Technics SL-1200GR Turntable

Technics, the Japanese subsidiary of audio mega-firm Panasonic and manufacturer of almost every Hi-Fi component you could wish for, used to be a big player in the turntable business. When the bottom finally finished dropping out of vinyl and the CD had established itself front and centre, Technics stopped manufacturing their very successful SL-1200 line of direct-drive turntables (2010). These turntables were adopted by DJs and admired by audiophiles.

In 2016, somebody at Technics saw the vinyl Renaissance writing on the wall and they began producing their famous line of turntables once again. These new “Grand Class” turntables resulted from a complete retooling and upgrading of parts from the previous models. The new line also included the price-no-object SL-1000R Turntable at $19,999 (introduced in 2018). Indeed, it is a gorgeous machine, incredibly well made and sounds divine.

Technics is nothing if not practical. Since the 2016 introduction of the well-priced $4000 Technics SL-1200G Direct Drive Turntable (now $4299), Technics has introduced various models with similar visuals but priced according to features and materials.

As the shootout between my $13,900 Bergmann Audio Magne Turntable and the 4K Technics 1200G was close, I was convinced of the quality of the Technics design. My full review of the product only confirmed the fact. A superior design, suitable for all genres of music at an “affordable” (in audiophile terms) price. So when my Bergmann speed controller board failed for the third time, I promoted my Pure Fidelity Harmony Mk2 Turntable (with the new “Conductor” speed controller and Origin Live Enterprise MK4 Tonearm—review forthcoming) to stereo from mono duties. With the Pure Fidelity on stereo duty, I needed a good ‘table for my always-in-use mono setup. And quickly. (Happily, with the upgrade to Mk2 and the new Origin Live tonearm, the Harmony was now playing above Bergmann’s vaunted performance).

I called around not expecting to find one of the very popular, always-out-of-stock Technics available at such short notice. Our Advisory Council mentioned a floor model of the Technics SL-1200GR Turntable was available in Victoria. The GR is priced 50% lower than the 4K “G” at $1799/incl. tonearm. Sold! The store owner was very kind, knew of my predicament and gave me a very kind price reduction. The timing, from Bergman speed controller failure, my panicked internal and external rant, to Advisory Council phone call, 1200GR pick up, set up, and playing LPs, was about five hours! A rare occurrence in this usually glacial business.

The new Technics Grand Class turntables have been received well by audiophiles and non-audiophiles because of their simple operation, rock-solid speed control of the “coreless” direct drive motor, its vintage vibe and legendary design, excellent sound and very reasonable pricing.

My Use

I was excited to see how the GR performed with my Miyajima Labs Infinity Monaural Cartridge ($3375), I’d suggest one of the finest mono cartridges available; I also tested it in stereo with my Allnic Audio Amber MC Cartridge (now $5100). As the headshell is removable, I purchased an extra headshell for the Allnic—so cart change needed a quick VTA adjustment (by the GR’s easy-to-use, rotary arm-height adjustment) and a tracking weight change—a whopping 3.5 for the Miyajima, 2.0 for the Allnic. Two minutes to up and running. (Antiskate is a simple knob-turning affair).

Also in the system, my MBL N51 Integrated Amplifier and BØRRESEN Acoustics 01 Silver Supreme Edition Loudspeakers, all connected by Ansuz Acoustics cables, including the C2 Ansuz phono cable for the Technics. I used the stock IEC power cord. The dust cover was placed in its natural home, the shipping box and under the stairs.

The setup was very simple. Level the ‘table (feet are adjustable), cartridge setup and cable attachment. Power on the odd “tower” switch (photo below) and choice of speed and you’re ready to go. The direct drive, coreless motor means accurate speeds (checked by the famous strobe) and an almost instant speed set. Other than the peculiar on/off tower power switch, my only complaint was the inconsistent cueing lever. I worked around its inconsistencies, and I’ve been told this is a weakness in Technics ‘tables. However, they should get it sorted, especially for the price of these ‘tables. I was unsuccessful with my YouTube video fix attempts.

Features

Like its more expensive sibling, the 1200GR is feature-rich. Technics says:

Parts that were inherited from the SL-1200G were newly developed for the SL-1200GR, beginning with the coreless direct-drive motor and precise motor control technology that eliminated the cogging that originated from rotation irregularity, and including a low-vibration, high-rigidity platter and high-sensitivity tonearm.

For the new 2016 turntables:

Technics developed the twin-rotor, surface-facing, coreless direct-drive motor with rotor magnets placed on both sides, thereby eliminating the rotation irregularity of the motor, referred to as "cogging," which was a unique issue for direct-drive systems. This motor was adopted for the SL-1200G, which once again drew a significant response in the hi-fi market. The SL-1200GR inherits the same design philosophy with the new development of a single-rotor, surface-facing, coreless direct-drive motor, resulting in the elimination of cogging.

Rotational speeds were rock solid after a very quick platter startup, tested with my Allnic Speednic and RPM Pro iOS app. The aluminum platter is three pounds lighter than G’s 8lb brass beauty. The brass platter's weight and density add to the vinyl's stability and also add a little more gravitas, command and control over the lighter aluminum. Same for the magnesium tonearm tube on the G compared with the aluminum arm tube on my GR tonearm. Note: Technics’ bearings are not suited to record weights, clamps, etc. I always use the standard Technics rubber mat.

Technics explains:

The platter achieves high rigidity and vibration-damping characteristics by using a two-layer construction with deadening rubber applied to the entire rear surface of the aluminum die-cast to eliminate the unnecessary resonance that is otherwise relayed to the record, thereby producing clear sound. To increase the inertial mass and reduce vibration, the shape of the aluminum die-cast portion was optimized by simulation. At 2.5 kg (including the rubber mat), the SL-1200GR platter is 0.8 kg heavier than that of the previous SL-1200MK5. Also, the back surface of the platter has strengthening ribs added to improve rigidity. Increasing the surface area of contact with the deadening rubber achieves damping characteristics that are more than twice those of the SL-1200MK5.

Speed adjustment went unused (Adjust Range ±8 %, ±16 %). Same for stylus light and 78 RPM.

Specifications

• Turntable Speeds

  • 33-1/3, 45 and 78 r/min

• Wow And Flutter

  • 0.025 % W.R.M.S.

• Rumble

  • 78 dB (IEC 98A weighted)

• Tonearm Section

• Type

  • Universal Static Balance

• Effective Length

  • 230 mm (9-1/16")

• Overhang

  • 15 mm (19/32")

• Tracking Error Angle

  • Within 2° 32' (at the outer groove of 30 cm record)
    Within 0° 32' (at the inner groove of 30 cm record)

• Offset Angle

  • 22°

• Arm-height Adjustment Range

  • 0 - 6 mm

• Head Shell Weight

  • Approx. 7.6 g

• Power Supply

  • AC 110-240 V, 60 Hz

• Power Consumption

  • 11 W
    Approx. 0.2 W (Standby)

• Dimensions (W x H x D)

  • 453 x 173 x 372 mm
    (17-27/32 × 6-13/16 × 14-21/32 inch)

• Weight

  • Approx. 11.5 kg
    (Approx. 25.35lbs)

• Accessories

  • Turntable, Turntable sheet, Dust cover, EP record adaptor, Balance weight, Auxiliary weight, Headshell, Overhang gauge, Screw set for a cartridge, PHONO cable, PHONO earth lead, AC power supply cord, Owner's Manual

Also available in black.

Sound

The brass platter design of the more expensive SL-1200G is its greatest feature. It gives poise to every record, adding a rock-solid foundation and sync with the motor and a deep, black background from which the sound of your LPs emanate. The solid, functional aluminum platter of the GR (2.5 kg) attempts the same aural focus as its tubbier sibling but the very instructive opening of the Analogue Productions Shaded Dog reissue of Prokofiev’s Lieutenant Kijé (“The Birth of Kijé” ), solo trumpet, solo snare drum and solo piccolo placement, bass drum ppp tap tap tap with equally quiet French horns (the bass drum weight in micro dynamics on this record is astonishing) are controlled and heard to better effect on the G, but the GR is no poor cousin. The aluminum tonearm (effective and simple to use) controls things well, and when the Kijé revelries get very loud a minute after the quiet tap tap tap, the GR owner will enjoy the tight control the arm has over the melee.

Late night with a mono, Craft, Kevin Gray cut Chet, was a magical experience. On this RSD remaster, the instruments are placed perfectly in Reeves Sound Studio by Orrin Keepnews; what I enjoyed most was each player’s personality captured perfectly by the mic (including Herbie Mann on flute, Pepper Adams on bari and Bill Evans on piano) with the great Chet Baker front and centre. When I would question the somewhat noir personality of the GR, I’d throw this on and all was right with the mono world. For stereo, and if talking high-end super turntables, questions remained concerning the soundstage, delicacy and dynamism, etc.

At first, and with the GR primarily on mono duty, the brass/aluminum material differences were negligible but after three months with the GR, I prefer the weight and substance the G gives to vinyl playback. If I’m thinking long-term, the lighter, extremely neutral (light & neutral, yes) GR will probably be sold and I’ll upgrade to another, smaller Pure Fidelity or find an SL-1200G for a good price, possibly even an accommodation request.

That’s no slight on the GR. Simply, I’m used to the Pure Fidelity Harmony in its first guise (the Mk2 additions are significant) as my mono guy. Simply, a better ‘table than both G and GR. When using the GR in stereo mode (using my Allnic Amber MC), the shortcomings (compared to more expensive ‘tables) became more apparent long term.

There’s a purity about the SL-1200GR playback I admire. It adds almost no colour, is ridiculously easy to use, is always ready in a second to produce lovely, balanced sounds and the direct drive motor is an obsessive audiophile’s dream. The thing never waivers. As such, for the ingenue audiophile on a budget, it’s an excellent choice. And at 50% of the G’s price, a steal.

Summary

I should be more than thankful for the pleasure of using the GR in my complex system. It took like a duck to water. It didn’t flinch and was not embarrassed. The arm can handle multi-thousand dollar MCs with no problems (one of our team pairs his $500 used Technics 1200MK2 with a $2500 Pure Fidelity Stratos MC Cartridge and it is delightful). Other than the odd complaint (tower switch and the cueing lever), my few musical concerns were only heard long-term, where I began to crave a little more dynamism and, dare I say, “colour’ in the playback. In both stereo and mono. As such, the GR’s sound signature is heard with different carts. Both the Miyajima and Allnic were maxing out the tonearm, but it didn’t seem to bother the ‘table in tracking, etc. In that, it’ll take on all comers.

I’ve been seeing a version of this Technics design in mainstream commercials, real estate shows (where an interior designer had to make a special “Technics nook” for the client) and the like. It’s jumped the shark from the specialist DJ/audiophile ‘table to the civilian world. Lucky Technics. They’re probably selling truckloads. It’s still one of the best bargains in the high end. And if $1799/incl. tonearm. is your budget, you probably won’t do better. But for $1799 used, there are a lot of belt-drive turntables available that I think may suit particular audiophiles long term. That said, a shiny new Technics for less than 2K that plays well with everyone and produces excellent sound may be the ticket.

Further information: Technics