Main System
Turntable: Heavily-modified Technics SL-1210MK5G [Mike New bearing/ETP platter/Paul Hynes SR7 PSU & regulator mods]. Funk Firm APM Achromat with Nagaoka GL-601 Crystal Record Weight. Isonoe feet & boots. Ortofon RS-212D tonearm with Denon DL-103GL, in a Denon PCL-300 headshell, fitted with Funk Firm Houdini and Kondo SL-115 pure-silver cartridge leads.
Paul Hynes MC head amp/SR5 PSU. Also modded Lentek head amp and Denon AU-310 SUT.
Other Cartridges: Nippon Columbia (NOS 1987) Denon DL-103. USA-made Shure SC35C with NOS stylus. Goldring G820 with NOS stylus. Shure M55E with NOS stylus.
CD Player: Audiocom-modified Sony X-777ES/DAS-R1 DAC.
Tape Deck: Tandberg TCD 310, fully restored and recalibrated as new by RDE, plus upgraded with heads from the TCD-420a. Also with matching TM4 Norway microphones.
Preamps: Heavily-modified Croft Charisma-X. Power Amps: Tube Distinctions Copper Amp, fitted with Tungsol KT-150s. Quad 306.
Cables & Sundries: Mark Grant HDX1 interconnects and digital coaxial cable, plus Mark Grant 6mm UP-LCOFC Van Damme speaker cable. MCRU 'Ultimate' mains leads. Lehmann clone headphone amp with vintage Koss PRO-4AAA headphones.
Tube Distinctions digital noise filter. VPI HW16.5 record cleaning machine.
Speakers: Tannoy 15MGs in Lockwood cabinets with modified crossovers. 1967 Celestion Ditton 15.
Location: Yorks
Posts: 16,643
I'm Nobody.
I have to say this cos this is what i see. This 1210 thing is turning into what the LP12' did.
hi marco,
i have read the other thread and can see both points.
my reasons for asking the original questions in this thread was not as some may see as to question this turntables true ability and integrity but out of interest as to other peoples take on the merits of owning a piece of kit that seemingly needs so many mods to make it perform properly that it begs the question,,,why....
A...
PS, glad to hear the filter is doing what it was designed to do in your system!![]()
"Today scientists have substituted mathematics for experiments, and they wander off through equation after equation, and eventually build a structure which has no relation to reality"
Nikola Tesla
Its now a conspiracy theory to believe that the Immune system is capable of doing the job it was designed to do.
A fish is only as healthy as the water its swimming in ! [Dr Robert Young]
www.tubedistinctions.co.uk
Matthew 5:10
Yup, mate, I totally get what you're saying....
Basically, just see it as a top-notch motor mechanism, not as a 'ready to go' high-end turntable. When I bought my SL-1210, I never bought it as a completed solution; it was bought merely as the basis for a long-term project to make into something rather special to play my records on
Marco.
Main System
Turntable: Heavily-modified Technics SL-1210MK5G [Mike New bearing/ETP platter/Paul Hynes SR7 PSU & regulator mods]. Funk Firm APM Achromat with Nagaoka GL-601 Crystal Record Weight. Isonoe feet & boots. Ortofon RS-212D tonearm with Denon DL-103GL, in a Denon PCL-300 headshell, fitted with Funk Firm Houdini and Kondo SL-115 pure-silver cartridge leads.
Paul Hynes MC head amp/SR5 PSU. Also modded Lentek head amp and Denon AU-310 SUT.
Other Cartridges: Nippon Columbia (NOS 1987) Denon DL-103. USA-made Shure SC35C with NOS stylus. Goldring G820 with NOS stylus. Shure M55E with NOS stylus.
CD Player: Audiocom-modified Sony X-777ES/DAS-R1 DAC.
Tape Deck: Tandberg TCD 310, fully restored and recalibrated as new by RDE, plus upgraded with heads from the TCD-420a. Also with matching TM4 Norway microphones.
Preamps: Heavily-modified Croft Charisma-X. Power Amps: Tube Distinctions Copper Amp, fitted with Tungsol KT-150s. Quad 306.
Cables & Sundries: Mark Grant HDX1 interconnects and digital coaxial cable, plus Mark Grant 6mm UP-LCOFC Van Damme speaker cable. MCRU 'Ultimate' mains leads. Lehmann clone headphone amp with vintage Koss PRO-4AAA headphones.
Tube Distinctions digital noise filter. VPI HW16.5 record cleaning machine.
Speakers: Tannoy 15MGs in Lockwood cabinets with modified crossovers. 1967 Celestion Ditton 15.
Location: Oregon, USA
Posts: 44
I'm Trey.
While I'm awaiting delivery of a modified Technics, and don't have a direct experience with one as such, the thing that attracted me to the Technics is that it represents a way to get a solid performer for relatively little money. I've heard the 'table stock, and it sounded quite "acceptable" - not a world beater by any means. People whose opinion I respect indicated that with appropriate modification, the Technics was an excellent table, with mods that can be added as desired, with less overall cost for many new grinders.
One friend of mine has an LP12, with many and costly upgrades; another has a VPI Scoutmaster, to which he has added several of VPI's upgrades (not as costly as Linn's); the cost to fully trick out a new Technics 1200 or 1210 is generally less than either of those fine tables prior to those upgrades. The Linn, while I appreciate its little colorations, finding them pleasing to the ear generally, is rather a pain to maintain; the VPI much less so, but still requiring a bit of fiddling.
Another thing to consider is that there are plenty of people like me who are either a) coming back to vinyl, or b) are getting into vinyl for the first time. Those people who never listened to LPs have digital stability and ease of use as their benchmarks for listening. A direct-drive turntable offers relative ease of use, with sounds arising from a stable sonic platform. The Tech doesn't require huge amounts of time and energy to perform well; if you're interested in using a Concorde-style cart, another potential hassle is removed from the equation.
Trey.
I think I can answer anthony's question better than anyone else so far... Why take on a bit of kit that need to be modded to within an inch of it life to sound at it's best??
My answer - Because it's fun!
And to reiterate what I was saying in the other thread about dave and his aparent enjoyment of this project ... I think if pushed that might well be not far from his answer too! Dave has the desire to make lots of bits for this turn table to the point of it being barely even recognisable, he along with mike new also have the technical know how ... So why the hell not I say!
CS Port TAT2 - Benz LPS - Funkfirm Houdini - DS Audio Vinyl Ionizer - CS Port C3EQ - Kondo G70 - Kondo Gakuoh II - Maxonic TW1100 MKII - Isol-8 SubStation Integra
Steve aka 'Twelvebears' (it's a long story)
System: Technics 1210 Mk5, Jelco 750 arm, AT33EV via MF X-LP2 Phono Stage, Oyaide mat and record clamp. SB Touch via Marantz PM-11S1 amp and Wilson Benesch A.C.T. speakers. Mark Grant cables and PS Audio Power Plant Premier mains regenerator.
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Has anyone actually done before and after comparisons measuring the various speed control modification options from all the different manufacturers?
All we need to see is an FM demodulation of a test tone recording. It's nice reading all the waffle and cod psychology in the marketing spiel but speed stability is the easiest thing to measure on a deck, why don't any of them provide the comparison before and after data?