How does the Technics SL 1200 compare with....

"I will go with the Rega any time over the Technics. The Technics is no way an audiophile TT if you are the discerning kind."

Shsohis: The Technics SL-1200 was designed at a time when it was much more affordable (and profitable) to design high-end DD turntables. Add to that, that Technics obviously has a tremendous edge in R&D funding over all "cottage" companies in Europe and North America, that have given the turntable industry the reputation of being a "cottage industry". While it is true that many Japanese companies offered cheap, lousy sounding direct drives (mostly because of the shitty arms on them) in the '80s, what is NOT true is the inferiority of DD over belt-drive...quite the opposite, in fact. A properly designed DD has huge advantages over direct drive that enable the table (we're not factoring in the arm) to far surpass the performance of a belt-drive. The 1200 was and is the giant killer of DD, along its bigger and more bad-ass brethren, the SP-25, 15 and the mighty 10 Mk2 and 10 Mk3. There are converted audiophiles who swear these tables, with the right arm, are the best-sounding tables ever. If you really want to get into the nitty-gritty of DD, check out the details on KAB's website. I won't even begin discussing the audiophile snobism towards the EPA-120 arm, which is again vastly better than audiophiles think (though it is not to the level of the table itself). The arm boasts bearing tolerances of half a micron, which puts it into SME, Rega, Graham and Kuzma territory, amongst other great arm manufacturers.
Enough here....my Michell turntable is up for sale if anybody wants it....I just purchased a 1200MkII and awaiting delivery...going to mount my Rega arm on it with the Origin Live armboard.

Things changed when I heard the P3... and it is belt driven TTs from then on for me....

How do you know it was the belt? Maybe it had more to do with the more inert platter, the plinth material, isolation, or damping, or that RB300 tonearm? Perhaps there was a better arm/cartridge compliance/resonance match.

But of course, the Technics is basic enough for the general masses.

Perhaps you found it easy to listen through the P3's speed accuracy issues, which may be good enough for the general masses, ;-) but not for me, as 1% speed inaccuracy is simply unacceptable for a Count Basie fan.

I've now lived with a Technics SL1210 for 6 months and I can say with confidence that the disdain for its direct drive and S-shaped tonearm w/detachable headshell is misdirected.

The biggest problem with the Technics SL12x0 turntables is that they're based on a 1979 understanding of isolation, damping, and vibration control.

The good news is that the Technics SL12x0 turntables are practically a gift ($399.99) when it comes to build quality, speed accuracy, and quietness, because the isolation/damping/vibration control issues are not hard or expensive to fix.

Platform it on a thick slab of maple or butcher block supported by vibration-absorbing footers, get a Sumiko headshell and a serious 21st century mat, and get back to me, and don't forget how little you spent.

I'm currently using 1) Nottingham Spacedeck, VDH silver mod OL RB300 arm, Ortofon Rondo Bronze, Pass Xono Phono amp 2) First Sound Presence Deluxe, Pass X150.5 3) Unity Audio Signature One speakers 3) Cables are all Kimber Selects, Shunyata Copperheads & Synergistic Research Designer Reference power cords.

Johnnyb53, to add one more supporting comment: isolation is isolation. The success in isolation depends in part on controlling resonance, to keep them from drumming their way through the turntable system. The isolation required for DJ applications is in fact no different than what is required for home audiophile applications. Put a killer arm (or just use the stock EPA-120 which is already quite decent) and a killer cartridge that tracks at most at 1.75 grams, and play a record. Bang on the table the turntable is sitting on. You'll get nothing. The cartridge/arm will not move out of the groove. Now do the same for virtually any spring-suspension turntable(I know of anyway), and the arm will start jumping around like a 2 year old child with a tantrum...

So, while it is true the SL-1200MkII was introduced in 1979, the physics behind isolation have been well documented decades before that. Isolation is accomplished in part by correct rejection/damping of unwanted resonances. I doubt there is a better table out there for that than the 1200. Look at it like this: if Matsushita forked out the bucks to design the SL-1200MK2 today, I don't think they would have made it any better mechanically. The electronics may improve by integrating all the discrete circuits onto an IC, but the mechanical portion wouldn't change. If the SL-1200 was designed today, my guess is that it would sell for anywhere between $3000 and $4000, factoring in inflation, and other costs. It's amazing how this table "slid under the radar of inflation" and manages to seel for what it does. IMO, it's a gift at the asking prices. It's too bad that audiophiles don't give this table the credit it deserves. I strongly believe most of it is mere snobbism, that they cannot believe a 'DJ' product can outperform an audiophile piece.

In my experience, an SL-1200 Mk2 with a Rega arm, and a good cartridge to match, provides a superb level of "speed", neutrality (especially in the midrange), openness and transparency, all without the mushiness and over-warmth of some belt-drives.