i have a serious question as well; be honest here is the 1200g really head and shoulders above the 1210m5g that i use. has anyone around here made the comparison between the 2. i am a bit relieved to see the intro of the 1200gr at around 2k usd. did anyone hear it at ces?
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It is completely different turntable compared to classic mk2, mk3d, mk5g versions. Even the DIY upgraded mk2 can easily surpass your stock mk5g, there is nothing special in mk5g, it is still the same mk2 in general. But the latest Technics turntable is a different animal. I can understand why their marketing team choose mk2 design for new ultimate version, but i would preffer rebirth of sp-10mk2 or sp-10mk3, epa-100 tonearm and epc 100 mk4, lol. Seach audiogon and you will find dedicated thread about new technics turntable. I will stick to SP-10mk2 with custom plinth and tonearm of my choice. |
Its a fairly easy matter to change the arm on the new SL1200. We are working on installing a 12" Triplanar on one right now. That's a bit trickier but still pretty doable. BTW, it shares very little with any of the previous 1200s- its an entirely different design! Why they chose to make it look like a 1200 is a bit of a mystery other than possibly the older 1200 was the most popular DD turntable made. But the new 'table has very little in common other than looks and the arm. |
I don't own a 1200 GAE but I listened to one for about half an hour in a store. I don't have much of an opinion about the sound since I heard it mostly on planar speakesr that a different sound than what I am used to. Also, it had a new cartridge that only had an hour or so on it. I do own a modified 1200 MK2 with an Archomat mat, isonoe footers, KAB fluid damper and good AT and Sumiko headshells. I didn't have to listen for more than 30 seconds to realize that the GAE is superior to the 1200 MK2. The greater clarity, richness of the sound and texture were what I noticed first. Visually, it appears to be much better built than the older models. As it should considering the price! A number of people have made comments online implying that it is overpriced and a ripoff by Technics. Seeing how (and where) it is made, it seems to be reasonably priced to me. Personally, I like knowing that this is made in Japan, made according to their traditions and not outsourced to some sweatshop in China. Do I wish they had chosen another design? To be honest, yes. I bought my 1200 MK2 originally as a stopgap after my Thorens table broke and couldn't be repaired. I didn't like the looks of the 1200 at first but it has grown on me over the years. I don't find the looks of the SP 10 to be more attractive, in any case. I am sure it could be improved by adding a much more expensive arm. Sound can always be improved-or at least altered-by spending more money on different things Personally, I don't think the arm that is on it now is so shabby. I would use it for awhile before I thought about replacing it. Still I would love to hear one with a Triplanar or SME! |
@dave_72 ok cool, i'll check out the 1200gr for around 2k. however, the 1210 m5g does have better tonearm wiring and phono cable as well as an improved tonearm... It's the same tonearm. Rewing of the stock Technics cost under $25 for Cardsa tonearm wires and about $70 for external cable if you choose the same Cardas 33awg + RCAs of your choise for a bit extra. The mk5 belongs to mk2 family, but the GAE is not and that's why the price difference is so big. |
@andysf I don’t find the looks of the SP 10 to be more attractive, in any case. Really? Maybe the stock technics obsidian plinth is not attractive at all, but if you put your SP-10mk2 in a good wooden plinth (like i did with mine, click here) it does looks much better and can accept any king of tonearm including "12 inch. |
In the meantime if you could post your initial findings on stock out of the box thoughts. They would be appreciated.OK- We took the machine apart doing a complete analysis. I’m very familiar with the older machines; I own one and have serviced them over the years. The GAE is a ground-up new design, one that is intended to look like a 1200. I think that is unfortunate as it leaves people wondering what Technics was thinking. But that aside: The machine uses four methods of vibration damping control in the plinth. The platter is more massive and is also damped. The motor has more torque (up to speed in about 1/8 turn) and the speed is rock steady. Speed wise it sits about 80-90% of the way to the top between the SP-10 MkII and SP-10 MkIII. That makes it one of the most speed stable turntables in the world, quite unlike the original 1200s. The arm is nothing special but is easily removed. With a Triplanar installed this is a world-class machine that takes on much more expensive machines with ease. Technics has a lot of servo experience; in this case they applied it to an entirely new design that is computer based rather than an analog chip set. To that end the firmware appears to be updatable via a USB connection. Initially we were looking at lifting the motor and circuitry out of the chassis and installing it in a new plinth. However upon opening up the machine it was obvious that Technics was aware the vibration damping is a serious issue. As a result while I think our initial plan would be better, its well past the point of diminishing return! This is an excellent machine and has a place in the high end pantheon of turntables. I’m not a fan of the arm, but I’ve seen worse and it would be no worries to set it up for balanced operation. |
The stock setting is pretty good. It takes a bit to stop it, but if you let go its up to speed really fast. It might win a little bit to tinker with it, but it seems that is at a point of diminishing return already. In the meantime, if you are using a Sutherland Timeline, when you set the needle down on the LP its quite steady. |
@andysf I don’t find the looks of the SP 10 to be more attractive, in any case. Really? Maybe the stock technics obsidian plinth is not attractive at all, but if you put your SP-10mk2 in a good wooden plinth (like i did with mine, click here) it does looks much better and can accept any king of tonearm including "12 inch. Chakster: Not knocking the SP 10! I would be very happy to own one but am wary of buying one used. Your plinth looks great but the SP 10 was designed for professional use and looks the part: a bit clunky and 70s bland. I didn't say it looked bad-just not any better than the SL 1200! I really like the looks of the Thorens 124 or the Garrard 301. In modern turntables I like the all wood SOTA and the Kuzma S (pipe bomb). This is all a matter of taste, of course. Some tables look better than they sound... Atmasphere: I would also be interested in how changed the torque might effect the sound. One poster felt that reducing it had a very positive effect. |
I would also be interested in how changed the torque might effect the sound. One poster felt that reducing it had a very positive effect.Usually reducing the torque reduces speed stability. That can cause the arm to waver slightly, changing the lateral tracking forces, which in turn can cause the soundstage to have a slight shimmer to it. What you are looking for is the same soundstage solidarity that tape has (or real life for that matter). IOW, I'm suspicious of this claim. However we've not played around with it to any great extent. We will do more of that after the Triplanar is mounted. |
This is a second attempt to respond and I apologize in advance if 2 messages appear that are redundant. I purchased an SL1200GAE last summer. It sits right next to a VPI Prime. The Prime has been modified as follows: Eagle PSU with Roadrunner tach, periphery ring, HRX pulley using 2 belts, CounterIntuitive. The two are competitive with each other, although they sound different, but the VPI with all the adders cost ~$6K vs. $4K for the GAE. The GAE sounds faster, tighter, brighter, more open on top with perfect timing. The Prime seems to have a bit more depth in the base, but is a bit vague with diminished pace and slam somehow. Overall the G is the better sounding of these two but the difference is subtle, that is to my tastes and YRMV. Also, VPI is close to the release of a mod for the 3D arm that may tip the balance the other way. VPI is unsurpassed in customer support, an opinion formed as a continuous customer since 1986. After months of comparing I sold my SL1200MK2 with full KAB mods. The MK2 sounded very good indeed, just not as good as either of these others. The differences are not great, however, and not everyone would find the sound difference worth the cost. The arm on the G is a strength and in my view something I would not want to give up. It is the easiest to set up of any arm I have ever used. It responded well to different headshells and I like the sound of the Zupreme from LP Gear the best of any for use with it. For cartridges I have found that it works just fine with a wide variety: Ortofon Per Windfeld, Cadenza Black, 2M Black, 2M Mono SE, Audio Technics AT150ANV, AT 33 Mono SE, Stanton 881. In terms of ease of set up and ergonomics, Technics got this right years ago and in my view made the right decision to leave well enough alone. Why change something that they got so right years ago? In this regard, the G is peerless at any price. In my opinion these two turntables are hard to top. They sound terrific, are very well thought out and a delight to use. I think either would serve any vinyl lover well. Perhaps the Prime is more audiophile oriented and the G more record-collector friendly. You can't go wrong with either. Associated equipment: Conrad-Johnson TEA2MAX, ET5, ARTsa, Sony SS-AR2 speakers, Audio Sensibility for all wires. |
billstevenson, I appreciate your comments, comparisons and thoughts on arm and cartridges. I am a vinyl guy (3000 LPs vs 83 CDs) Have an LP 12 and Kizma Stabi S in main system. Heard the Technics at Axpona last April for 20 minutes. Positive comments so far and I do not think the price is outlandish. I have a 2nd system in a smaller room and want a TT source for it . I think the Technics would be a good fit for this system. The Direct drive platform seems solid, the arm does not need to be upgraded immediately, Ortofon cartridges are a good match. I have been interested in DD TTs and Ortofon cartridges. Have a 3-4 hr round trip drive ahead of me for an audition ; but think it is a worth while trip. Thanks Norb |
@andysf Your plinth looks great but the SP 10 was designed for professional use and looks the part: a bit clunky and 70s bland. I didn’t say it looked bad-just not any better than the SL 1200! If you prefer just the "look" of the SL1200 mk2 over the SP10mk2 then it’s a matter of taste, but you can’t ignore the fact that SL1200mk2 is not the hi-end turntable at all, in stock condition it’s a dark sounding turntable, not interesting at all, but the SP10mk2 is the ultimate along with SP10mk3 and compete with any modern hi-end decks of any price. Yes, they were made for broadcast studios back in the days which makes them very special, same with broadcast Denon, EMT etc. I have owned a pair of SL1210mk2 for 20 years and still own them, they were fully upgraded and have been used with top Technics cartridges like EPC-100cmk3 or EPC-205mk4 along with 20 others top of the line MM and a few MC carts. Untill i found SP10mk2 with EPA100 or Thomas Schick tonearm much more atractive. No matter how much you invest upgrading SL1200mk2, this deck is far away from SP10mk2 and the main problem is the tonearm. For the cost of the upgrade of the SL1200mk2 anyone could buy used SP10mk2 and invest more in tonearm and plinth to get much better turntable than anything on the market today. I ended up with vintage Luxman PD444 which i like as much as my SP10mk2, but on Luxman i can use 2 tonearms. I also have rare Technics SP20 and 2x1210mk2, but i don’t use them much. |
Chakster: I agree, of course, that the SP10mk2 is a superior sounding turntable to the 1200Mk2. I just don't think it is as attractive as, say, your Luxman PD 444. If I could just drive across town to the "Olde Turntable Shoppe" and buy a SP10 from the kindly gent who rebuilds them and will be on hand to fix things when any problems occur, I would. I don't think there are any for sale nearby. I would have to get one off of Ebay or Audiogon. I have had bad enough experiences buying records online. The idea of buying a turntable online makes me very nervous! Atmasphere: Do you think that the "slight shimmer" that you hear after reducing the torque could be related to what is often referred to as "viscosity" or "liquidity" in the sound? (Such as HR's review of the new Technics in Stereophile.) BillStevenson: Good point about the 1200 being a record collector's table. It certainly checks all the boxes! |
If you prefer just the "look" of the SL1200 mk2 over the SP10mk2 then it’s a matter of taste, but you can’t ignore the fact that SL1200mk2 is not the hi-end turntable at all, in stock condition it’s a dark sounding turntable, not interesting at all, but the SP10mk2 is the ultimate along with SP10mk3 and compete with any modern hi-end decks of any price.@chakster - just so we are clear here, the SL1200GAE is an entirely different beast and sits between the SP10MkII and the SP10MkIII in terms of speed stability. Its also quite easy to mount a different arm on it. Atmasphere: Do you think that the "slight shimmer" that you hear after reducing the torque could be related to what is often referred to as "viscosity" or "liquidity" in the sound? (Such as HR's review of the new Technics in Stereophile.)No. Liquidity and solidarity of the soundstage sound to me like two very different things! |
@atmasphere I think it's not easy to mount different tonearm on SL 1200 GAE or SL1200 mk2. It's impossible to mount "12 tonearm and most of the "9 or "10.5 inch tonearms (except maybe jelco, sme, audiomods, dynavector, rega etc) does not fit into position of the new armboard. I'm talking about affordable japanese vintage tonearms, not about luxury modern arms that cost $2000-5000 (for this money anyone could buy complete vintage tunrtable with perfect tonearm on it). And btw the speed stability on my SP10mk2 or Luxman PD444 is enough to enjoy the music. Anyway the GAE could be a good deck in the next 5 years when they are available used for half price, lol. |
I think it's not easy to mount different tonearm on SL 1200 GAE or SL1200 mk2. It's impossible to mount "12 tonearm and most of the "9 or "10.5 inch tonearms (except maybe jelco, sme, audiomods, dynavector, rega etc) does not fit into position of the new armboard.The 9" Triplanar (a state of the art tone arm which is easily at home on this 'table) is easy to mount if you have a different armboard. We've managed to find room for a 12" arm too. That took a bit more work; the impossible always does. |
I have no doubt that the new SL1200 is a great deck but I too find it f'ugly. Just not my cup of tea. Well built but f'ugly. I wish it looked more like the prototype's that leaked out rather than an un-creative rehash of an old, tired design. Plus, as mentioned.......there are the tonearm limitation, too. I try to not get too caught up in looks, believing form follows function, but looks do count when they can be controlled. Panasonic made some design choices and used the old platform for a good reason. To sell this product to those fans that have an older 1200, status for DJ and hopes that the audiophile community will get past the design choices and choose it for what it brings. Sort of the same way car manufacturers got on the kick of re-issuing old body designs with updated performance. Catch the attention of the old market as well as the new and sell more. No one would deny that a new stock Mustang far exceeds the old from 1965-1971 but who would buy a new performance Ford if it were a totally new body design. Many, maybe but even more if you also factor in the old romantics, too. However, in this equation it leaves folks like me out of their target market. I'll pass and get my analog needs met elsewhere. |
I own the GAE along with a Technics SP10 mk3 NG by Artisan Fideluty which has a Kuzma 4 Point installed and a MC Anna. My GAE holds its own with its much older and bigger brother (my mk 3 weighs about 180 lbs) with the beyond excellent stock Cold drawn magnesium alloy arm. This is not the same arm as the original 1200 series. Currently I use a LP Zupreme headshell with my Denon 103R and London Reference. The headshell really benefitted the 103R. For my tastes I see no reason whatsoever to mess with the arm and I can go from my mK3/kuzma directly to my GAE and keep the biggest smile on my face. I humbly suggest that some of you ignore the fact that the arm looks like the old arm and just simply use your own ears. You don't need people to tell you what sounds good. Just listen to it. Just remember that had this arm been designed and built by some of these smaller companies it would also cost several thousands of dollars. I ave a good deal of experience with the Triplanar arm, I'll stick with the stock arm on the GAE. I'm the individual that runs mine with lowered torque. The speed is dead on and I mean dead on. It sounds fantastic with no anomalies. Try "Turntabulator" on your iPhone (not sure if there is an Android version) as it is the most accurate way to check speed I've found. The GAE can go head to head with anything I've heard and that with the stock magnesium arm. |
@raymonda I have no doubt that the new SL1200 is a great deck but I too find it f'ugly. Just not my cup of tea. Well built but f'ugly. I wish it looked more like the prototype's that leaked out rather than an un-creative rehash of an old, tired design. Plus, as mentioned.......there are the tonearm limitation, too. I try to not get too caught up in looks, believing form follows function, but looks do count when they can be controlled. I agree with you about design, i think it was decision of the marketing department to reproduce design of the most popular turntable just to sell more, but on the new luxury level of design and sound quality. Panasonic made some design choices and used the old platform for a good reason. To sell this product to those fans that have an older 1200, status for DJ and hopes that the audiophile community will get past the design choices and choose it for what it brings. Believe me 99% of the DJs never spend $2000 for single tunrtable as they need 2 of them for dj set up, so $4000, target price for DJs is $600 per unit or cheaper for used, so GAE is definitely not a DJs choice. 99% of the DJs never spend more than $150 even for a cartridge, normally $50 for Shure m44-7. I don't think that even night clubs will buy GAE since their old 1200mk2 or mk3d is the club standard and works well for 35 years if they change pitch in time. The GAE is for the audiophiles, but with a look of the DJ turntable (thanks to their best selling 1200mk2) which is strange, indeed. |
For the couple here that actually own the table, what controls exist on the arm for the usual setup adjustments? VTF is the easiest of course with counterweights, but I can't find any notes on VTA and Azimuth adjustments. I have to believe those can be done, but Technics doesn't get into that at all, let alone how, in their marketing notes. |
jsm71, for most tonearms Azimuth will be a function of the headshell. Few arms incorporate a means to rotate the arm tube. (Certainly no S shaped arms for obvious reasons.) My Kuzma Reference Stogi did but I think that is rare. When considering any headshell, stock or accessory, just check to see it there is a set-screw to allow rotation around the connector. Concerning the aesthetics of the SL1200GAE and G, I initiated another post here regarding my bafflement that Technics would copy an old design (successful sales or not) for what is largely a newly engineered product. |
The Zupreme headshell from LP Gear has azimuth adjustment and happens to sound very good compared to other headshells I have tried on the GAE. VTA can be adjusted on the fly on the GAE. Setup is extremely fast, easy, and repeatable too. This is a real strength of this design. The layout and design just work very, very well.. As a young man I worked in high end audio shops for almost 10 years back in the 1970s, and was the TT setup specialist. In terms of ease of setup and use, all Technics turntables excel. |
@raymonda DJ's with money will buy them. Who do you think bought all those gold plated 1200's, customized, powdered. coated, bling out 1200's. As soon as the big name DJ's have them the masses will follow. $1600 today is close to the actual cost of a 1200 in the early 80's. maybe it's not the right forum to talk about djing, but i've been in this business for 20 years, the cost of the 1200mk2 since the mid 90s was $400-500 new, now (20 years later) about the same for used in perfect condition. The limited gold 1200 ltd wasn't the mass product, something like 1000 units only. Millions of djs would never buy pair of GAE for $4000, they do rather spend everything on records instead, they are not audiophiles and in most cases even super star djs are more concerned about studio equipment for music production, active monitors and similar stuff. In this world the 1200mk2 is a legendary turntable. Today i got pair of 1200mk2 for rewiring from a friend who own them for 30 years and never changed anything (typical dj phylosophy), because they are good enough and works fine. At the same time i'm not trying to they the don't like GAE, they are just overpriced for djs, they don't care about audiophiles stuff. In my opinion the GAE will never be a dj standard or club standard like it was with 1200mk2. Cheaply made Pioneer turntables filled the pro marked along with Stanton when the Technics quit production of 1200mk2 not so long ago. I wish we could live in a better world where local discoteques or bar invites djs to play jazz, disco or soul vinyl on TAD/Kinoshita speaker with tube amps and turntables like GAE as a standard. In reality it's possible only in Japan. |
@billstevenson and @audiofun I, too, own this marevlous piece of engineering. It sounds wonderful in addition to being way better built than many tables out there, especially in its price range. It's a rock. Here's my question-- When I went to adjust the torque, I flipped the switch from auto to manual, yet when I went to adjust the actual torque the setting appeared to be at what would be 7:10 on an analog clock--which I equate to being as low as possible. Is that right? I had trouble getting the screw to move and didn't want to strip it so I left it be. Maybe I need a better fitting micro screwdriver--I'm already using a tiny one. Thoughts? Is that where your torque setting was? |
Jbhiller: definatley don't use a lot of force on the potentiometer (it is not a screw). When you are making these changes I would have the unit powered down or unplugged from the wall socket. the fact that it was aleafy turned down doesn't mean anything as it should have been defaulted to the "Auto" mode which means the unit ignore the position of the pot. You should have been able to easily turn the pot clock-wise which would indicate it was at the end of its range in the counter-clockwise direction. Set the flip switch to manual and then adjust the pot such that it is 1/5 of the way up which you mean it is mostly turned counter-clockwise. Hope this helps. never force the potentiometer. |
This is another useless SL1200G review published by Tone Audio Mag: http://www.tonepublications.com/review/the-technics-sl-1200g/ |
I wouldn't be at all surprised if the 1200GAE or G outperforms a bone stock SP10 MK2 (with all due respect to owners of the Mk2). I don't own the 1200GAE, but I have owned two of the latter, each of which was re-mounted in a slate plinth, re-capped, calibrated, etc. Compared to the best of my other DD turntables (including a Mk3), the Mk2 seemed to have a faint "gray"-ish coloration. In fact, I didn't notice it until I set up my Mk3 and my Kenwood L07D for comparison. The Mk3 is an incredible tour de force, on the other hand, made even greater and more neutral and musical by the Krebs modifications. I have to believe that the Krebs mod would be very beneficial to a MK2, as well, perhaps ridding it of that last bit of coloration. But the big advantage of the 1200GAE vs any of the vintage Technics turntables would be its coreless motor. I own two vintage DD's with coreless motors, the aforementioned Kenwood L07D and Victor TT101, and I think their profound neutrality is to a great extent due to the motor type, as well as the mode of operation of the servo in those two (different from each other but also very different from Technics' approach). Furthermore, based on these ideas and on Atma-sphere's findings from deconstructing one, the 1200G or GAE must be seen as a great bargain when you put it up against other turntables you can buy for similar cost. If the original and inferior SL1200 were introduced today, it would have to cost ca $2000, at least. |
Jbhiller: I'ts an an awesome table and I'm glad you're enjoying yours. You are the only other person that I've read whose tried going into manual mode and lowering the torque. I went back to auto mode about 2 weeks ago just to remind myself of how its sounds in that mode. Fifteen seconds and I was back to manual mode :) Evidently Mr. Fremer thought enough of it to do two you tube vids of the SL1200G in direct comparison to his Caliburn with the SAT arm. I've listened to them both very carefully. I'm fairly sure I can hear which is which. The technics having better pitch on the Glockenspiel but also because he has the unit in auto mode the decay and sustain suffers somewhat on the Technics. Also one other piece of advice, the stock mat is horrendous, at least to my ears (as was the stock mat on my SP 10 MK3. I have a prototype acrylic mat that I've been using for several months supplied to me by Chris over at Artisan Fidelity. It sounds incredible with this table. I'm not sure if it is a real product as yet but it couldn't hurt to ask him. Thinking of getting a VDH Grail SB for the GAE, using it with an iPhono2/iTube2 (wired up to regulated linear power supplies) with about 250 hours on iFi devices. It would have to be heard to be believed, they are world class. Actually the iPhono2 is better than even Mr. Fremer stated when used with a regulated linear supply and the iTube2 makes a it true baby AMR PH77. |
My SL1200GAE came in and then the AT ART9 showed up. Got the cart installed this morning. I've heard this cart will take some time to fully break-in but with the first hour of play I can say with confidence that this TT kills my VPI Scout 1.1 with Zepher MI cart and I thought the VPI was a damn good TT. |
@jbhiller @Chakster, This is very subjective point of view, it is more like an article in the blog than professional review, there is no real comparison, no data, nothing. The fact that GAE is better than 1200 or 1200mk2 is obvious (look at the price). Where is the comparison of the GAE to the proper Technics stuff like SP10mk2 or SP10mk3 (with Miscro Seiki copper matt like CU-500) or some other top class vintage direct drives like Denon, Victor, Pioneer from the 70s and 80s? Where is the comparison test of the new arm and old EPA-100 or EPA-100mk2 or EPA-500 for example? And the Ortofon Skratch cartridges... he must be kidding? Maybe it’s just be, but i’ve been using SL1200mk2 for 20 years and i still got them running in the dark corner of my room (fully upgraded), i’m so extremely bored about this design, it’s not attractive anymore for me like it was in 1996. This is so stupid that Technics new turntable is not a reincarnation of the SP10mk2 or SP10mk3 and EPA-100 tonearm! This is my opinion, i know most of the users are happy, but maybe for you it’s like a come back to your childhood or something, for me it’s just the same looking deck that i’ve been using contantly for 20 years, so i’m not so enthusiastic about this GAE and that Tonearm at all, especially for $4000, i believe it’s a good turntable, but common... sorry. The decks i really love and use now in the main system are SP-10mk2, SP-20 and Luxman PD-444 and they are much more attractive and much easier to use with any tonearm i want or two tonearms at the same time. This is what i call usability and oustandign sound quality for much less money. I don’t care about new turntables and the hype about this GAE with warranty card etc. This is a top deck as described everywhere in the stpid reviews like that tone audio, but most of the audiophiles would like to replace the tonearm straight away. So why not just release the transport then? And the arm like EPA-100 that everyone loves from the first sight? Personally i would never buy this GAE even for half price, the design is important for me and i’m tired of this SL1200mk2 or SL1210mk2 looks. The choice of tonearm is important for me and i want to have a deck for any type of the arm. I don’t want to pay for the tonearm that i don’t need in the future since i have much better tonearms like Reed 3p "12 or many vintage japanese tonearms. Peace Out |
Thanks for following up. You make some fair and subjective viewpoints. I can see the issue with the design, but for me it is not one. I can't comment on what most audiophiles would do with the stock tonearm. I can say that giving the tonearm a review without hearing, touching and using it is not terribly helpful. I can only comment on the performance that I'm experiencing. My unit sounds glorious, fit and finish are superb, and has great ease of setup as well as its solid build. I was considering the new Luxman line, which adds another $2k plus. I wanted the Japanese over-engineering, reliability, and rock solid construction--and I got it in spades. I found that lowering the torque setting made things airy, smoother, and more relaxed. The boogie and drive in the auto setting was stellar but the table seemed like it couldn't loosen its top button and relax, until I moved the torque setting to manual an dialed it in. |
Jbhiller: You should still hear the same level of "boogie and drive" with the unit in manual mode. Concerning the design, I love it. In some ways the jewel like precision and construction reminds me of some of my GS Seiko watches. Absolutely some of the finest engineering you will find anywhere without the ostentatious trappings. I for one do love the design, I think they got it right over 30 years ago and so therefore why tamper with it. It is extremely functional and easy to use. The designer of this table has a SP10 mk 3 and used the mk 3 as the reference when designing the GAE and I can hear it when I directly compare the two tables. The Japanese are more about tradition and functional elegance than style for the sake of style. It is interesting when I read the comments about the styling of the table, as a watch guy I've read statements by other WIS (watch idiot savants :) folks concerning the Grand Seiko line. Like I say about my watches, if you know, you know. Ask most people to name a fine time piece and all they can do is name several watch companies that have huge marketing budgets and generally swap the same movements over and over again between casings. This table is the real deal and it is for people in my opinion who want stellar playback, a high level of functionality and are not concerned if it looks like its forerunner of the same name. Truth be told its really a SP10 mk 2.5. I love the fact that I can easily and repeatedly adjust the vta, vtf, antiskate, that it has a built in cue light..,etc. Fortunately for us there are a great number of tables out there for individuals to choose from. I find this to be one of the best I've heard and that includes some very rare air tables indeed. |
I realized I left an incomplete statement when I wrote: "It is interesting when I read the comments about the styling of the table, as a watch guy I've read statements by other WIS (watch idiot savants :) folks concerning the Grand Seiko line." I intended to write: It is interesting when I read the comments about the styling of the table, as a watch guy I've read statements by other WIS (watch idiot savants :) folks concerning the Grand Seiko line which mirror some of the sentiments concerning the GAE. Statements such as GS watches are great but they don't look cool enough. Interestingly the parallel between the GS watches and the GAE are close in that pictures don't seem to do justice to either. The real items are far more beautiful than print ad would lead one to believe. |