Post by michaelw on Nov 9, 2019 17:24:00 GMT 12
turntable mat redux.
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Post by Owen Y on Nov 9, 2019 18:35:33 GMT 12
Reso-Mat: Overall open & alive with quieter backgrounds => broadened dynamic range. Sparkling treble extension & bass goes deep (something the SL-1210 does well, but the tonearm maybe could use fluid damping, eg KAB). Dynamic tempoes & variations notable, much more engaging. Image outlines still below average (something to work on with the SL-1210). Standard on the Trans-Fi Salvation TT, it works on my SP-10 TT. My favourie mat on the SL-1210 too.
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Post by Owen Y on Nov 9, 2019 18:51:33 GMT 12
(PS. I 'attach' the Reso-Mat above to the platter with 3-4 small squares of dble-sided tape under the perimeter of its plastic sheet. To resist any slippage. Overal thickness is around 5mm.) DJ slip-mat: This one is a 'Dr Suzuki Mix Edition' slip-mat, ~2mm thick (slightly thicker than some slip-mats), fairly hard compressed felt bonded to thin fabric backing. Not bad, But less dynamic range both ends (ie. not as quiet, not as loud). Warm toned, less HF presence (dulled).
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Post by michaelw on Nov 9, 2019 18:54:10 GMT 12
my old m5g was never great at imaging or soundstaging either, it's main virtue was it's effortless drive, at times a bit too close to relentless...
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Post by Owen Y on Nov 12, 2019 16:37:48 GMT 12
Jury still out on the SL-1210... 1) The SL-1200/1210 has similar motor fixing to the SP-10 - with plastic stator-cover clamped down under 3 weedy screws (that hold down the motor & also the main bearing, in the case of the SL-1210). When I removed the plastic interface (mechanical brake) on the SP-10, focus, resolution, tonal shadings, all subtley advanced to a higher level - sharper images outlines with improved separation. Possibly the SL-1210 might improve similarly - but the stator-cover needs to be examined first. 2) The Ortofon VMS 20EMkII (late 70s with replacement stylus) is still a fine cartridge IMO - good bandwidth, good tonal balance, overall coherent & decently alive & 'present' - loaded with Ortofon's 210pF cap. But the elliptical stylus does not provide sharp outlines or much semblance of soundstage depth (like say the line contact VMS 30MkII might, I imagine). I tried my vintage Supex SM100E (with Garrott Microscanner stylus ('line contact' type) & image sharpness is at a much higher level - but unfortunately this cartridge is emitting hum on 1-channel & could not be evaluated properly.
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Post by michaelw on Nov 12, 2019 17:59:10 GMT 12
some classic MMs in your collection perchance try one of your MC's in the 1210 ?
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Post by Owen Y on Nov 15, 2019 16:49:53 GMT 12
SL-1210 ready for the MC test...
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Post by michaelw on Nov 15, 2019 18:02:26 GMT 12
woohoooooooo
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Post by Owen Y on Nov 16, 2019 19:16:25 GMT 12
With the Transfiguration Temper W moving coil on board, the SL-1210 sounds rather 'more-ish'. Dynamics (headroom & micro-dynamics) are 'exciting', good 'presence' in the room. Bass is punchy enough, rhythmically effortless, taut & stable. Instrumental separation is greatly improved (piano notes 'float' in space). Good soundstage width & height - but still not much depth evident. And focus/localisation of sounds is not real good, still 'diffuse' & a little too much 'bloom' (overhang, sustain). I think what we're hearing here is: - The dynamics of a MC's low moving mass & the resolving ability of a quality stylus profile. - The ability of a DD TT to preserve leading edges & agile dynamics. - The tonearm on the SL-1200/1210, whilst competent, is likely the weaker link here - poor image focus, some resonances & lack of regidity perhaps. Still need to play with the stock 'insulator' feet on the TT, but I think we have to contemplate how to transplant another tonearm in this thing.
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Post by Owen Y on Nov 16, 2019 19:29:14 GMT 12
Only one session so far, but there's a good amount of the precise, dynamic sound of the SP-10 in this SL-1210. In fact the Transfiguration cartridge sounds more engaging on the SL-1210 than I recall it sounding in the SP-10 (where I wasn't encouraged to listen to it for very long).
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Post by michaelw on Nov 17, 2019 15:15:56 GMT 12
big sorbothane feet under my old m5g made a minor improvement
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Post by Owen Y on Nov 17, 2019 15:22:58 GMT 12
(Originally dating from the early 2000s, the Temper W was "one of the finest cartridges that I have ever heard" (Fremer).)
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Post by michaelw on Nov 17, 2019 16:01:42 GMT 12
i remember alan gore/audio excellence handling them in nz ?
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Post by Owen Y on Nov 17, 2019 16:09:35 GMT 12
Really? I don't recall that phase.
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Post by michaelw on Nov 17, 2019 17:00:37 GMT 12
music room price list from 10-10-94, forgot the name change
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Post by Owen Y on Nov 17, 2019 17:14:11 GMT 12
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Post by michaelw on Nov 17, 2019 17:26:14 GMT 12
his last newsletter from 13-11-98 mentioned the temper, temper supreme and two new lower price models - the spirit and esprit.
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Post by Owen Y on Nov 18, 2019 9:09:09 GMT 12
Ahh... distant memories, you missed your vocation as a librarian-archivist SL-1200/1210 support: I found a slab of 45mm thick glue-laminated timber construction offcut for a support 'table' & dropped the SL-1210 onto its stock soft 'insulator' adjustable feet - compared to solid blocks directly under the SL-1210's plinth base, the sound was more 'uncontrolled', 'cluttered' sounding & a bit 'shouty' on loud/dynamic passages. Piano tone had more 'ringing' (too much). With the TT up on (3) blocks of MDF around the perimeter of the plinth (lifting the TT off its feet), clean dynamics were restored, instrumental lines clearer, controlled but still 'open', much more relaxed music-making. Bass weight still evident.
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Post by Owen Y on Nov 18, 2019 9:26:29 GMT 12
SL-1200/1210 learnings so far: 1) Replace the platter mat with something that isolates, lifts, separates the record from the alumin platter - for wider dynamic range, tonal bandwidth, 'quieter' backgrounds. 2) Direct Drive TTs need to be supported in a manner that is rigid rotationally - give that high-torque DD motor rotational stability. 3) The SL-1200/1200 is capable of quite satisfying hi-fi/audiophile performance - because of its Technics DD motor technology. 4) (This is speculative but...) Install a better tonearm - this one requires some work, it is not difficult to remove the stock tonearm, but the replacement arm will require a new circular arm plate. (Possibly the stock h'shell could be beneficially replaced, but the stock Technics tonearm seems to limit imaging & soundstaging ability.)
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Post by michaelw on Nov 18, 2019 10:11:19 GMT 12
the stock arm isn't great but it's not totally awful there are plenty of third parties selling sl-1200 armboards for a variety of arms eg. www.soundsupports.com/sl1200-and-sl1210of bigger concern is the ringing platter and poor isolation. both easily fixed
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Post by Graham on Nov 18, 2019 14:58:20 GMT 12
That thin rubbery mat looks like the same 'shelf liner' material I used when I was experimenting with mats. I found it worked well when glued on top of thin rubber, cork, or even thin felt. I always cut it to a donut shape however so that the label was not in contact. I felt it was best to have only the record in contact with the mat. YMMV of course.
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Post by Owen Y on Nov 18, 2019 20:00:39 GMT 12
of bigger concern is the ringing platter and poor isolation. both easily fixed Yes, despite the thick rubber under-layer, the platter rings (like a 'gong'). Mats like the Reso-mat seem to work well by lifting the record away from the platter. And, avoid platter clamps / weights.
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Post by michaelw on Nov 18, 2019 20:39:28 GMT 12
what about heavy mats
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Post by Owen Y on Nov 20, 2019 10:42:09 GMT 12
The stock SP-10 mat is a thick & heavy rubber mat - not an audiophile-acceptable mat IMHO. I haven't tried the barium-metacrylate Record Interface Mat.
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Post by michaelw on Nov 20, 2019 11:20:23 GMT 12
my sp10 mat has gone all hard, cracked and not flat.
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Post by Owen Y on Nov 22, 2019 14:45:00 GMT 12
As mentioned, it surprised me how good the Transfiguration MC cart sounds on the SL-1210, there's some synergy there I think. The Transfig has always had superb 'resolution', but LF power has been a bit wanting (to my taste anyway) - maybe the Technics DD adds just the right bass ingredient needed? However, I'm curious as to why the Tranfig didn't grab me when I ran it on the SP-10. So, this weekend I must transfer the Transfig back onto the SP-10, for a re-acquaintance. I've always been interested in the Transfiguration MC, the 'ring magnet' design, which 'surrounds' the coils - a tight magnetic circuit, which should mean that magnetic 'coupling' should be much better than conventional MCs, with long 'pole-pieces' attached to the magnet.
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Post by Owen Y on Feb 12, 2020 15:02:31 GMT 12
There's quite an industry & following for modding the SL-1200. This is a review by audioFi.net, of one such modded SL-1200:
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Pundit
Post by SL1210 on Feb 13, 2020 13:44:19 GMT 12
the stock arm isn't great but it's not totally awful there are plenty of third parties selling sl-1200 armboards for a variety of arms eg. www.soundsupports.com/sl1200-and-sl1210of bigger concern is the ringing platter and poor isolation. both easily fixed I had a bad experience with soundsupports. They sold me an armboard that they said would fit an Origin Live arm. It did not. That was a lot of time wasted and they would not refund the shipping cost. A much better option is Magna AudioSpeedy Steve will make you an ebony armboard. Actually this is a hidden benefit of upgrading the Technics tonearm - ie you can improve the armboard. Ebony is a fantastic material and its sound signature is has an organic quality. It is hardly surprising that musical instruments are made of the stuff - think oboes, clarinets, black keys of pianos. So much so that doing triple of ebonary armboard, ebony headshell, and ebony record stabiliser is pretty fab. The platter and isolation are issues. I use Maglev feet on one 1210 and Isonoe feet on another. Here is my solution: strip the underlay and replace with epoxy.
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