Piedpiper,
It looks like you were pretty conscientious in trying to put together a fair comparison, especially in the platforming. Is it just me, or is the Rega Exact a kick-ass cartridge?
One thing that may skew my opinion is that I read enough (even from KAB) about the not-so-great tonearm wire in the base SL1200 that I bought an SL1210 M5G for the higher grade of tonearm wire. So perhaps I have not been exposed to the "dark sound" or "opacity" I've read in reviews about the SL1200's sound. Mine is satisfactorily airy and extended in the treble without being bright or hyper-detailed. Maybe the wiring in the basic SL1200 is that bad.
I do think that the Technics' mat needs are far different from the Rega's. Any mat needs to isolate noise from the turntable and room noise from coming up into the cartridge, but a mat for the Technics needs to keep that machined aluminum platter from ringing, which is no small feat.
If the stock Technics sounded smoother in the highs than the Rega, you should hear it with upgraded wire and the fluid damper (filled about 1/3). Adding the fluid damper imparted a surprising level of control, refinement, and delicate detail in the treble (e.g., violin, cymbals, and bells) and in hearing the ambience of the recording venue.
It looks like you were pretty conscientious in trying to put together a fair comparison, especially in the platforming. Is it just me, or is the Rega Exact a kick-ass cartridge?
One thing that may skew my opinion is that I read enough (even from KAB) about the not-so-great tonearm wire in the base SL1200 that I bought an SL1210 M5G for the higher grade of tonearm wire. So perhaps I have not been exposed to the "dark sound" or "opacity" I've read in reviews about the SL1200's sound. Mine is satisfactorily airy and extended in the treble without being bright or hyper-detailed. Maybe the wiring in the basic SL1200 is that bad.
I do think that the Technics' mat needs are far different from the Rega's. Any mat needs to isolate noise from the turntable and room noise from coming up into the cartridge, but a mat for the Technics needs to keep that machined aluminum platter from ringing, which is no small feat.
If the stock Technics sounded smoother in the highs than the Rega, you should hear it with upgraded wire and the fluid damper (filled about 1/3). Adding the fluid damper imparted a surprising level of control, refinement, and delicate detail in the treble (e.g., violin, cymbals, and bells) and in hearing the ambience of the recording venue.