There is a distinction between real deejays and rap-“DJ”s that just scratch records and fool with faders and pitch controls like they know what they’re doing. The rap-“DJ”s don’t can only use a turntable that has no suspension. That is why in the 80’s when rap came out, the SL-1200mk2 sales took off. Note that the lack of a proper suspension makes the SL-1200mk2 very prone to problems from vibrations, hence it is not a good turntable for audiophile applications. On the other hand, rap-“DJ”s have never been concerned with quality and vibration isolation.
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Isonoe made this long time ago, believe it or not, but it was made for DJs, so an old Technics stock feet is no longer a problem for audiophiles or djs if they need suspended table (it's a matter of choise). Isonoe feet can solve bass feedback problem even if 20 000 Watt stereo sound system is near the stage with a pair of SL1200. People you call "rap djs" can't affect the sales of Technics more that some other djs and professionals with completely different musical taste. P.S. Rapping came out in the late 70's as the rhyme (by MC) over the Disco beats played by DJs. But in Jamaica they been doing it much earlier in a different way over reggae and rocksteady music. Funny, but a guy with a mic was called a "deejay" in Jamaica, a person with records was called a "selector". You always refer to some bad taste digital DJs and blame them in everything regarding Technics. I just don't get it. |
Sleepwalker, you mention that one difference between the SL1200 and the SL1700 is that in the latter unit one can access the pitch control with cover down. Do you actually listen to vinyl with the dust cover down? If so, we come from different planets audio-wise. The differences you cite between the old 1200 and the old 1700 pale in comparison to the differences between those two and the new G, GAE, or GR. That’s my point. |
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- 15 posts total