Very interesting. goes into detail on how the system works.
I'm impressed with the electronics being made on prototype board
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You have got it bad. There is no going back now!!
I know just how you are feeling right now. My first listen to a mkII (with an average arm and so-so plinth) blew my LP12 into the weeds. Falling for a 40 year old turntable brings insecurities, given the effect time has on components and lack of support by Technics for a discontinued product. Of the 10 mkII's that have passed through my hands, there has only been one board issue that required attention of an electronics tech. Quite a few samples had clearly been radio station workhorses and were cosmetically challenged, but most worked as they should. Never re-capped any sample. Replacement strobes, bearing caps, a good lube, respray, and they have not missed a beat. What a testament to good design and manufacture. Here is an early mug-shot line up. Good luck with the plinth.
Attachments
Warrjon, here is how I pull the inserts. A threaded rod is joined to the through bolt with a coupler nut.
Attachments
Yeahh Denon DA 307 is a very good tonearm.... am undecided whether to apply a Denon DA307 on an SL1000 II that I have just finished or a Sony PUA 7 .... but I think the Sony is 9 '' and is too short....useful tips?
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@Dennis Hui
it depends on how much money you are willing to spend (the original mat of the SP 10 II is excellent (Technics has produced 2 of them I recommend the one with a thickness of about 5-6 mm and heavier)
- Micro Seiki CU180 is available only used, is heavy, very expensive but the results are excellent on the SP10MKII or the
- Puresound Tenuto Mat costs much less and you can also buy new is made in "gun metal", another good product is the
- Saec SS 300 always available used; if you are afraid for the weight you can use the mat of the
- Combak Harmonix TU 800 (expensive) very very light, and it is even more effective if it is combined with one of the clamps produced by Harmonix
to follow other cheaper mats with the approximate cost of a hundred of dollars.
it depends on how much money you are willing to spend (the original mat of the SP 10 II is excellent (Technics has produced 2 of them I recommend the one with a thickness of about 5-6 mm and heavier)
- Micro Seiki CU180 is available only used, is heavy, very expensive but the results are excellent on the SP10MKII or the
- Puresound Tenuto Mat costs much less and you can also buy new is made in "gun metal", another good product is the
- Saec SS 300 always available used; if you are afraid for the weight you can use the mat of the
- Combak Harmonix TU 800 (expensive) very very light, and it is even more effective if it is combined with one of the clamps produced by Harmonix
to follow other cheaper mats with the approximate cost of a hundred of dollars.
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I did my apprenticeship with Marantz in the late 70's early 80's and their consumer DD TT's were awful. I repaired a lot of them and the performance was very average. This experience put me off DD TT's until now.
I bought my first TT in 1983 and it was an LP12 which I replaced in 2014 with an RP8, which I never warmed to.
My first SP10 came from radio 2LM and was severely bodgied. The tech had modified the TT to run at approx the correct speed, but the PLL was not operating.
I bought my first TT in 1983 and it was an LP12 which I replaced in 2014 with an RP8, which I never warmed to.
My first SP10 came from radio 2LM and was severely bodgied. The tech had modified the TT to run at approx the correct speed, but the PLL was not operating.
Cat's Squirrel's site Audio Qualia, has an extensive list of measured material damping factors. One of the very first myths debunked there, is slate as a good plinth material.
https://qualia.webs.com/dampingfactor.htm
You will be in the ideal position to compare a slate plinth with resin/bentonite. I suggest you conduct some subjective tap tests on the bare plinths. If you have Audacity and a microphone or better yet, an accelerometer, you can record and post some images of the plots. The bare plinths will always be more excitable than when loaded and clamped.
It seems to me that the promotion of slate is closer to the draining philosophy than the damping one. Prepare to be underwhelmed by the slate plinth.
I have never bought into the slate argument. Most proponents just state the superior damping properties, whereas the measurements of Cat Squirrel show otherwise.
Oswalds Mill Audio - Garrard | OMA Plinths
Because of the layering, it's been likened to plywood on steroids. Maybe there is something special about the anisotropy due to layering. Beats me. IME mass alone doesn't work particularly well. I can't see aluminium alloy sheets sandwiching the slate, contributing much to the damping. It would protect the slate from cracking due to overtightening or impact. BTW, measurements show that aluminium also has terrible damping factor.
The Virtues of Panzerholz : An Investigation into the Acoustical Properties of Aluminum and Panzerholz
Maybe two wrongs make a right
The seller shipped the unit with the platter on and the CW on the tonearm, the arm rest came adrift and the Denon arm is wobbly where the damping rubber is.
So I'm making an arm board from hardwood to hold my EPA 100 before I listen. I did run the TT on 33 and listen with a stethoscope I could hear no bearing noise and I could just hear my wife walking around the house. I could not hear tapping on the stand.
Once I have the arm mounted I'll drop the needle on a stationary record and test it again. I don't have Audacity (yet)
So I'm making an arm board from hardwood to hold my EPA 100 before I listen. I did run the TT on 33 and listen with a stethoscope I could hear no bearing noise and I could just hear my wife walking around the house. I could not hear tapping on the stand.
Once I have the arm mounted I'll drop the needle on a stationary record and test it again. I don't have Audacity (yet)