Vintage Technics SL-1000A vs Pro-Ject Debut or Exp

In my experience, it will benefit from damping under the tonearm-mounting plate (a zinc die-casting?), but I base that on using a Grace 707 arm on the SL-110's undrilled plate-- pretty thin, and having only a few ribs. I don't know if your particular armboard is thicker/better/damped underneath.

Technics did offer an optional wood board (mahogany it looks like in their photos), which I have only seen on eBay a couple of times. Perhaps having a wood plate made to replace your metal plate would be a nice thing, using whatever wood seems best to those who know (I don't). I remember mine did not look too hard to replicate in hardwood or birch plywood, acrylic, or even an acrylic/aluminum/acrylic sandwich.

I have always enjoyed the sonic improvements that the original "Platter Matter"-brand turntable mat has made on my various turntables. It comes up every 3-6 months on eBay and Audiogon. Mine is dark green/turquoise, which I think was the only color (when I was a retailer). One must wash it with dishsoap in the sink once in awhile, so it then sticks (literally) to the platter and to the LP.

I do know your stock Technics rubber mat is at least above average - not too hard, not too soft. A Michell record clamp would help your present setup, for not much $$.

Switch to a magnesium headshell with better wires sometime, and remove the rubber washer on its end. Hopefully such a shell will come with an adjustment for your azimuth. I think the one from Nagaoka does.

Is there any way to adjust VTA on your tonearm?

Contact someone about making an "Arc" protractor for cartridge-alignment in your stock tonearm. Makes a big difference over the best two-point alignments I have performed.

Some have said to unplug the strobe-light module when not in use-- I haven't bothered.

Have fun!

Best regards,
Roy Johnson
Designer
Green Mountain Audio

By the way, with the changes I mentioned above, you may not care if a Project is somehow 'better', as this particular Technics has a good, solid bearing for proper dynamic response, and it does have nice pace, rhythm and clarity. One reference for me on this is our Micro Seiki BL-91 heavy belt-drive TT. And I still enjoy the Technics.

Perhaps the ultimate limitation of your TT will be its stock tonearm, but as I never got a chance to use it, I am only speculating. However, I can tell you that a few years after your TT was introduced, large improvements in tonearm design appeared from Audiocraft, Fidelity Research, Grace, Micro Seiki, Mistubishi (on their DP-EC20 TT), Technics, and others.

Best regards,
Roy

Roy-
Thanks so much for the response and your insights. All very good ideas. I'm going to jump into the damping project this weekend.

I'd like to get a custom arc protractor made to see if I can optimize the stock arm - can you recommend any vendors for that?

Also would be interested in upgrading the arm, but don't know where to start for sourcing an arm board. I would think the exactness of the cutout and mounting holes would make or break it. Any ideas on sourcing?

I did contact KAB, and although they're very familiar with other Technics models, he wasn't able to offer much in the way of specific upgrades help on the SL-1100.

George

Glad to be of help, George.

To create an arc protractor, what matters first are the values for your tonearm's Effective Length (235mm) and Pivot to Spindle distance (221mm) [from Vinyl Engine's Technics page]. While there, perform a search for Arc protractor, or perhaps contact Galibier Turntable company for guidance.

For a making a blank armboard-- the measurements are indeed critical, but easily within the capacity of any decent workshop for wood or acrylic. One has to know the outer dimensions of the plate and the locations of its eight mounting-screw holes. Those you can take from your current board, likely without dismounting it.

And there is the one large hole to drill for your future tonearm. This hole's location is determined by that tonearm's template laying onto your mounted but-still-blank armboard, as it is the pivot-to-spindle distance you are trying to get right.

The Technics model/part number for the blank cast armboard is SH-11P1, and the wood version is SH-11P1W. You would see they each have radial lines pointing to the spindle, for ease of use with the templates of other tonearms. Have a look here: SL-1100 details and here SL-1100. Your machine, sold without tonearm, was called the SL-110.

It seems you should plan on having your own armboard made to use another tonearm, since finding a new blank one will likely take quite some time. But your stock arm is not terrible at all if you change out its headshell. And if you look underneath your existing armboard, you may find the old arm easy to remove without damage, and to open up the existing hole for another arm (if necessary). Someone on EBay-Australia is selling your arm/armboard assembly for AU$100 right now, FYI.

Best regards,
Roy

Roy-
Thanks again for your sage advice. In terms of optimizing the stock Technics EPA-110 tonearm with a new headshell and cartridge, I have a few questions maybe you can help with.

I've adjusted the arm to the specs on the AccuTrak UNIVERSAL PROTRACTOR from Vinyl Engine, and I think it's working pretty well, although limited in low-end extension and depth of soundstage. I'm currently running a 30 year-old Shure V15V-MR cartridge with the stock Technics headshell. The stock headshell with screws weighs approx 10grams and the combo clocks in at approx 17grams. I have not been able to find the Arm Mass specs on the stock EPA-150 arm to determine specific compliance. BTW this stock arm can be adjusted for VTA but not very accurately. Basically it's the "loosen the screws and have the whole arm drop into your hand" type of thing. I've got the arm as level with the platter as I can get it.

Headshell: I'd like to replace the headshell with an adjustable azimuth unit as you suggest. What I can find new comes down to the SUMIKO HS-12 (http://www.needledoctor.com/Sumiko-HS12-Headshell), the LP Gear Zupreme™ (http://www.lpgear.com/Merchant2/merchant.mvc?Screen=PROD&Store_Code=LG&Product_Code=LPGZHEAD&Category_Code=HEADSHELLS), or the Rek-O-Kut http://www.garage-a-records.com/products.php?cat=127). All seem to weigh about the same - 12grams. Any thoughts about preference/recommendation on these?

Cartridge: With one of these better but heavier headshells, what are my limitations in types of cartridges? I've always used MM cartridges - should I try an MC? My phono pre will accept both. Can you recommend any cartridges specifically for this setup in the $350 range?

Thanks again for your help-
George

Technics SL-1100A
Cambridge Azur 640P
Cary SLI-80 F1 Integrated
Njoe Tjoeb 4000 CD Player
Triangle Celius ES Speakers

A replacement stylus, Jico or SAS for the Shure would let you know your limit of what you have now. You may not find the tables you mentioned to be that much of an improvement. I went down a similar road. Be careful of going LOMC, matching your cartridge specs. to your stage is paramount.

Hello, George

Your Shure is quite a good cartridge and a new SAS stylus for it someday would be a sensible choice. The headshells you selected are all fine, although I would put the Sumiko last, for their logo displayed on top but mostly for how its finger-lift attaches compared to the other two (which look identical to me).

Unless your records are warped, I would not worry about the arm's effective mass too much. It's fine for most cartridges.

If this were my system, I'd keep the Shure, change the headshell and then align using an Arc protractor. Next, I would use a larger outboard AC transformer for the phono preamp, for improved bass and dynamics. Finally, I'd use Audio Magic cables to connect the phono preamp to the integrated amp.

And I agree with Slowhead.

Best regards,
Roy