Technics SL-1200 CLUB

[Mr Spock]

Technics SL-1200G Turntable/Tonearm
Great Sound, Great Price

The original Technics SL-1200 turntable was one of the most widely sold and broadly influential turntable designs ever made. Introduced in 1972, the SL-1200 garnered sales of more than three million units by the time production ceased in 2010. And it had put the direct-drive principle on the map for good. It would be interesting to look at turntable design history in detail, to talk about how the idler-wheel principle of Garrard and others in the 1950s was almost instantly displaced by belt drive following the introduction of the AR turntable in the early 1960s, a ’table that set new standards of performance (and did so at a very low price), and then how the SL-1200 arrived to contest the supremacy of belt drive, though the dispute was indecisive. Interesting too is how the SL-1200 became symbolic of the conflict between spec-driven “right wing” audiophiles—the SL-1200 had excellent specifications—and “left wing” high-enders, who thought that belt drives sounded better. The proponents of the SL-1200 made grandiose claims even though the folks at Technics never considered the SL-1200 the best turntable they’d ever made. The high-end reviewers were determined to debunk these claims, whether or not they had any really solid evidence. One could write a book on all this, and a compelling book it would be.

But truth to tell, the brand-new 2017 version of the SL-1200, designated the SL-1200G, is really an entirely different turntable from the previous SL-1200 models. And all the debate about these earlier models, though fascinating from a historical perspective, really has no bearing on the current version. The SL-1200G looks a lot like the historical SL-1200s. But this similarity in appearance is deceptive; as stated, the SL-1200G is another thing entirely. It is also a spectacularly good turntable, one that’s in the uppermost echelon of ’table design, and sells for a price that’s a small fraction of most of its high-end competition. History may repeat itself. Yet the SL-1200G ought to become symbolic of the triumph of formal technical excellence, and it could be that the high end will resist recognizing this. But this time things may be different, because the SL-1200G in fact really deserves the highest respect for its sound quality as well as for its technical specifications. It really sounds good!

Incidentally, it is interesting to note that the turntable involved in the long-ago Sheffield comparison to live mike was a Technics direct-drive ’table, as far as I can determine (because Doug Sax, alas, is no longer with us, I have only secondhand information, but I believe it’s correct). Also consider Harry Pearson’s remarks years ago on how hard it was to tell a 45rpm lacquer from the mastertape; again a Technics direct-drive turntable was in use. So the idea that Technics can make turntables—as they have done for a long time—that do well in such comparisons should not be a total surprise. And after all, it’s what turntables are designed to do—to make playback sound like the source.

In any case, I hope I can convince you to consider the SL-1200G with the extreme seriousness it deserves. It is a masterpiece and an amazing bargain.

Technics is not claiming it is perfect, and there are some after-market modifications—more on that later. But it is quite startlingly good as it stands, right up there with turntables costing orders of magnitude more.

Generalities about Reviewing Turntables and How the Technics Performs
Almost no aspect of audio reviewing is so fraught with ambiguities, uncertainties, the need both for double-blind testing (which almost never happens) and for comparison to original sources (which also almost never happens), and general confusion as the reviewing of turntables. The trouble began many years ago with the claim that arose that the most important part of the audio chain was the turntable. Of course this is demonstrable nonsense. But somehow the idea of the unequaled importance of the turntable became a kind of orthodoxy. Meanwhile, most people who are inclined to demand proof about audio matters—yes, they used to exist and a few still do—moved on to digital, discouraged by the complex and unpredictable rituals of vinyl playback (e.g., choice of cleaning fluids really does matter—a technical person’s nightmare) and the shortage at the time of really well-made vinyl records. (Vinyl’s near death years ago was not imposed from the outside—it was an attempted suicide in the sense that the record companies became so contemptuous of the medium and so little inclined to have decent quality control that people tended to become fed up. Early CD had serious problems but at least these issues were not a deliberate consequence of the manufacturers’ carelessness.)

What a turntable needs to do to work correctly, to produce from a perfect record the sound of the source, be it tape or live mike feed, from which the record was made is fairly simple to describe, though it is not entirely easy to arrange.

First of all, the turntable needs to rotate the record at a steady speed. And it needs to rotate it without vibrating it, so that the cartridge does not pick up noise from the turntable’s vibration. Then the mat and platter assembly need to soak up the vibrational energy that the stylus puts into the record as it plays. This latter might not seem to amount to much but actually it does amount to something. It is a classic demo from the past to listen to a silent groove with one stylus while another stylus is playing a music groove—the silent groove stylus picks up the music via the transmission through the vinyl of the energy produced by the stylus playing the music groove.

Speed stability is something relatively easy to measure. In the case of the Technics, precision measurements by Paul Miller were published in HiFi News. The measured speed stability is top class—literally; Miller says that the speed behavior is as good as any he has ever measured. The same is true of the noise measurements. And both of these traits are borne out in listening: You will hear right away how quiet the Technics is and how stable its rotation is. More precisely you will hear the latter ideally with a record that is centered.

It is interesting to read the “fine print,” as it were, of the interview in Issue 264 with Gunther Frohnhoefer, designer of the ne plus ultra Acoustic Signature Invictus, where he remarks that while he could have achieved greater speed stability with direct drive—at extra cost!—in practice the wow from the off-centeredness of almost every record dwarfs the speed precision of good turntables anyway. If you have a disc-centering Nakamichi turntable—I have two—you’d better stick with it. Interestingly, the Nakamichi TX-1000 from 1982 also has a manufacturer’s wow/flutter specification even better than the Technics. While wow from off-centeredness is definitely a problem, for me in particular there are positive effects of speed stability that are very evident even without disc-centering à la Nakamichi. I shall describe this in listening terms in a moment. Incidentally, the SL-1200G allows fine adjustment of torque and braking, but I recommend sticking with the automatic mode and the factory settings. The adjustments make subtle changes in the sound but the factory settings are best. Altering them slightly reduces one of the main pieces of sonic magic here: the remarkable resolution of subtle pitch variations in the music, which will be discussed later in this review.


The damping of the in-the-vinyl energy is not so obviously measurable, but you can get a good idea of it by banging on the edge of a stationary record while the stylus is resting on the record and with the volume set at a normal playback level. Ideally you would hear nothing through the speakers. In practice, the best you can achieve is a dull thud. Dull is the goal here. Forget the idea that what you hear should be “balanced.” It is the noise in the region of maximum hearing sensitivity that counts, that is the noise in the 2–6kHz region that you want gone. And as it happens, it pretty well is gone with the SL-1200G.

The combination of the Technics mat and platter works excellently. The platter was extensively redesigned to soak up more energy compared to the original, and it does so to good effect. The Technics mat looks a bit old-fashioned but it works well. However, the sound can be changed a bit (and arguably improved) by changing to a different mat. If you are fortunate enough to have a Torumat from way back when, you should give it a try. And of course there are various more recent possibilities.




http://www.theabsolutesound.com/articles/technics-sl-1200g-turntabletonearm/

http://www.theabsolutesound.com/articles/technics-sl-1200g-turntabletonearm/?page=2

 

[Mr Spock]

. . .
Then there is the issue of isolation, for the most part from structure-borne vibration. Unfortunately, music’s lower octaves agitate the floor of the listening room plenty, and the resulting vibration goes into the turntable unless you do something about it. (There is a reason why some true believers mount their turntables on concrete columns that go through the floor, without touching it, and straight down into the earth below.)

The SL-1200G has isolation feet that work reasonably well, but it is advisable to put the turntable on an additional isolation platform. I tried a Townshend Seismic Sink (discontinued but it has a successor) to good if not overwhelming effect—isolation is already quite respectable but vibration absorption is additive—more is more. Of course other companies also make such accessories, though in my experience few work as well as the Townshend Sink (and presumably its successor, though I have not tried it).

Now we come to one of those awkward moments that occur so often in audio: the separation between what is actually happening and what is often said regarding the sound you hear from a reasonably well-behaved turntable. The SL-1200G is very well-behaved indeed, and in fact its performance is dominated by the cartridge and its loading. Since people no longer measure frequency response very much, they often tend to forget that where the cartridge loading is set affects the tonal balance of what you actually hear from the record.

Cartridges are just not reliably flat to the 0.1dB threshold of audibility, and loading can change the response a lot more than that, even if the cartridge is capable of quite flat response under ideal loading conditions. So before you spend tens of thousands on a turntable you ought to consider, and keep considering, that cartridge frequency response is a huge factor, and loading matters a lot, as does of course the intrinsic behavior of the cartridge itself. (And expensive cartridges are often as far wrong as relatively inexpensive ones.) I used an Ortofon Blue (supplied by Ortofon) and a Shure M97xE (of my own). I felt I was getting the best out of them and hearing their true character, which involves a bit of extra zip at the top for the Ortofon and rather the reverse a bit for the Shure—or at least I felt I was getting the best as far as what the turntable itself was doing. Turntables are big, cartridges small, and loading downright invisible. So it is easy to forget what is doing what—and what counts the most.

Still, turntables definitely do matter, and the SL-1200G is doing what it should in a top-notch way. To my mind it is quite hard to isolate anything that the turntable itself is doing wrong. The sonic result is a very solid sound with a great sense of stability and a quiet background. Next we shall get to what the built-in tonearm was doing. Note that since the ’arm is built in, it is not easy to separate the sound of the turntable itself from the ’arm’s contribution.

The Sound of the Turntable/Tonearm System: Examples
Let me talk about some specific recordings; first, Amahl and the Night Visitors [RCA LSC-2762]. I usually only listen to this at Christmastime (every year), but it was still out (hey, it is only late spring) lying around in my listening room and I got in the mood to hear it. (Incidentally, it is on the TAS Super LP list.) With the Shure cartridge mounted in the SL-1200G, the playback presented itself with stunning immediacy and precision. I am lucky enough to have a well-centered copy, and the pitch stability was wonderful. The sound was very detailed and resolution was superb, but this was intrinsic resolution from the quiet background, not on account of any hyped treble. This was “professional” sound in the most positive sense. I was really hearing what was there on the record to such an extent that I would have felt perfectly fine about evaluation if this had been a test pressing of something I was working on.

Also striking here was the perceived resolution of spatial information. This is of course part-and-parcel of resolution of detail in general—space is a matter of perceiving micro-structure of reflections and so on—but space tends to be heard as separate from detail within the fine structure of the music itself. Here one heard easily exactly where things were and how the microphones were placed. Spatially, this was “analytical”—not in the (negative) tonal sense, but in the sense of hearing what was actually on the recording. One could draw a diagram from listening. Perhaps not everyone likes this. Some people seem to want equipment to synthesize a coherent “soundstage” whether one is recorded or not. But personally I like to hear what really happened, where the microphones were and what they were doing.

But for all this spatially analytic quality, musicality reigned. Menotti’s marvelous pizzicato accompaniments were plucked with total precision, voices were solid and articulate, and the music was well-defined in addition to being beautiful and touching, if I may insert a personal reaction. (Anyone who can listen to “I Was a Shepherd” without a tear in the eye must have a heart of stone.)

Turning to Belafonte at Carnegie Hall [RCA LSO-6006], “All My Trials” (another heart-toucher if there ever was one), the back-up musicians were totally articulated, the voice seemed perfect. And for anyone who heard Belafonte live and/or hung around at Carnegie Hall a lot before they changed it (I did both), the concluding audience-participation “Matilda” was an earlier reality revisited.

One more aspect of the Technics sound in general deserves special mention—the resolution of pitch effects. Presumably because of the speed stability, one hears vibrato and tremolo effects, for instance, with a special near-perfection. Listen to Rimsky-Korsakov’s The Song of India [RCA LSC-2320]—positively uncanny in the definition of fine structure of pitch.




http://www.theabsolutesound.com/articles/technics-sl-1200g-turntabletonearm/?page=2

 

[Mr Spock]

. . .
The remaining influencer on a playback setup’s sound is of course the tonearm. The ’arm on the Technics is integral. In principle, it can be removed and replaced, but this is not the easy task it is on turntables with an ’arm board cut to accommodate almost any tonearm in the usual way.

My main issue with the ’arm on the SL-1200G was bass performance. With no damping and conventional moment-of-inertia pattern, the tonearm allowed a certain lower-octave “bloom” followed by deepest bass roll-out from undamped ’arm/cartridge resonance. This was not a huge problem musically for most material, but once one has become accustomed to hearing correct low end, one does notice the difference. To help with bass correction one is “spoiled,” as it were, by Townshend trough damping, or the Well Tempered tonearm, or especially the “anisotropic” Moerch DP-8 ’arm (which has much larger horizontal than vertical moment of inertia). However, one also gets used to the aformentioned bloom, which is after all a feature of most vinyl playback systems, and a characteristic that sits well with music—it sounds something like a warm hall. But it is really not quite right here.

In any case, the built-in ’arm does separate the overall performance from the state of the artsiest art, at least in my impression. Installing a Townshend front-end trough would be tempting, and this could be done without undertaking to modify the turntable structurally. The trough appears to be a little tricky to fit it in, but I think it could be done, albeit at some sacrifice of the turntable’s elegant appearance. The trough pretty much bypasses the character of an ’arm itself and makes the bass excellent, besides improving the rest of the audible frequencies. And one can hope that Technics might offer a version of the turntable sans ’arm.

On the plus side, the Technics tonearm is easy to set up, and its adjustments are completely stable. My experience is that the correct amount of anti-skating force was less than the built-in setting dialed up based on tracking force. Running the Shure for instance at 0.5 grams, what I considered to be correct anti-skating involved setting that dial to 0.8. But of course you can choose for yourself since this is user-selectable and independent of the tracking force. As noted earlier, I suggest not messing with the factory-set operating modes (though you could change these with a screwdriver through holes in the turntable).

Pitch Adjustment
The Technics runs at a rock-solid and precise 33 1/3rpm, but it also allows speed adjustment. A surprising number of vinyl aficionados do not seem to care about playback speed. (I think of a popular turntable from a few years back that ran something like 0.6% fast—A 440 became 442.6, easily heard to be higher. And this is not the worst instance ever.) If you do care about the real pitch of what you are listening to, surely it’s of interest to be able to adjust speed because a surprising number of older recordings and their reissues are not on the right pitch if played at standard 33 1/3rpm.

This is surprising, perhaps, because pitch is of course completely fundamental to music, and getting it right is clearly important. But old tape machines were not very predictable in speed, and today it can be hard to know what the speed ought to be unless one has a definite idea of what the original pitch of the music was. (It was quite startling to listen to a reissue from a few years ago where a certain violin concerto in A minor was actually in B flat minor as put on the record.) Of course CDs made from old mastertapes can have this sort of problem, too. But with the Technics you can tune up (or, more usually, down) your music—and you need to do so surprisingly often.

Heifetz liked to play sharp—according to reports he had his home piano tuned to A 443 instead of 440. But he did not play as sharp as RCA often cut his records. As with all records, getting them on correct pitch matters. I really liked this turntable’s “tuning” pitch adjustment feature! Once one becomes used to it, it’s hard to go back. Fixed speed turntables seem to lack a dimension of musical control. The SL-1200G is a real musician’s turntable for this reason. If you want to practice by playing with a recorded performance, you really need this. But even for just listening, it is good to be able to do so at the correct pitch. (There is research suggesting that people know what the pitch of familiar material ought to be, even if they do not have “absolute pitch” in the overt conscious sense.)

The Marketplace
The Technics poses to my mind a real challenge to the ultra-high-priced turntables. This challenge would be even greater, I think, if one could use other tonearms easily. But as it stands, it is a truly superb playback system. On a technical basis, the Technics turntable is absolutely in the upper echelons but without an upper-echelon price. For listening, this again holds true for the turntable itself—to the extent one can determine without being able to use other ’arms. Other turntables will sound slightly different no doubt, but clear superiority over the Technics would be hard to claim when the SL-1200G is properly isolated, perhaps re-matted, and provided with an excellent cartridge.

But if the Technics is challenging the higher-priced turntables (and it is), it is not alone in this, and one wonders what will happen, given what happened before. For instance, for a long time, various Well Tempered models have been similarly offering top-level performance at modest prices. (Quick sonic comparison with the Technics: The Well Tempered turntable offers comparable silence and speed stability with a slightly less analytical sound that is somehow a little smoother, mostly because, I would guess, of the Well Tempered’s damped, bearing-less tonearm. But there is no pitch adjustment.) The Townshend turntables with their trough-damped tonearms also stormed the sonic heights at plausible prices. But somehow, because these were not expensive, people found it hard to accept how good they were and are.

This underlying feeling that to be really expensive puts a product in a higher sonic class is often unjustified. Money is not the main issue in engineering, above a certain minimum. Skill in design and quality in manufacturing dominate the situation. Not everyone who sets out to build a would-be state-of-the-art turntable has the individual genius of William Firebaugh of Well Tempered or the combined talents of Max Townshend and Jack Dinsdale of Townshend. And for the Technics SL-1200G, I would keep in mind that a company like Panasonic/Technics has enormous technical resources and a staff of experience and dedication, in addition to having potential economies of scale in manufacturing. There are technical developments here in motor design and vibration control that are really extraordinary and very effective, too. (These are described in detail on the Technics website.)

In actuality, Technics is rather apologetic about charging what they see as a high price for the SL-1200G! No doubt they are too polite to say what they really think about turntables that have the asking prices typical of the ultra-high end. But I cannot help recalling the old saw that good engineering is doing for a dime what other people can only do for a dollar.

People ought to be ready for the idea that a really great example of turntable design need not cost as much as a luxury car if enough engineering expertise is directed at the problems. As always, it is a good idea to keep an open mind and open ears. And if you do, I think the Technics SL-1200G will be on your short list no matter how much money you can afford to spend. It honors music in a truly profound way.

Specs & Pricing
Drive: Direct
Speeds: Three, with defeatable speed adjustment
Wow and flutter: <0.025 % (WRMS JIS C5521)
Rumble: –78dB (IEC 98 A-weighted)
Weight: 40 lbs.
Dimensions: 17.9” x 6.8” x 14.7”
Price: $4000

Technics
Panasonic Consumer Electronics Company
Two Riverfront Plaza
Newark, NJ 07102
[email protected]


http://www.theabsolutesound.com/articles/technics-sl-1200g-turntabletonearm/?page=3

 

[JimFromAndros]

Ελλαδα πότε θα ελθει το πιο οικονομικό μοντέλο;;;;

 

[Mr Spock]

 

[Mr Spock]

EVO GR: Βελτιωμένο Technics SL-1210 GR από την Timestep.

Γνωστή στους φίλους της Technics για τις βελτιώσεις που προσφέρει στα διαχρονικά πλατό της, η Timestep του Dave Cawley προτείνει μια βελτιωμένη εκδοχή του νέου οικονομικού SL-1210 GR, η οποία βασίζεται σε πολλές -και σημαντικές- αλλαγές.
Όσοι παρακολουθούν της κινήσεις της εταιρίας από την Ιαπωνία θα γνωρίζουν φυσικά, ότι έχει επανακάμψει στον χώρο της αναλογικής αναπαραγωγής εδώ κάποιο καιρό. Αρχικώς, παρουσίασε ένα “μεγάλο” μοντέλο, το SL-1200 G, στην συνέχεια, βασισμένη σε πολλά από τα νέα χαρακτηριστικά του, παρουσίασε μια “σκέτη” έκδοση SL-1200 (με πολύ χαμηλότερη τιμή) και τέλος ανακοίνωσε το νέο SL-1210 GR (το πρώτο που παρουσιάζεται εδώ και πολλά χρόνια). Αυτό το τελευταίο μοντέλο, το οποίο είναι και το πιο οικονομικό από τα διαθέσιμα νέα Technics μέχρι στιγμής, επέλεξε ο Dave Cawley ως το αντικείμενο των βελτιώσεων του κι έτσι προέκυψε το Timestep EVO GR.
Το EVO GR περιλαμβάνει μια σειρά από αλλαγές οι οποίες επικεντρώνονται στα σημεία όπου η Technics φαίνεται να έχει κάνει “οικονομία” για να κρατήσει το κόστος χαμηλά, δηλαδή στον βραχίονα (ο οποίος είναι ο ίδιος με αυτόν του original SL-1200, τύπου S, με διαιρούμενο headshell) και στο τροφοδοτικό. Σε ό,τι αφορά τον πρώτο, το EVO GR χρησιμοποιεί έναν TecnoArm της JA Michell, μια ειδική έκδοση του Rega RB202 με ελαφρωμένο, διάτρητο, στέλεχος, εσωτερική αφρώδη απόσβεση και βελτιωμένη καλωδίωση η οποία διαθέτει, επίσης, το χαρακτηριστικό αντίβαρο της εταιρίας, ενώ σε ό,τι αφορά το τροφοδοτικό, έχει καταργήσει την διακοπτική διάταξη που χρησιμοποιεί το SL-1210 GR και την έχει αντικαταστήσει από ένα εξωτερικό γραμμικό τροφοδοτικό που έχει σχεδιαστεί ειδικά από την Timestep, μαζί με την σχετική καλωδίωση και τα βύσματα της, τα οποία είναι επίχρυσα της Neutrik. Το πακέτο συνοδεύεται προαιρετικώς από μια κεφαλή DL-110 της Denon (κινητού πηνίου, υψηλής εξόδου).
Η τιμή του EVO GR είναι λίγο παραπάνω από 2.700 λίρες Αγγλίας ενώ τα εξαρτήματα της μετατροπής είναι, επίσης, διαθέσιμα για όποιον διαθέτει ήδη ένα SL-1210 GR και θα ήθελε να ασχοληθεί ο ίδιος με την μετατροπή.

web: http://www.time-step.com/





http://avmentor.gr/news/2017/timestep_technics_sl_1210_evo_gr.htm

 

[haniotis]

Καλημέρα εχω ένα 1200 mkii με μια shure v15iv με jico sas βελονα .Θελω να μαθω με κατεβασμενο το βουρτσακι το βαρος το αντιστοιχο VTA και το VTF.Ευχαριστω

 

[JimFromAndros]

Σύντροφοι υπάρχει κάποιο νέο για την έλευση στην Ελλάδα του νέου technics Sl 1200 GR?

 

[brego]

Καλημέρα εχω ένα 1200 mkii με μια shure v15iv με jico sas βελονα .Θελω να μαθω με κατεβασμενο το βουρτσακι το βαρος το αντιστοιχο VTA και το VTF.Ευχαριστω

Ουσιαστικά πρέπει να προσθέσεις μισό γραμμάριο με κατεβασμένο το stabilizer.

Και θεωρητικά αφού το tracking force της Jico είναι 1.25 (+/-0.25) δεν αλλάζεις τίποτα από τις προδιαγραφές της Shure.

Από το manual της Shure

Από την Jico

 

[JimFromAndros]

Σύντροφοι υπάρχει κάποιο νέο για την έλευση στην Ελλάδα του νέου technics Sl 1200 GR?

Δεν βλεπω να το φερνει κανεις

 

[sterkon]

Είμαστε Ευρωπαική Αγορά πια. Σιγά μην το φέρουμε και στα expert στον Τύρναβο, όπως στα 70s...

 

[Mr Spock]

 

[Mr Spock]

Technics SL-1210 MK2 - Complete Disassembly

 

[nikog72]

Τι να μας πούνε τα γατάκια....

 

[VasilisM.]

H Technics με το αναβαθμισμένο SL-1200G το πήγε σε άλλο επίπεδο..... και δεν είναι ένα εργαλείο / πλατό για DJ.....


Coreless Direct Drive Motor
Conventional analogue turntables have problems with degradation in sound quality caused by factors such as minute speed vibration during rotation and rotation irregularity called "cogging." In the SL-1200G, the use of a newly developed coreless direct-drive motor with no iron core eliminates cogging. Also, the twin-rotor construction reduces the bearing load while maintaining high torque and also reduces minute vibration during rotation. These factors enable reproduction of the warm, exquisitely detailed sound etched on analogue records.

Περισσότερα εδώ!

 

[kostas Papas]

Πάντως οι προδιαγραφες που για κάποιους θεωρούνται κρίσιμες είναι πολύ καινούργιες ...

Wow And Flutter κατά JIS C5521 του 1975
Rumble κατά IEC 98A του 1984

 

[Mr Spock]

2017 Golden Ear Awards: Robert E. Greene


Technics SL-1200G

Technics SL-1200G turntable
$4000
This turntable, which shares the historic name and appearance of the long-running SL-1000 Series but is in fact a new design, offers performance at the very highest level, belying its relatively modest price. (The included ’arm is acceptable but is not quite at the highest pinnacle. Comments here are on the turntable itself.) Its silence and speed stability are competitive with any turntable available and are far superior to most, even very high-priced ones. The turntable’s sound is rock solid, very pure, highly resolved, and very lively in the positive sense. One has very much the sensation of hearing what is actually on the record. The Technics is not the only turntable in its price range (or lower) to have challenged the high-priced world: I think of the Well-Tempered Amadeus, for example (2009 Golden Ear Award winner). But the Technics has an important feature offered by few of its high-end competitors at any price: adjustable speed. Surprisingly many records, especially from the early days, original or reissued, are not in fact at the correct pitch if played at standard speed. And the difference when one adjusts them to be correct in pitch dwarfs the other differences among high-quality turntables. Once you have experienced this possibility of hearing music on pitch, you will not want to go back. Until someone re-issues the Nakamichi disc-centering (and speed-adjustable) turntable, this is as close as you can get to hearing records pitch-perfect. This is a turntable for musicians and those who share musicians’ sensibilities.



http://www.theabsolutesound.com/articles/2017-golden-ear-awards-robert-e-greene/

 

[platon]

Καλημερα, καπου θα εχει γραφτει, αλλα 89 σελιδες δεν διαβαζονται ευκολα. Αν πρεπει να μεταφερθει αλλου, ας γινει.
Θελουμε προτασεις για καλωδιωση, και εσωτερικη του βραχιονα και εξωτερικου με rca.
Μετα θα δουμε και για κεφαλες.

 

[platon]

Κανεις??

 

[Tadakis]

Ξεκινάς ανάποδα. Βρες πρωτα τη κεφαλή που θες και ανάλογα το πως συμπεριφέρεται στο σύστημα σου επιλέγεις καλωδίωση (εάν και εφόσον χρειάζεται - κάτι που ειχα κάνει και κρίνω ιδιαίτερα ασήμαντο σε αυτό το πικαπ).