους λατρεις της μηχανολογιας και τελειοτητας Ιαπωνες
How To Listen to Records
The Nakamichi TX-1000 Turntable
With these remarks, Mischa Elman, one of the greatest violinists, put his finger precisely on a crucial point, that exact pitch lies at the foundation of Western music. 2 This point tends to be taken for granted by musicians. Indeed, it is taken as so obvious that when a musician says of a colleague that he or she has a "good ear", what is invariably meant is a good ear for pitch--not for dynamics, not for inner detail, not for upper-octave frequencies, not for location, but for pitch. (Musicians also treasure rhythmic sensitivity but do not usually think of that as a hearing ability but rather as a separate "sense of rhythm".)
Music history shows that musicians have held pitch considerations to be at the heart of things for many centuries. The first great theoretical discovery in music was Pythagoras's discovery of the harmonic series. Ever since then (Sixth Century BC), tunings and scale temperaments have been a matter of obsessive theoretical concern to musicians; probably they were a practical obsession from even longer ago! The rise of the uniform, even-tempered (well-tempered) scale has seemingly settled the pitch question for keyboard instruments, but performers on instruments with continuously variable pitch (strings, singers, winds to an extent) continue to regard refined pitch selection as an indispensable element of their art.
Under these circumstances, it seems clear that pitch stability and accuracy should be one of the primary goals of high fidelity musical reproduction. Yet pitch has been treated with an indifference almost amounting to contempt by the audio industry. I refer to the fact that virtually no records are center-punched with an accuracy sufficient to give stable pitch. You have no doubt noticed this audibly--fluctuating pitch of sustained notes or, in less severe cases, a sort of general wateriness to the sound--as well as visually--the sideways oscillation of the tone arm, back and forth with each revolution. But probably you have not had the opportunity to hear what records sound like when they are truly accurately centered.
Neither had I until I recently purchased a Nakamichi TX-1000 turntable, which centers the records automatically to an accuracy greater than .01 mm. The result of this centering is quite simply a musical revelation. Once heard, it cannot be forgotten nor easily done without. For me, to return to the world of off-centered, uncorrected records 3 would amount to expulsion from a musical Garden of Eden.
Before I continue with my musical reactions in detail, let's think about numbers for a moment. Suppose we are listening to a groove that is, say, 75 mm from the center of the record; typically, this is still in the music groove region, but near the end of it. (Seventy-five millimeters is about three inches.) Since the record goes around once in 1/(33 1/3) minutes = 1.8 seconds, the velocity of this groove past the stylus is 2 pi (75mm)/1.8 sec. which equals 261.8 mm/sec.
Now suppose the record is 0.5 mm off center. (This is the limit of the correcting motion of the Nakamichi TX1000. Records further off-center than that have to be roughly hand centered before the TX1000 is applied. Most records that do not have badly worn spindle holes meet this standard of 0.5 mm.) Then when we are hearing the part of the 75 mm groove that is furthest from the platter center, the effective radius of the groove is 75.5 mm and the velocity goes up to 263.5 mm/sec. At the closest part of the groove, the radius is effectively 74.5 mm and the velocity goes down to 260.1. The ratio between the maximum and minimum velocities is 75.5/74.5 = 1.0134. Thus the pitch of a note recorded in this groove is a little more than 1.3 percent higher at the part farthest from the platter center than it is at the part closest. In another viewpoint, the wow is ±0.66 percent. Proportionately, smaller center errors give smaller pitch wow, with .25 mm giving about 0.33 percent, 0.1 mm giving .13 percent, etc. Smaller groove radii would give larger wow percentage (inverse proportion) for a given off-centeredness. Off-center wow is worst at the end of the side.
A usually accepted standard for audibility of wow is 0.1 percent. This of course varies from person to person. The pitch discrimination level for A/B matching can be as low as 0.01 percent in people highly sensitive to pitch.4 This is of course a different, probably more sensitive kind of pitch audibility than wow, but in fact the repeated periodic pitch variations of off-center wow are seemingly quite close in nature to the A/B test.
The TX-1000, in the process of centering the records, gives read-outs of how far the records are off-center before the correction. While most meet the 0.5 mm standard, few are centered within 0.1 mm and almost none at the level of, say, 0.03 mm or less. Moreover, spindle-hole looseness generates ambiguities that are often on the order of a tenth of a millimeter, varying with how you put the record on. And, as noted, better than 0.1 mm centering is needed to meet the nominal ± 0.1 percent wow threshold. (Precisely, at 75 mm groove radius, ±0.1 percent wow corresponds to .075 mm centering.) In short, it is numerically clear that some correction process is needed for the vast majority of records, if they are to be audibly pitch stable.
The TX-1000 also gives one the opportunity to compare center-corrected play with non-corrected play, since it can be operated without activating the correction mechanism. At the level of 0.02 mm or so, residual warp wow and out-of-roundness seem to have roughly the same order of magnitude as any off-center wow, and the benefits of centering become not very obvious. But for as little as 0.05 mm-and records rarely are that well center-punched--off-center wow becomes consistently more significant than the other residuals, and the benefits of centering are completely, even glaringly apparent.
It is paradoxical that turntable manufacturers vie with each other for low "wow" figures when in fact the wow from the off-centeredness of the records is much larger, often of a higher order of magnitude or more. After all, .20 mm center error, which is common, causes at 75 mm radius more than ± 0.25 percent wow, which is not a very impressive turntable figure. In practice, not even test records are well enough centered to give meaningful wow figures for really low-wow turntables. Accurate wow figures can then be obtained only by recording a test signal on a magnetizable plate already in situ on the turntable and playing that signal back, or by some other such process not involving a pre-punched record. In short, almost everybody knows that the records themselves are the problem, not the turntables, but nobody does anything about it-except Nakamichi.
The evidence is inescapable numerically that, for steady tones, the off-center generated wow is audible. But how bad is it in practice, with musical material, not test tones? My experience in pre-Nakamichi days was that it is very bad, indeed, that it is one of the principal faults of the playback of vinyl records. Its elimination was almost the only argument in favor of CD that was musically meaningful. But for me that one argument was beginning to seem almost enough, regardless of CD's other problems (which I find severe). I judge from conversations that many people shared this feeling of despair over the pitch instability of records. I speculate that for many musicians, for example--and many do like CD-pitch stability was a decisive factor, whether formulated explicitly or not.
With most audio nuisances, one tends not to realize how annoying they really were until they are eliminated. And, annoyed though I was explicitly by wow from off-centeredness, I was not completely prepared for how marvelous records can sound when properly centered. Of course, there is still warp wow 5, but the geometry of the Mørch DP-6 tonearm that I am using minimizes that, and pitch stability becomes excellent altogether. But such a prosaic phrase as "pitch stability" doesn't do justice to the glories revealed. All of a sudden, there is music, where before there was a wary, pitch-blurred pale imitation. The effect is spectacular on piano recordings, which are notorious for revealing wow. But in fact, the gain is enormous on all musical material with any sustained pitch content, that is to say, all music except the purely percussive.
Πολλοι νομιζω οτι μπορει να διαφωνησουν αλλα νομιζω οτι το κοστος R&D (ερευνας και αναπτυξης) αυτων των μηχανηματων και ακομα η πολυπλοκοτητα και η δαπανηρη σε υλικα κατασκευη τους εφερε την μαζικη επικρατηση των πολυ πιο κερδοφορων σε σχεση με το τελικο οικονομικο αποτελεσμα για τον κατασκευαστη Belt Drive. Δεκτο. Οτι καταφεραν να μας πεισουν οτι υστερουν τα DD σε μουσικοτητα ειναι μια αλλη ιστορια που ισως εχει τις ριζες της στις επιλογες των Ευρωπαιων κατασκευαστων σε αντιθεση με τους λατρεις της μηχανολογιας και τελειοτητας Ιαπωνες
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Pioneer P3 Exclusive...καποιος τωρα τελευταια αναφερε και τιμες σε γιεν.. 600.000 ειναι πολλα αραγε?
| Exclusive P3 | 530,000yen(around the 1979 time) |
| 600,000yen(around the 1981 time) |
The stereo player system which eliminated a cost restraint and technical compromise, poured in all the technical know-hows, and was finished by an one-set one-set handmade in order to pull out the sound of the disk of one sheet to a limit closely, and also to remove an oscillation as much as possible and to realize a high fidelity play. The scheme which controls DD motor of the linear torque scheme of a slotless and a coreless structure by Quartz PLL is adopted as a phone motor and a bearing structure. Furthermore, by the conventional measuring method, the impossible rotation performance of 0.001% of less than rotation unevenness 0.003% and a rotational frequency precision is realized by adopting the bearing structure of a SHR (Stable hanging rotor) scheme where the centroid of the axis-of-revolution part was set up low. A SHR scheme is what designed the bearing structure to the inverted structure of the conventional scheme, an inertia arises in a bearing part during a rotation, and side pressure has stopped applying to an axis probably by having brought the supporting point close to a centroid and having changed the conventional bearing part into the rotation side as for it. And for the preventing with �K�^, the path clearance of bearing occurs for a minimum and the inertia of a turntable is set to sufficient torque also to the load intensity of the cartridge added to the perimeter of a turntable. The high torque motor of the dual rotor structure using an anisotropy ferrite magnet with a strong attraction of magnet has realized about the same high torque (10 kg-cm) as a record cutting unit. Furthermore, adoption and the interval of the servo circuitry which was excellent in the turntable of inertial-mass 700 kg-cm2 or the transient realized the outstanding startup property (it is a constant-speed rotation in 0.3 second after switchpoint-on) and load characteristics-proof (it is 1.5kg by stylus-force conversion), and have acquired the rotation property that the stable precision is high. In addition to the weight saving of a tone arm, the mass concentration scheme and oil dumping adjustment mechanism which concentrated the mass on the axis of revolution are carried in the tone arm part. By adding braking by reliable silicon oil on an arm axis, the reduction of massive [ low-pass ] and cross modulation distortion is realized. Moreover, it is also possible to be able to control the amount of braking of oil dumping according to the property of a cartridge, and to turn OFF dumping. In order that a tone arm part may make a mechanical impedance make it flat, it repeated the analysis and audition of the oscillation mode of all fractions, and performed them, and the product made from carbon fiber integrated arm pipe of head shell one is used for it. Since a using of a commercial head shell is enabled, a switching of a straight pipe and S character type universal arm pipe is possible. The quick stop organization which used together the motor, the electronic formula brake which applies the power of a reverse rotation, and the mechanical brake which stops a rotation of a rotor using a plunger by work of an electronic circuitry is carried. The motor part and the tone arm part are fixed to the base with a weight of 12kg which laminated the barium sulfate of aluminum and high-density material. Furthermore, the base was completely floated from the cabinet and the vibration proof structure of the coaxial suspension scheme which intercepts the oscillation from the sound pressure and the floor from a speaker is adopted. In order to make a high howling margin possible, the insulator of the Mie structure is adopted. Special rubber is used, in order to support a 25kg main unit with the oil dumping type waveguide-plunger structure using a 62mm spring and also to make the surging of a spring absorb. Moreover, since the resonant frequency of the insulator is set as 5Hz or less lower than the resonant frequency of a tone arm, the howling margin with high vibration proof structure and interval of a coaxial suspension has been obtained. It is the design which combined the cabinet of native wood eye finish of the Brazi LeAnn Lowe's wood, and the book jacket excellent in the prevention from a howling made from tempered glass with the cabinet. For the reason in the case of equipping the same arm as P3a, there was a tone arm as an option. |
Marantz Tt 1000
Back in 1979, vinyl was the only serious music carrier this side of open reel tape, and – if you believed the UK hi-fi press at least – the only serious LP spinner was the Linn Sondek LP12. Elsewhere however, this view was less universally held, and in Japan there was a heated battle going on between a number of the country’s consumer electronics giants to produce the best disc spinner the world had yet seen…
Kenwood’s Lo-7D, Onkyo’s PX-100, Sony’s TT-S8000, Technics’ SP10 and Micro Seiki’s DDX-1000 were but five combatants in the race. All direct driven, sporting the (then) new-fangled quartz crystal referenced servo lock to keep the platter spinning with seemingly infinitesimally low levels of speed deviation. Massive main bearings provided vanishingly low rumble, and these decks all sported an enormous and massy plinth to dispense with external vibrations through sheer brute force.
Into this fray stepped the Marantz Tt 1000. Launched at the Japanese Audio Fair in October of that year, it sold for the princely sum of Y390,000 (£1,000 in the UK, when the Linn LP12 was £350). A veritable showstopper, it formed the lead component in the company’s new ESOTEC series of ultra high end products, to rival (the more familiar in this country at least) Nakamichi Dragon line.
The Tt 1000 was a textbook example of Japanese turntable best practice. The plinth was the basis of its appeal – a chunky 38mm thick laminate of two 15mm glass plates between which sat an 8mm aluminium alloy interlayer. Large diameter Micro Seiki MSB-100 impact absorbing feet, using an ingenious air seal, were deployed to take out any vibes that the 25.3kg unit couldn’t sink by sheer weight and size, and its 3.4kg balanced aluminium platter was topped off by a glass mat.
A largish wood veneered box sat beside the Tt 1000, containing the turntable motor’s power supply. Two speeds were available via touch controls on the turntable itself. The massive direct drive motor gave rapid 1.5 second start-up, and superlative speed stability once the quartz lock had kicked in. Early Tt 1000L units came with a Micro Seiki CF-1 tonearm, but Marantz soon offered the Tt 1000 as a motor unit, or as the Tt 1000S with an SME Series III tonearm. The two-part arm bases were interchangeable with Micro Seiki turntables, but made of aluminium rather than bronze.
In some respects, the Tt 1000 was a rip-roaring success. Its build was exquisite (even by the high standards of the opposition), it was an ergonomic triumph (proving extremely simple to use – no parallel tracking tonearms, vacuum platters or disc stabilisers to fiddle with) and its looks were bang-up-to-date yet classically elegant, making the deck seem modern and fresh nearly thirty years later.
Sonically however, it was less unequivocally successful. Its strong, powerful and reassured ‘mastertape-like’ sound was in no doubt. Although it wasn’t a Rotweiller with rhythms and microdynamics a la LP12, it had a wider, deeper and more expansive sound with a sense of effortlessness that no belt drive could manage. The (reputedly Micro Seiki) motor was as torquey as a JCB, holding on to the deck’s heavy platter with limpet-like tenacity. Still, some listeners reported a slightly ‘glassy’ tonality, a subtle upper mid hardness, that held the Marantz back in the neutrality stakes.
Although counting some famous names amongst its list of owners, the Tt 1000 never really sold well, and it was the cheaper Technics SP10 and SP15 that found their ways into broadcast studios, while Onkyo and Nakamichi rivals went to more ultra high end audiophile buyers. Still, it had a long innings, and it wasn’t until 1990 that it got a replacement in the shape of the Music Link Tt 1000 Mk II, which sold for around 12,000DM in Germany (the deck’s only official European market).
Unsurprisingly, this addressed the weaknesses of the original design, substituting the clangy glass platter top for a suede mat, and resembling that of Micro’s DDX-1500 very closely. It made for an altogether less brightly lid upper midband, and finally brought the Tt 1000 the international acclaim it deserved. Unfortunately though, the nineties were the low point in the vinyl format’s life – it was dying as a mass music carrier, whilst remaining relatively undiscovered by audiophiles, DJs and nostalgists as it is now. The deck sold barely 150 units, and in Europe at least proved the best kept secret in hi-fi…
These days, you’re going to have to look long and hard to get either variant of the Tt 1000, and you’re very likely to have to look to Germany, or maybe even Hong Kong, the US or Japan to source one if you so desire it. They’re not cheap either – it’s pretty much up to the seller to name his price, and/or for you to tell him how much you’re prepared to pay. Still, the Marantz Tt 1000 is one of the most classically simple, beautiful and superbly engineered turntables yet made – and also sounds, even by the standards of today, sublime. It was a high water mark for Marantz, one of the original and best.
Back in 1979, vinyl was the only serious music carrier this side of open reel tape, and – if you believed the UK hi-fi press at least – the only serious LP spinner was the Linn Sondek LP12. Elsewhere however, this view was less universally held, and in Japan there was a heated battle going on between a number of the country’s consumer electronics giants to produce the best disc spinner the world had yet seen…Kenwood’s Lo-7D, Onkyo’s PX-100, Sony’s TT-S8000, Technics’ SP10 and Micro Seiki’s DDX-1000 were but five combatants in the race. All direct driven, sporting the (then) new-fangled quartz crystal referenced servo lock to keep the platter spinning with seemingly infinitesimally low levels of speed deviation. Massive main bearings provided vanishingly low rumble, and these decks all sported an enormous and massy plinth to dispense with external vibrations through sheer brute force.
Into this fray stepped the Marantz Tt 1000. Launched at the Japanese Audio Fair in October of that year, it sold for the princely sum of Y390,000 (£1,000 in the UK, when the Linn LP12 was £350). A veritable showstopper, it formed the lead component in the company’s new ESOTEC series of ultra high end products, to rival (the more familiar in this country at least) Nakamichi Dragon line.
The Tt 1000 was a textbook example of Japanese turntable best practice. The plinth was the basis of its appeal – a chunky 38mm thick laminate of two 15mm glass plates between which sat an 8mm aluminium alloy interlayer. Large diameter Micro Seiki MSB-100 impact absorbing feet, using an ingenious air seal, were deployed to take out any vibes that the 25.3kg unit couldn’t sink by sheer weight and size, and its 3.4kg balanced aluminium platter was topped off by a glass mat.
A largish wood veneered box sat beside the Tt 1000, containing the turntable motor’s power supply. Two speeds were available via touch controls on the turntable itself. The massive direct drive motor gave rapid 1.5 second start-up, and superlative speed stability once the quartz lock had kicked in. Early Tt 1000L units came with a Micro Seiki CF-1 tonearm, but Marantz soon offered the Tt 1000 as a motor unit, or as the Tt 1000S with an SME Series III tonearm. The two-part arm bases were interchangeable with Micro Seiki turntables, but made of aluminium rather than bronze.
In some respects, the Tt 1000 was a rip-roaring success. Its build was exquisite (even by the high standards of the opposition), it was an ergonomic triumph (proving extremely simple to use – no parallel tracking tonearms, vacuum platters or disc stabilisers to fiddle with) and its looks were bang-up-to-date yet classically elegant, making the deck seem modern and fresh nearly thirty years later.
Sonically however, it was less unequivocally successful. Its strong, powerful and reassured ‘mastertape-like’ sound was in no doubt. Although it wasn’t a Rotweiller with rhythms and microdynamics a la LP12, it had a wider, deeper and more expansive sound with a sense of effortlessness that no belt drive could manage. The (reputedly Micro Seiki) motor was as torquey as a JCB, holding on to the deck’s heavy platter with limpet-like tenacity. Still, some listeners reported a slightly ‘glassy’ tonality, a subtle upper mid hardness, that held the Marantz back in the neutrality stakes.
Although counting some famous names amongst its list of owners, the Tt 1000 never really sold well, and it was the cheaper Technics SP10 and SP15 that found their ways into broadcast studios, while Onkyo and Nakamichi rivals went to more ultra high end audiophile buyers. Still, it had a long innings, and it wasn’t until 1990 that it got a replacement in the shape of the Music Link Tt 1000 Mk II, which sold for around 12,000DM in Germany (the deck’s only official European market).
Unsurprisingly, this addressed the weaknesses of the original design, substituting the clangy glass platter top for a suede mat, and resembling that of Micro’s DDX-1500 very closely. It made for an altogether less brightly lid upper midband, and finally brought the Tt 1000 the international acclaim it deserved. Unfortunately though, the nineties were the low point in the vinyl format’s life – it was dying as a mass music carrier, whilst remaining relatively undiscovered by audiophiles, DJs and nostalgists as it is now. The deck sold barely 150 units, and in Europe at least proved the best kept secret in hi-fi…
These days, you’re going to have to look long and hard to get either variant of the Tt 1000, and you’re very likely to have to look to Germany, or maybe even Hong Kong, the US or Japan to source one if you so desire it. They’re not cheap either – it’s pretty much up to the seller to name his price, and/or for you to tell him how much you’re prepared to pay. Still, the Marantz Tt 1000 is one of the most classically simple, beautiful and superbly engineered turntables yet made – and also sounds, even by the standards of today, sublime. It was a high water mark for Marantz, one of the original and best.
- Μηνύματα
- 4.544
- Reaction score
- 3.085
Πως,Ποτε,Γιατι,Απο Που,Απο Ποιον κολλησατε το μικροβιο του Ηome Cinema?
me πάντως όταν έφτιαχνα το σαλόνι μου ήρθε η φαεινή ιδέα να βάλω μια κουρτίνα. για να μην φαίνεται το κουρτινόξυλο έβαλα ένα τοιχάκι γυψοσανίδας μπροστά. Μετά είπα, με τόσο ωραία κουρτίνα και τοιχάκι, να μην κρύψω και μια οθόνη απο πίσω? έτσι ρε παιδί μου πες ότι παίρνω έναν προτζέκτορα κάποια...www.avsite.gr
- Μηνύματα
- 25.103
- Reaction score
- 20.582
Περίπου 6000$ σήμερα...
jpaudio
"Επαγγελματίας"
- Μηνύματα
- 2.005
- Reaction score
- 1.466
Και ένα από εμένα, ζωντανό, σπαρταριστό:
Φτου!!! άκυρο, έχει μπει στο post #28
Sorry αλλά θα επανέλθω...
Πάντως αν βρισκόμουν στην Ιαπωνία δεν θα γυρνούσα πίσω!
Και για να επανορθώσω, όσα καλά και όσα πολλά πικάπ και να έχετε δεν είναι τίποτα αν δεν έχετε αυτά τα μαύρα αντικείμενα που μπορούν να τα κάνουν να λαλήσουν, τους δίσκους! Να εδώ ένας κακομοίρης με μια συλλογή από 7 εκατομμύρια από δαύτους...
Φτου!!! άκυρο, έχει μπει στο post #28
Sorry αλλά θα επανέλθω...
Πάντως αν βρισκόμουν στην Ιαπωνία δεν θα γυρνούσα πίσω!
Και για να επανορθώσω, όσα καλά και όσα πολλά πικάπ και να έχετε δεν είναι τίποτα αν δεν έχετε αυτά τα μαύρα αντικείμενα που μπορούν να τα κάνουν να λαλήσουν, τους δίσκους! Να εδώ ένας κακομοίρης με μια συλλογή από 7 εκατομμύρια από δαύτους...
Last edited:
ika
News
- Μηνύματα
- 13.983
- Reaction score
- 12.970
Αυτή η μανία που υπήρχε κάποτε με τις αντλίες υποπίεσης για να κρατάνε τον δίσκο, πέρασε σύντομα....
The first direct-drive turntable was invented by Shuichi Obata, an engineer at Matsushita (now Panasonic),[3] based in Osaka, Japan.[5] It eliminated belts, and instead employed a motor to directly drive a platter on which a vinyl record rests.[2] In 1969, Matsushita released it as the SP-10,[2] the first direct-drive turntable on the market,[4] and the first in their influential Technics series of turntables.[2] In 1971, Matsushita released the Technics SL-1100. Due to its strong motor, durability, and fidelity, it was adopted by early hip hop artists.[2]
A forefather of turntablism was DJ Kool Herc, an immigrant from Jamaica to New York City.[4] He introduced turntable techniques from Jamaican dub music,[7] while developing new techniques made possible by the direct-drive turntable technology of the Technics SL-1100, which he used for the first sound system he set up after emigrating to New York.[4] The signature technique he developed was playing two copies of the same record on two turntables in alternation to extend the b-dancers' favorite section,[7] switching back and forth between the two to loop the breaks to a rhythmic beat.[4]
The most influential turntable was the Technics SL-1200,[1] which was developed in 1971 by a team led by Shuichi Obata at Matsushita, which then released it onto the market in 1972.[5] It was adopted by New York City hip hop DJs such as Grand Wizzard Theodore and Afrika Bambaataa in the 1970s. As they experimented with the SL-1200 decks, they developed scratching techniques when they found that the motor would continue to spin at the correct RPM even if the DJ wiggled the record back and forth on the platter.[1] Since then, turntablism spread widely in hip hop culture, and the SL-1200 remained the most widely used turntable in DJ culture for the next several decades.[2][1]
Technics also introduced the first direct-drive tangential-arm turntable, the model SL-10, in 1981
A forefather of turntablism was DJ Kool Herc, an immigrant from Jamaica to New York City.[4] He introduced turntable techniques from Jamaican dub music,[7] while developing new techniques made possible by the direct-drive turntable technology of the Technics SL-1100, which he used for the first sound system he set up after emigrating to New York.[4] The signature technique he developed was playing two copies of the same record on two turntables in alternation to extend the b-dancers' favorite section,[7] switching back and forth between the two to loop the breaks to a rhythmic beat.[4]
The most influential turntable was the Technics SL-1200,[1] which was developed in 1971 by a team led by Shuichi Obata at Matsushita, which then released it onto the market in 1972.[5] It was adopted by New York City hip hop DJs such as Grand Wizzard Theodore and Afrika Bambaataa in the 1970s. As they experimented with the SL-1200 decks, they developed scratching techniques when they found that the motor would continue to spin at the correct RPM even if the DJ wiggled the record back and forth on the platter.[1] Since then, turntablism spread widely in hip hop culture, and the SL-1200 remained the most widely used turntable in DJ culture for the next several decades.[2][1]
Technics also introduced the first direct-drive tangential-arm turntable, the model SL-10, in 1981
Last edited:
Η Technics λοιπον ειναι υπευθηνη για την εφευρεση των DD και ενας τυπος απο την τζαμαίκα για το djing οπως το ξερουμε! Νομιζω οτι ο κυκλος μου εδω θα κλεισει με το Mk2 αφηνοντας απ εξω την εξελιξη του και τα καταπληκτικα μοντελα τα οποια ακολουιησαν για τα οποια πολλοι απο εσας εχετε προσωπικη εμπειρια και θα ηταν ενδιαφερον να την μοιραστειτε με βιντεο φωτο και οτι εχετε να προσθεσετε....
Εγω ηθελα απλα σε αυτο το νημα να συγκεντρωσω αυτα που παντα θαυμαζα με αγαπη και χωρις δογματισμο ως προς τα γουστα μου και χωρις να συγκρινω η να σνομπαρω τις επιλογες των σλλων οπως συχνα γινεται στην μαχη direct ή belt
Εγω ηθελα απλα σε αυτο το νημα να συγκεντρωσω αυτα που παντα θαυμαζα με αγαπη και χωρις δογματισμο ως προς τα γουστα μου και χωρις να συγκρινω η να σνομπαρω τις επιλογες των σλλων οπως συχνα γινεται στην μαχη direct ή belt
Last edited:
jpaudio
"Επαγγελματίας"
- Μηνύματα
- 2.005
- Reaction score
- 1.466
Κοιτάξτε στα 3:13 την καμπύλη απόκρισης της κεφαλής! Και εδώ διαθέσιμη:
Technics Epc-100cmk3 Mm Type Cartridge | eBay
Find many great new & used options and get the best deals for Technics Epc-100cmk3 Mm Type Cartridge at the best online prices at eBay! Free shipping for many products!
www.ebay.com
Exclusive: One Week With Technics' New SL-1000R Direct Drive Turntable (See update posted 2/21/18)
Michael Fremer | Jan 30, 2018
Shortly after the conclusion of the 2018 International Consumer Electronics Show, Technics CTO/Chief Engineer Tetsuya (Tony) Itan, Yoshiyuki Sumida, Assistant Manager Technics Team, and Technics Business Development Manager Bill Voss brought over and installed the new Technics SL-1000R turntable and tone arm for a week's stay. While this was a pre-production sample and not suitable for a full review, I thought you would be interested in first impressions that is nota review.
The SL-1000R is the fully integrated version of the SP-10R turntable, which is a "module" meant to be dropped into either an existing plinth for an older SP-10 or into a newly built one. Most of these are made of slate or graphite and the end user can use the arm of his or her choice either in an arm board integrated into the base or as part of a separate module.
The SL-1000R is the SP-10R built into a Technics plinth as pictured above that you can listen to in this video. You can also see an interview with Mr. Itan produced at last fall's Tokyo Audio Show.
The SL-1000R comes with a new 10" version of the special magnesium arm-tube arm that was part of the limited edition SL-1200GAE. According to Technics, the new arm has more precise bearings, analogous to what Rega does with its upscale arms that outwardly appear similar if not identical to lower cost ones but are not. The supplied arm is in a board that can be swapped out for a few other arms, with Technics supplying the boards, so far for an Ortofon and an SME. In addition there are two other arm boards that mount to the back and side of the plinth for a total of 3 possible simultaneous arms as seen at CES. You can see that on AnalogPlanet's CES video coverage elsewhere on this site.
The SL-1000R is a large and heavy assemblage weighing in at 88 pounds that sits on four specially designed damping and isolating feet (details best for full review). The SP-10R is a "drop-in" that features an approximately 18 pound full-sized brass platter, the underside of which is heavily damped with a black compound that fits within a machined recess on the platter's underside.
The power supply and motor drive unit is an outboard device connected by an umbilical to the main unit. It offers a large digital screen and complete speed and pitch adjustability the details of which are best discussed in a full review.
The supplied rubber mat is either identical or similar to the ribbed one that comes with less costly Technics turntables but I was told it's not likely to be what's supplied with the production model. I ended up using a variety of mats including the Funk Firm Achromat and Stein's Pi mat. I'm not a fan of thick soft ribbed rubber mats. A new Ortofon A95 was already mounted to the head shell so that's what I listened to. It's one of my favorite cartridges anyway and I'm well familiar with its sonic performance.
Because this was a pre-production unit I expected there might be a glitch or two and that proved to be the case. First I wanted to double check the cartridge set-up. The spec sheet said the 10" arm's effective length was 239mm, which is the standard Rega's effective length but that's a 9" arm so I knew something literally didn't add up.
The pivot to spindle distance of the Rega arm is 222mm with a 17mm "overhang" for that 239mm total. So first I used the WallyTractor's 239mm arc and not surprisingly found that the stylus did not come close to tracing the arc. Next I used the Acoustical Systems SmartTractor to precisely measure the pivot to spindle distance, which not surprisingly was far greater than 222. The measured number plus the 17mm overhang spec produced an effective length of 254mm, similar to that of Immedia's two arms.
All of this took place with the Technics people present, which for them was somewhat embarrassing but keep in mind that this was a pre-production model and probably someone at the factory simply copied the specs from the SL-1200 series arms and that led to this. I'm sure it would have been caught by someone before the SL-1000R went into production! Of course I re-set the overhang using the Wally Tractor's 254mm arc, though until it's confirmed I have no idea if the overhang really is 17mm!
Once the cartridge was correctly installed it was time to play tunes. Everyone from Technics enjoyed the sound the turntable produced in my system and you had better believe so did I! It was clear from the first record played that this turntable's speed accuracy and consistency was on a new level of excellence. I didn't need to measure it to hear it. When I did get around to measuring it, the results were even better than I was expecting. I've never seen such an impressive set of measurements. Here they are:
Those results prove that the SP-10R "engine" is either the most accurate or among a handful of the most accurate turntables ever designed and manufactured. It sounded as it measured, with a reel-to-reel tape-like rhythmic consistency and accuracy that produced severe relaxation and unprecedented, in my experience, low listener fatigue. You can get a taste of it in the video linked above. The sound was notably smooth yet precise. Transients and especially vocal sibilants were well-articulated and "clean" with not a whiff of "etch" or hardness. "Grain" was nonexistent. What was easily audible at CES was repeated (not surprisingly) at home. Record after record produced big "wows" from me.
My only issue was the bottom end, which was not as well articulated and seemed to vary from record to record. It wasn't as deep and firm as I'd expected given what the rest of the audio band sounded like. When I used the Hi-Fi News test record and measured the arm/cartridge resonant frequencies lateral and vertical, I found out why: in both planes the resonant frequency turned out to be centered at close to 16Hz, which is too high. It should be between 8-12Hz or above "warp/wow" and below the lowest possible musical information engraved in the record.
The reasons for this were obvious: the A95 is an unusually light cartridge weighing in at approximately 6 grams. The arm was originally designed "in the day" for high compliance moving magnet cartridges. However, most moving coil cartridges weigh in at around 11 grams, some higher, which is why the Lyra Etna performed so well on the 1200 reviewed here last year.
The solution here would be to add mass to the head shell. 11 total grams at the head shell would produce a resonant frequency in the ideal 8-12Hz range. I didn't add mass to the head shell for this encounter but I think Technics will either have to include a heavier head shell option or list recommended cartridge weights and compliance figures.
When I went back to my reference turntable featuring an arm that costs more than the entire SL-1000R assemblage the results were a mixed bag. The Technics SL-1000R produced that "tape like" sensation the big rig didn't quite have, which of course was disappointing! But the bottom end was significantly better. Some of that was due to the resonance issue but I don't expect the SL-1000R's arm to perform as well as the Swedish Analog Technology arm. I think the supplied arm is very, very good overall and given the SL-1000R's cost of approximately $20,000, it's almost (dare I say) a "freebie" considering the performance of the 'table itself.
Καλησπερα. Ο reviewer βρισκει θεματακια στο 20 χιλιαδων dolars technics. Τι θα ελεγε αν ακουγε τα δικα μας setup?
Michael Fremer | Jan 30, 2018
Shortly after the conclusion of the 2018 International Consumer Electronics Show, Technics CTO/Chief Engineer Tetsuya (Tony) Itan, Yoshiyuki Sumida, Assistant Manager Technics Team, and Technics Business Development Manager Bill Voss brought over and installed the new Technics SL-1000R turntable and tone arm for a week's stay. While this was a pre-production sample and not suitable for a full review, I thought you would be interested in first impressions that is nota review.
The SL-1000R is the fully integrated version of the SP-10R turntable, which is a "module" meant to be dropped into either an existing plinth for an older SP-10 or into a newly built one. Most of these are made of slate or graphite and the end user can use the arm of his or her choice either in an arm board integrated into the base or as part of a separate module.
The SL-1000R is the SP-10R built into a Technics plinth as pictured above that you can listen to in this video. You can also see an interview with Mr. Itan produced at last fall's Tokyo Audio Show.
The SL-1000R comes with a new 10" version of the special magnesium arm-tube arm that was part of the limited edition SL-1200GAE. According to Technics, the new arm has more precise bearings, analogous to what Rega does with its upscale arms that outwardly appear similar if not identical to lower cost ones but are not. The supplied arm is in a board that can be swapped out for a few other arms, with Technics supplying the boards, so far for an Ortofon and an SME. In addition there are two other arm boards that mount to the back and side of the plinth for a total of 3 possible simultaneous arms as seen at CES. You can see that on AnalogPlanet's CES video coverage elsewhere on this site.
The SL-1000R is a large and heavy assemblage weighing in at 88 pounds that sits on four specially designed damping and isolating feet (details best for full review). The SP-10R is a "drop-in" that features an approximately 18 pound full-sized brass platter, the underside of which is heavily damped with a black compound that fits within a machined recess on the platter's underside.
The power supply and motor drive unit is an outboard device connected by an umbilical to the main unit. It offers a large digital screen and complete speed and pitch adjustability the details of which are best discussed in a full review.
The supplied rubber mat is either identical or similar to the ribbed one that comes with less costly Technics turntables but I was told it's not likely to be what's supplied with the production model. I ended up using a variety of mats including the Funk Firm Achromat and Stein's Pi mat. I'm not a fan of thick soft ribbed rubber mats. A new Ortofon A95 was already mounted to the head shell so that's what I listened to. It's one of my favorite cartridges anyway and I'm well familiar with its sonic performance.
Because this was a pre-production unit I expected there might be a glitch or two and that proved to be the case. First I wanted to double check the cartridge set-up. The spec sheet said the 10" arm's effective length was 239mm, which is the standard Rega's effective length but that's a 9" arm so I knew something literally didn't add up.
The pivot to spindle distance of the Rega arm is 222mm with a 17mm "overhang" for that 239mm total. So first I used the WallyTractor's 239mm arc and not surprisingly found that the stylus did not come close to tracing the arc. Next I used the Acoustical Systems SmartTractor to precisely measure the pivot to spindle distance, which not surprisingly was far greater than 222. The measured number plus the 17mm overhang spec produced an effective length of 254mm, similar to that of Immedia's two arms.
All of this took place with the Technics people present, which for them was somewhat embarrassing but keep in mind that this was a pre-production model and probably someone at the factory simply copied the specs from the SL-1200 series arms and that led to this. I'm sure it would have been caught by someone before the SL-1000R went into production! Of course I re-set the overhang using the Wally Tractor's 254mm arc, though until it's confirmed I have no idea if the overhang really is 17mm!
Once the cartridge was correctly installed it was time to play tunes. Everyone from Technics enjoyed the sound the turntable produced in my system and you had better believe so did I! It was clear from the first record played that this turntable's speed accuracy and consistency was on a new level of excellence. I didn't need to measure it to hear it. When I did get around to measuring it, the results were even better than I was expecting. I've never seen such an impressive set of measurements. Here they are:
Those results prove that the SP-10R "engine" is either the most accurate or among a handful of the most accurate turntables ever designed and manufactured. It sounded as it measured, with a reel-to-reel tape-like rhythmic consistency and accuracy that produced severe relaxation and unprecedented, in my experience, low listener fatigue. You can get a taste of it in the video linked above. The sound was notably smooth yet precise. Transients and especially vocal sibilants were well-articulated and "clean" with not a whiff of "etch" or hardness. "Grain" was nonexistent. What was easily audible at CES was repeated (not surprisingly) at home. Record after record produced big "wows" from me.
My only issue was the bottom end, which was not as well articulated and seemed to vary from record to record. It wasn't as deep and firm as I'd expected given what the rest of the audio band sounded like. When I used the Hi-Fi News test record and measured the arm/cartridge resonant frequencies lateral and vertical, I found out why: in both planes the resonant frequency turned out to be centered at close to 16Hz, which is too high. It should be between 8-12Hz or above "warp/wow" and below the lowest possible musical information engraved in the record.
The reasons for this were obvious: the A95 is an unusually light cartridge weighing in at approximately 6 grams. The arm was originally designed "in the day" for high compliance moving magnet cartridges. However, most moving coil cartridges weigh in at around 11 grams, some higher, which is why the Lyra Etna performed so well on the 1200 reviewed here last year.
The solution here would be to add mass to the head shell. 11 total grams at the head shell would produce a resonant frequency in the ideal 8-12Hz range. I didn't add mass to the head shell for this encounter but I think Technics will either have to include a heavier head shell option or list recommended cartridge weights and compliance figures.
When I went back to my reference turntable featuring an arm that costs more than the entire SL-1000R assemblage the results were a mixed bag. The Technics SL-1000R produced that "tape like" sensation the big rig didn't quite have, which of course was disappointing! But the bottom end was significantly better. Some of that was due to the resonance issue but I don't expect the SL-1000R's arm to perform as well as the Swedish Analog Technology arm. I think the supplied arm is very, very good overall and given the SL-1000R's cost of approximately $20,000, it's almost (dare I say) a "freebie" considering the performance of the 'table itself.
Καλησπερα. Ο reviewer βρισκει θεματακια στο 20 χιλιαδων dolars technics. Τι θα ελεγε αν ακουγε τα δικα μας setup?
Last edited:
- Μηνύματα
- 29
- Reaction score
- 49
Χρόνια είχα να γράψω εδώ αλλά, μετά από προτροπή φίλου, είπα να εμφανιστώ. Στη φωτογραφία το ΕΜΤ950 (DD) που αποφάσισα να κρατήσω αφού πριν μερικούς μήνες πούλησα το ΕΜΤ 927 και πρόσφατα το ΕΜΤ 930.
- Μηνύματα
- 29
- Reaction score
- 49
Και αν σας ενδιαφέρει 2 μετρήσεις W&F που έκανα πριν λίγο καιρό.
Η 1η μέτρηση με ΗΡ 35665A Dynamic Signal Analyser, η 2η με Audio Precision Portable One DD.
Ο δίσκος test:
https://www.3345rpm.gr/product/the-ultimate-analogue-test-lp-test-record/
Η 1η μέτρηση με ΗΡ 35665A Dynamic Signal Analyser, η 2η με Audio Precision Portable One DD.
Ο δίσκος test:
https://www.3345rpm.gr/product/the-ultimate-analogue-test-lp-test-record/
Last edited:
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