NEW TECHNICS SL 1200 MK2 OWNER

gazious

gazious

Active Member
Hello,

i have just aquired my 1st turntable since 1985. I chose a Technics SL 1200 Mk2 and have 4 questions:

1) Is the tonearm from a Technics sl 1000 mk3 (correction, Mk2. Thank you JP) an EAP 100 tonearm?
2) How difficult is adapting an EAP 100 tonearm to the sl 1200 mk2?
3) I have an ADC cartridge and ADC 34 QLM IIIi stylus to use with my table, how happy will it be at 1.2-1.4gms?

4) How does a Micro Seiki MA-505 stand against a stock sl 1000 mk2 tonearm?
 
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1) You mean SL-1000 MK3 which used the EPA-100 MK2 arm. The EPA-100 was part of the SL-1000 MK2.

2) Both EPA-100s are 10" arms and therefore are too long to fit in the mounting hole in the 1200 plinth.

4) Assuming you mean the EPA-100. I've no experience with the MA-505, but looking at the specs and construction, I'd be surprised if it were much better than on par. The bearings in the EPA-100 appear to be vastly superior, if I'm interpreting the MA specs correctly.
 
gazious said:
Hello,

i have just aquired my 1st turntable since 1985. I chose a Technics SL 1200 Mk2 and have 4 questions:

1) Is the tonearm from a Technics sl 1000 mk3 (correction, Mk2. Thank you JP) an EAP 100 tonearm?
2) How difficult is adapting an EAP 100 tonearm to the sl 1200 mk2?
3) I have an ADC cartridge and ADC 34 QLM IIIi stylus to use with my table, how happy will it be at 1.2-1.4gms?

4) How does a Micro Seiki MA-505 stand against a stock sl 1000 mk2 tonearm?
Click to expand...

the 1200 is an awesome turntable. If it's your first since 1985, what's the rush to modify it?
I would enjoy it as is for at least a year until you develop a sense for what it does and doesn't do.

The tonearm is probably happy with at least 1.5 grams tracking force. This is based on my experience with the 1800 mk2 which I believe has the same tonearm as the 1200.
 
I just got one myself and other than replacing the cheapy Shure in there now I'm not going to get carried away until I get used to it overall. Usually takes a few months at least to get a feel for the character of the TT for me. YMMV.
 
The MA-505 might well be an improvement over the standard Technics non removable tonearms such as the arms on the 1200, 1300 etc but it would be hard pressed to better the removable Technics EPA tonearms, 100/100Mk2/250 etc. The MA-505 sells for close to half the price of the EPA-100 which should indicate its standing. The OP needs a 9" arm to fit the 1200, the KAB tonearm mods and fluid damper are very worthy additions without spending more than the table deserves. If your going to sink a lot of money into a replacement tonearm it makes more sense to me to graduate to a higher level Technics table, SP-10Mk2 or 3 where the plinth, motor etc wont be as limiting as the SL-1200Mk2.. In other words keep the whole table balanced with equal performing parts.
 
Thank you for the replies and suggestions. My interest in tonearm replacements is due to my selection of units; I purchased a non working deck, knowing that I am planing to whiff it up anyway. From what I know about it's tonearm, I presume it dead.

I will be pleasantly surprised if it has any upgrades but if not I will be performing a couple just to correct the known issues. I will be doing a KAB tonearm rewire with an Audioquest Turquoise 2, I haven't decided on the ground wire or power wire yet. To me, the DIY power supply seems like a must have item so I will be making one with the DIY rectifier also. This is where I plan to learn how the deck sounds, hopefully, I get lucky on the platter bearing, even better would be both it and the tonearm bearing.
 
I do have another question, where can I get a blank disc or "disc tool" to set the anti-skate? I stumbled upon a site in the UK which will work but closer to home is my preference.
 
The QLM 34 Mk III, assuming it's unworn, should be okay at 1.5g. I wouldn't go any lower than that. There are still some better styli available for that body, so if you run into mistracking problems, just holler.

My Shure Era V test record has modulated grooves for setting antiskate. I tend to think that's closer to real world conditions than a silent groove, but it's always a compromise.
 
waulta,

how do modulated grooves work? i looked them up and see them listed for a variety of prices and with several different nomenclature,

1, shure trackability test record
2, shure audio obstactle course

are they all the same?
 
gazious said:
Thank you for the replies and suggestions. My interest in tonearm replacements is due to my selection of units; I purchased a non working deck, knowing that I am planing to whiff it up anyway. From what I know about it's tonearm, I presume it dead.

I will be pleasantly surprised if it has any upgrades but if not I will be performing a couple just to correct the known issues. I will be doing a KAB tonearm rewire with an Audioquest Turquoise 2, I haven't decided on the ground wire or power wire yet. To me, the DIY power supply seems like a must have item so I will be making one with the DIY rectifier also. This is where I plan to learn how the deck sounds, hopefully, I get lucky on the platter bearing, even better would be both it and the tonearm bearing.
Click to expand...

Upgrades to me is, in principle, when there will be an audible improvement. Personally I don´t see those You mention fall in that catagory. The wire isn´t a known issue, neither is the power supply, IME.
 
gazious said:
waulta,

how do modulated grooves work? i looked them up and see them listed for a variety of prices and with several different nomenclature,

1, shure trackability test record
2, shure audio obstactle course

are they all the same?
Click to expand...
I have the 1982 "Era V Audio Obstacle Course" record, also known as the TTR [Trackability Test Record] -117. The two are the same.
Though modulation level does affect skating force, the really important reason to use the modulated test grooves is that they let you hear when you have your antiskate set correctly (with a silent groove or a blank (ungrooved) disc, how would you really know?). You don't need an official test record; you could simply use any unworn record with centered sounds (vocals are usually centered) that are difficult to track and adjust your antiskate until the distortion is equal in the left and right channels. Using a test record gets the job done simpler and quicker.

Remember, there's no one antiskate setting that's absolutely correct for every record, every stylus shape and every tracking force. As I said, it's a compromise.
 
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gusten;

My sl1200Mk2 had the phono cable, power and ground wires chopped off, as though a car door slammed shut on them. So you were correct, they weren't know issues .) I do disagree in regards to the power supply being a known source of interference; it is known. Moving the transformer outside of the turntable and into an iron external box isolates the interference from the pick-up or stylus/cartridge. Additionally, the wires in my tonearm have 40 some years of use and age, they deserve some relief.

wualta;

Ahhh, thanks for sharing. It makes sense to me so I will try it. Sorry about the earlier misspelling .(
 
gazious said:
gusten;

My sl1200Mk2 had the phono cable, power and ground wires chopped off, as though a car door slammed shut on them. So you were correct, they weren't know issues .) I do disagree in regards to the power supply being a known source of interference; it is known. Moving the transformer outside of the turntable and into an iron external box isolates the interference from the pick-up or stylus/cartridge. Additionally, the wires in my tonearm have 40 some years of use and age, they deserve some relief.

wualta;

Ahhh, thanks for sharing. It makes sense to me so I will try it. Sorry about the earlier misspelling .(
Click to expand...

I have not seen any indications of that moving the transformer helps anything. My own measurements doesn´t show any difference.
A tonearm wire is just a tonearm wire IME.
 
so as it turns out, i am in some serious luck.

i spent last night rewiring the power and audio... walla! today i am amazed at what i was missing??? i was able to find several albums on vinyle that i have not heard in so very long. in addition, i had a cousin who liked ian hunter, thank god. i found both the "LIVE" and the incredible "ALL AMERICAN ALIEN BOY"!!!

the turntable does have a couple issues that are not stopping audio,

1, the cue lever does nothing. i am very interested to learn how to correct this.
2, at the end of play, it just drags on and on. i was under the impression, form utube, that it can automatically return the tonarm to its rest post. i would very much appreciate learning what i need to do to correct this.

i can not believe how massive it is???

it came with a non working cartridge so i mounted an adc 34 qlm mkii. the overhang is 52mm from the arm, with the stylus centered in front of an extrememly light stanton headshell. i tried the tracking at 1.2g and matched the antiskid to it in accordance with the operators manual. i expect some refinement is available but i can honestly say i do not know how it could sound better.

i replaced the power cord with a standard 2 prong from an old dead cd changer. the audio cables were very short but there was enough to work with. i used a set of radio shack premium gold series cables. the audio cables were pretty strait up, i used the solid video cable for the ground. i was not sure that was the best move but since it is what i had lying around, i needed to know what this deck would require to make audio again, from the dead.

this does not sound anything like my old jc pennies all in one.
 
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i need to say a huge, monster thank you to each and every ak member who has ever recomended spending a little more and perhaps to wait for an exceptional deal vs grabbing the 1st component available.
:eek2:
 
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