{"id":39633,"date":"2025-02-18T12:24:24","date_gmt":"2025-02-18T10:24:24","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=39633"},"modified":"2025-05-28T15:10:20","modified_gmt":"2025-05-28T13:10:20","slug":"technics-grand-class-sl-1200gr2-sl-1300g-and-sl-1200g","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/turntable-and-accessories-reviews\/turntable-reviews\/technics-grand-class-sl-1200gr2-sl-1300g-and-sl-1200g\/","title":{"rendered":"Technics Grand Class SL-1200GR2, SL-1300G, and SL-1200G"},"content":{"rendered":"

Review samples supplied by A Tube High Fidelity<\/a><\/h4>\n

Retail prices:
\nSL-1200GR2 – 1.998 euro
\nSL-1300G – 2.997 euro
\nSL-1200G – 4.470 euro
\nFor the cartridges, see “Phono Cartridges Galore” on page 4<\/h4>\n

Over the past 15 years, I have owned, reviewed, and listened to a wide range of turntables. My experience encompasses various types, including belt-drive and direct-drive models, mass-loaded and suspended designs, and pivoting and tangential tonearms. I have also explored air-bearing systems, optical stylus designs, and a fully laser-based design. Naturally, Technics played a role in this. My experience with the brand was kicked off when my friend Wouter brought along a cheap, plasticky SL-J3<\/a> automatic tangential “jacket” player, soon to be followed by a range of other similar Technics players, with the SL-7, SL-10, and SL-15<\/a> as the crowning achievements. Of course, the SL-1200 series also played a part in this. It began with the brownish-black SL-1210MkII version, thanks again to Wouter and his turntable collection.<\/p>\n

The Technics SL-1200 series is probably the most well-known turntable series of all time. Ask any person what a turntable looks like, and they will likely describe an SL-1200. Introduced in 1979, the MkII has been an utterly dependable player whenever it was on visit in my system during the last two decades, confirming its robust build quality.<\/p>\n

The SL-1200MkII (or SL-1210MkII for the dark chassis version) always appealed to me with its dependable responsiveness and ease of operation. In my enthusiasm, I obtained a gently used SL-1200MkII in silver. This was at the time when a large online retailer was clearing out a surplus of new old stock replacement parts for the SL-1200, and I gladly took the occasion to substitute the lid and some other accessories. But soon enough, I started having doubts.<\/p>\n

Sonically, I found the player a two-edged sword. On the one hand, it has an immediate, upfront, and exciting sound, but on the other hand, it lacks substance, saturation, and soul. While rhythmically surefooted, I always found it sounding gray, restless, and somewhat shouty. Interestingly, I found the tiny “jacket” players, such as the SL-7 and SL-10, to sound more full-bodied and emotionally more engaging than the SL-1200MkII, no matter which cartridge I tried. However, these jacket players never sounded as detailed and transparent as the SL-1200MkII, even when using the best Jico SAS T4P stylii, which can be considered similar to Micro-Ridge designs.<\/p>\n

As a result, I sold my SL-1200MkII and investigated alternatives. Via a range of classic Thorens players, I fell for the very musical Origin Live Calypso Mk4<\/a>, and later, the ultra-robust AVID Sequel SP<\/a>. After reviewing a range of other esoteric players with unique, strong sonic qualities, it struck me that these thoroughbreds could be fiddly to get right, susceptible to deviation over time, or prone to misbehaving. I suppose it is a bit like owning a race car that can perform extraordinarily but requires continuous extra care and attention.<\/p>\n

While the esoteric turntables each had unique, strong areas, there was invariably a less well-developed area with each player that, of course, attracted attention and proved impossible to cure. Of course, obtaining the ideal player-tonearm-cartridge marriage plays a huge part in this. I probably also had a stroke of bad luck with this, but eventually, I reached a level of frustration that all but killed the joy of playing records.<\/p>\n

To my delight, the then-new Thorens TD1601<\/a><\/span> was easy to set up, behaved uniformly well, and sounded consistently excellent. Sure, it did not provide all the refined delicacy of the Origin Live, a Holbo, or a Bergmann, nor did it have the earth-shattering bass solidity and slam of the AVID. But its greatest strength was that it did everything just about equally well. <\/span>Naturally, this turntable was also susceptible to Azimuth, VTF, VTA, and the tightness of all the adjustment screws, among other things, but when one setting was not optimal, the player just let you know about this by sounding less than optimal, rather than becoming unlistenable. <\/span>This is the power of an integrated concept. <\/span>With no apparent vices sticking out, it became easy to get back to simply enjoying the music. <\/span>This brings me back to the Technics turntables.<\/p>\n

Over the years, the standard SL-1200 evolved into the current Mk7 model in 2019, but it wasn’t until the Grand Class range was introduced that the brand again grabbed my attention. Released in 2016, the SL-1200G was intended to redefine the direct-drive turntable reference and appeal more to audiophiles. But to be perfectly honest, my initial response was that it was very pricey “for an SL-1200 derivative”. Would its performance truly justify being priced at four times that of the original 1200MkII? Inflation notwithstanding, the SL-1200G was visually very similar, and it was released at a time when excellent belt-driven solutions were available for less. So, I dismissed it and gave it no further thought. Little did I know… until I heard it as part of this review!<\/p>\n

Before this review came into being, the world witnessed the release of the Limited Edition SL-1200GAE in 2016. The SL-1200G was launched later that same year, and then the more affordable stripped-down version of the SL-1200G, the SL-1200GR, in 2017. The SL-1200GR was later updated to the SL-1200GR2 in 2019. However, it wasn’t until the introduction of the elegantly redesigned SL-1300G in late 2024 that I finally took notice.<\/p>\n

When several reviewers mentioned purchasing one of the G models as a substitute for their high-end players, I was intrigued. Upon reading up on the subject, it soon seemed evident that the minimalist SL-1300G inhabited the sweet spot. After all, it promised to deliver pretty much all the benefits of the more expensive SL-1200G, along with a few new tricks. Nevertheless, I wanted to find out for myself just how the Grand Class players compared and how they differed from the classic players that I knew so well.<\/p>\n

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SL-1200G<\/h3>\n

After the success of the limited edition SL-1200 GAE, Technics listened to their customers’ requests and decided to release a non-limited turntable with specifications closely mimicking those of the Limited Edition. This new turntable is the SL-1200G. Both models draw design inspiration from the original SL-1200, but the new model has been updated to meet modern standards and is said to elevate the performance to audiophile levels.<\/p>\n

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As far as the documentation goes, the GAE and G models are basically identical. Besides the numbered Limited Edition badge, the only known difference is that the G model’s silicone rubber material for the footers is from a different supplier and has a slightly darker color. The material still has the same absorbent and cushioning properties as the material used for the GAE version.<\/p>\n

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With a four-layered Cabinet Construction, a three-layer, balanced turntable platter construction, a newly developed twin-rotor, coreless direct-drive motor (using coil windings without an iron core) that eliminates cogging, advanced motor control technology for high starting torque and high-speed stability, a high-sensitivity tonearm made of lightweight magnesium with high-precision bearings, and brass-milled, gold-plated phono and ground terminals, the SL-1200G may look similar on the surface but is clearly built very differently compared to earlier models. Just look at the cross-sections of the motor and the player below!<\/p>\n

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In the SL-1200G, Technics uses a newly developed twin-rotor, surface-facing, coreless direct drive motor (using coils without iron cores) with rotor magnets placed on both sides. This eliminates the rotation irregularity of the motor, referred to as “cogging.” The twin-rotor construction also reduces the bearing load while maintaining high torque and reducing minute vibration during rotation.<\/p>\n

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The turntable has a three-layered construction with a rigidly combined brass and aluminum die-cast platter. With a deadening rubber covering its entire rear surface to eliminate unnecessary resonance. This delivers smooth rotational stability and inertial mass surpassing the SP-10MK2, the direct-drive turntable standard used by broadcast stations worldwide, as well as having more than twice the inertial mass of the SL-1200MK5.<\/p>\n

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The SL-1200G features a four-layer construction that combines high rigidity with a high-quality finish and feel. The construction comprises a sandwich of aluminum die-cast, BMC, and heavyweight-class rubber, with a hairline-processed (brushed) 10-mm-thick aluminum top panel.<\/p>\n

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Brass-milled, gold-plated phono- and ground terminals with a metal shielding construction inside the case<\/em><\/p>\n

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AC input terminal (mounted sideways)<\/em><\/p>\n

The SL-1200G features a high-sensitivity tonearm made of lightweight cold-drawn magnesium, using the traditional Technics gimbal suspension construction with the horizontal rotation axis and the vertical rotation axis intersecting at a single central point, as well as high-precision bearings using a cut-processed housing. The arm is comparable to that of the GAE version but with a slightly darker finish.<\/p>\n

The player is supported by high-damping silicon insulator footers with an outer construction milled out of aluminum.<\/p>\n

Next: SL-1200GR2 Description<\/em><\/p>\n

<\/p>\n

SL-1200GR2<\/h3>\n

The SL-1200GR2 marks the start of a new generation of direct drive turntables with an improved motor-drive circuit centered on the newly developed \u0394\u03a3-Drive (Delta Sigma Drive) and a new power supply for an exceptionally low noise floor.<\/p>\n

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The SL-1200GR2 inherits a similar motor design philosophy as the SL-1200G but uses a new design with a single-rotor, surface-facing, coreless direct-drive motor. Although both players feature a coreless motor (which uses coils without an iron core), the two designs are pretty different.<\/p>\n

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Whereas the SL-1200G uses a heavy and super-sturdy low-gravitational force two-rotor system that bolts to the platter, the SL-1200GR2 looks more similar to the classic designs with a round permanent magnet fixed to the platter, which floats on top of the coils mounted underneath a printed circuit board. The platter is a two-layer design, lacking the brass top layer but retaining the rubber damping layer underneath.<\/p>\n

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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 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-1200GR2 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 contact surface area with the deadening rubber achieves damping characteristics more than twice those of the SL-1200MK5.<\/p>\n

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The SL-1200GR2’s platter seems similar to the classic SL-1210MkII’s platter until you turn it around.<\/p>\n

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The new platter shown above has a large magnet attached directly to it, just as the classic player did, but the shape is very different from the one used for the classic player, as shown below.<\/p>\n

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Likewise, the motor design is very different between the two players.<\/p>\n

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Instead of the classic player’s green iron electromagnet poles (shown above), the new player (shown below) has a neat flat circuit board printed with what looks to be speed detection or feedback coils. The actual drive coils (with no more iron cores) are mounted invisibly underneath.<\/p>\n

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Compared to the SL-1200G’s four-layer chassis, the SL-1200GR2 has a simplified two-layer BMC and aluminum die-cast construction.<\/p>\n

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The \u0394\u03a3-Drive (Delta Sigma Drive) is a new system that applies Technics\u2019 expertise in PWM signal processing. In addition to reducing high harmonics, the new drive suppresses motor vibrations for smoother, more accurate rotation.<\/p>\n

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A high-speed switching power supply ensures a stable capacity and less ripple and humming. It also eliminates the need for a large transformer and countermeasures for the ensuing mechanical vibrations and a switching frequency above 100 kHz limits the impact of noise on the music playback bandwidth.<\/p>\n

In addition, the SL-1200GR2 features Current Injection Active Noise Canceling. This technology combines a noise detection device with an error amplifier, which detects residual noise in the power supply and applies an inverse phase current to remove noise components. This system is said to remove low-frequency noise more effectively than a regulator.<\/p>\n

Interestingly, the Silent Power Supply, Active Noise Cancelling, and \u0394\u03a3-Drive are not mentioned for the SL-1200G. However, Technics does mention that the player’s coreless motor and heavy motor\/platter construction eliminate cogging, which, to my understanding, was the main aim of the redesign.<\/p>\n

It remains unclear how the heavy construction of the earlier-generation non-\u0394\u03a3 motor system of the SL-1200G compares to the lightweight latest generation Silent \u0394\u03a3 SL-1200GR motor system when\u00a0it comes to the smoothest rotation. Perhaps the two achieve a similar calmness and smoothness by different means, one using (more expensive) mechanical means and the other using (more cost-effective) electrical means, or perhaps there is (also) a bit of marketing speak going on. The listening tests will surely tell us more.<\/p>\n

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The SL-1200GR2’s connection block does not feature milled-from-brass terminals as with the SL-1200G, but they are still high-quality gold-plated phono terminals within a metal shielding construction inside the case. The power cable is detachable, with the connector mounted in an easier-to-reach straight manner rather than sideways, as with the SL-1200G.<\/em><\/p>\n

The S-shaped tonearm used for the SL-1200GR is made of aluminum and looks very similar to the earlier tonearms. A high initial-motion sensitivity of 5 mg or less is achieved through manual assembly and adjustment by skilled Japanese artisans.<\/p>\n

When comparing the tonearm SL-1200G VTA ring (to adjust Arm Height\/Stylus Rake Angle) to that of the SL-1200GR2, the steps on the scale are not the same. The manual confirms that a setting of 1 equals a setting of 4 on the SL-1200GR2 to accommodate an 18mm Cartridge Height.<\/p>\n

The player is supported by high-damping silicon insulator footers, made of plastic, just like the earlier players, rather than aluminum, as with the sl-1200G.<\/p>\n

Next: SL-1300G Description<\/em><\/p>\n

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SL-1300G<\/h3>\n

The SL-1300G deviates from the other models with its cleaner visual design, intended to appeal more to Hi-Fi purists and audiophiles. The stroboscope and indicators on the platter, the cue lamp, and the pitch control are gone, replaced with a beautiful, clean surface that accentuates the player’s sleek chassis, making for a look that, I am happy to confirm, indeed appeals to the audiophile in me.<\/p>\n

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Featuring the \u0394\u03a3-Drive (Delta Sigma Drive) and Silent Noise Cancelling Power Supply of the SL-1200GR2, a three-layer balanced platter that looks and feels identical to that of the SL-1200G, and a redesigned massive coreless high-torque twin-rotor motor based on the one used for the SL-1200G, the SL-1300G seems to offer the best of both worlds.<\/p>\n

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The new player does not have the SL-1200G’s elaborate four-layer aluminum-BMC-aluminum-rubber chassis but instead offers a more spartan two-layer aluminum-BMC chassis, as used for the SL-1200GR2. Although superficially similar, the SL1300G’s chassis adds reinforcing ribs between the motor\/tonearm on the top panel, which improves rigidity and vibration-damping characteristics.<\/p>\n

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The SL-1300G uses high-quality gold-plated phono terminals within a metal shielding construction inside the case, the same as for the SL-1200GR2. The power cable is detachable, with the connector mounted in an easier-to-reach straight manner, just as with the SL-1200GR2.<\/p>\n

The SL-1300G uses the same aluminum S-shaped arm with a detachable headshell as the SL-1200GR2, rather than the magnesium unit that the 1200G has.<\/p>\n

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The SL-1300 G uses special silicon rubber for the insulators supporting the body, which ensures high vibration damping characteristics and long-term reliability. The documentation does not list further differences or similarities between the footers of the other models, but they are not made of aluminum and look and feel the same as those used for the SL-1200GR.<\/p>\n

Priced between the SL-1200G and SL-1200GR, the SL-1300G aims to provide an ideal balance between the two turntables and offers several top-end features at a more attainable price.<\/p>\n

Supplied Cables<\/h3>\n

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Above left are the RCA interlinks delivered with the SL-1200GR2 and SL-1300G. These may look ordinary, but they are thicker and better made than the freebie cables that usually come bundled with audio equipment. Above right are the extra-thick RCA interlinks delivered with the SL-1200G.<\/p>\n

The two cables also sound different. The thinner SL-1200GR2\/SL-1300G cables sound sweet and lush compared to regular freebie cables, while the SL-1200G cables are still sweet but a little more upfront and powerful. Naturally, I used the same interlinks for all comparisons.<\/p>\n

Next: Sidenotes, Review Context, Cartridges, and Listening Part 1<\/em><\/p>\n

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Sidenotes<\/h3>\n

Before I dive into my listening impressions, there are a few more points to note I have not seen discussed in other reviews and are easy to overlook. Nevertheless, they can be important considerations when deciding which model to get.<\/p>\n

Arm height control ring lock<\/strong><\/p>\n

While the documentation mentions the players should not be used without the arm height lock engaged, no reason is given. As I found, the arm is still stable without it, and there is no problem with assessing the VTA\/SRA and listening to the sound during adjustments without having the lock engaged. However, I did note that the lock has a significant and variable influence on the sound. The tightness and level of control in the reproduced sound are directly proportional to the strength used to turn the lock into position. One should be mindful of this when making cartridge comparisons. The big upside of this is that it can be used to one’s advantage. When the sound feels too loose or lacking in expression, increasing the force used to engage the lock will quickly address this, and vice versa.<\/p>\n

Arm height control ring scale<\/strong><\/p>\n

The steps marked on the arm height ring scale of the SL-1200GR2 and SL-1300G are closer together than on the SL-1200G and classic SL-1200MkII. These smaller steps make the arm move more quickly up and down, but it also means there are fewer threads to secure contact between the arm base and the arm. This becomes evident by the amount of wobble the arm has when the lock is not engaged, which is significantly more with the SL-1200GR2 and SL-1300G than with the SL-1200G or the SL-1210MkII. Due to this, the impact on the sound when using the height lock or leaving it disengaged is also more significant with the SL-1200GR2 and SL-1300G. Incidentally, while none of the gimbal bearings have any play, the two newer players both retain a small amount of wobble, even with the lock engaged, whereas the SL-1200G and the SL-1210MkII are rock-solid with the lock engaged.<\/p>\n

It’s also worth noting that the steps on the height ring scales represent different actual heights for the SL-1200GR2 and SL-1300G on the one hand and the SL-1200G and SL-1210MkII on the other. For instance, a reading of 1 mm on the SL-1200G’s VTA ring scale equals 3-4 mm on the SL-1200GR2 and SL-1300G.<\/p>\n

It should also be noted that the height lock mechanism makes the helicoid rock off horizontally when locked in position, which affects the Azimuth. Although this is true for all 1200-series models, the SL-1200GR2 and SL-1300G are most affected by this, and the amount of Azimuth-tilt also ties in with the amount of force used to engage the lock. For this reason, it is best to adjust the Azimuth only with the arm height lock engaged.<\/p>\n

Arm Lift Damping<\/strong><\/p>\n

The last point to note has no bearing on the sound but might still be a relevant consideration when deciding between these three players. Although the levers and actual lift mechanisms look precisely the same for all players, the damping of the lift is different. The SL-1200G’s lift feels very responsive, just like all Technics lifts, but it also operates smoothly and feels luxurious. With this lift, you can flick the lever all the way down, and the arm will move down very gently and precisely. The SL-1200GR2 and SL-1300G lifts, however, have much less damping. Cueing onto the record works rather abruptly but well enough as long as you guide the lever down gently and don’t just pull it over all the way. However, the operation in the other direction, lifting the stylus from the record, is also very direct and feels under-damped. Unless you move the lever very gently and avoid moving it all the way to the end stop, you can easily make the arm bounce up, which makes the anti-skating pull it back a little bit in mid-air before it stabilizes on the lift pad. This makes precise queuing more challenging, especially when repeatedly using the lift to find a specific section on the record.<\/p>\n

But ultimately, this is predominantly a matter of comfort, which is reflected in the player’s price tags. With the cost factor in mind, the more important matter is how they compare sonically. Which brings us, finally, to the listening sessions!<\/p>\n

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Review Context<\/h3>\n

The three Grand Class turntables will be listened to and compared to one another in the main system<\/a> using the Manunta EVO Phono 3<\/a> and M2Tech Nash<\/a>\u00a0phono stages. Other turntables available for comparison are the Thorens TD1601 with TP92 tonearm<\/a>, the Thorens TD1601 with TP160 tonearm<\/a>, and a classic Technics SL-12010MkII. The rest of the system comprises the CH Precision L1<\/a> preamplifier, CH Precision A1.5<\/a> power amp, and Magico S1 MkII speakers.<\/p>\n

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Phono Cartridges Galore<\/h3>\n

Having read multiple rave reviews in other magazines, I fully expected the new players to have improved significantly. However, in preparing for the review, given my earlier experience with the classic SL-1200MkII and SL-1210MkII, I wondered if they would sound warmer and more relaxed or still lean toward the cool and analytical side. To account for either possibility, I asked A Tube High Fidelity for a range of cartridges with different stylus shapes and sonic characters, and they were happy to provide the following models:<\/p>\n