![\"Technics-linear-tracking-tt-550pix](\"http:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2014\/09\/Technics-linear-tracking-tt-550pix-IMG_3194.jpg\"){kind=tracking}
<\/p>\nIn order to further assess the Artesania Turntable Platforms that were over for a review, a\u00a0friend brought over a humble Technics J3, just for the fun of it. Interestingly, this cheap plastic unit managed to sound emotionally utterly\u00a0engaging,\u00a0communicating in a manner that even my best CD players failed to do.<\/p>\n
Avid Volvere turntable, Grado and Benz cartridges and Musical Fidelity M1 Vinl phono stage kindly supplied by StudioAlkmaar<\/p>\n
<\/p>\n
On the main picture and above:\u00a0the best Technics linear trackers: SL15 on the left and SL7 on the right. But let me tell you all about how this story started.<\/p>\n
First: a disclaimer:<\/strong><\/p>\n The turntables reviewed here are 30+ years old. It is not uncommon for turntables of this age to have worn bearings or, especially in case of linear trackers, aged electronics causing misalignment of the arm. While I found no evidence of the former, I did encounter the latter, but I compensated for this by carefully re-aligning the servo settings. Nevertheless, I can’t rule out that some of the conclusions that I reach are clouded or influenced by the mere age of these players. That said: they all sound wonderful, and especially after recalibration, it seems that they perform just perfect.<\/p>\n Let’s start the show<\/strong><\/p>\n It all started with the humble J3. On top of the superb Artesania Krion turntable platform, which is large enough to hold two Technics linear trackers at once – very handy for my comparisons!<\/p>\n After the positive initial experience with the J3, I decided to purchase a Technics SL-7 for myself. 35 or so years old, and still going strong. The SL-7’s top part (body and lid) is made of aluminium diecast and its bottom part (the dark grey bit) of zinc diecast. Given its diminutive size, the SL7 seemingly weighs a ton. As you can tell from the above picture, they use completely different mechanisms as well.<\/p>\n J3 and SL-7<\/strong><\/p>\n 98% plastic J3 on the left, 98% aluminium\/zinc diecast SL-7 on the right – just kidding with those figures of course, but despite being built from different materials and having different automation- and arm mechanisms, the J3 also has some things in common with the SL7, which is something that can’t be said about the SL10 and SL15.<\/p>\n One thing that surprised me was that the platter motor mechanism is seemingly the same for the J3 and SL7.<\/p>\n Above: the stator part of the direct drive motor for the J3<\/p>\n Above: the rotor part of the direct drive motor for the J3<\/p>\n Above: stator part of the direct drive motor for the SL-7 – notice the similarity? All the plastic of the J3 is now aluminium and zinc diecast, but the SL-7 platter motor, while not a 100% copy, follows the exact same principle as in the J3. This is actually a much-reduced version compared to what’s in the SL10 and SL15, as we will see later.<\/p>\n Above: rotor part of the direct drive motor for the SL-7. The Magnet assembly is identical as far as I can see.<\/p>\n Above: the SL-7 platter, however, is thicker at the edges, and quite a bit heavier.<\/p>\n Tangential Tracking Principle<\/strong><\/p>\n The tangential principle for all the Technics variants remains the same: a servo controlled worm wheel connected to a radio-dial-reminiscent rope that pulls the arm assembly. This is activated via an optical sensor upon dis-alignment of the arm as it is pulled toward the centre of the LP.<\/p>\n The whole arm assembly rests on a lubricated metal rod. Supposedly, this type of linear tracker manages to retain an amazing 0.1% tracking angle error. Well, that number sounds very good to me at least, but I’m not (yet) a vinyl expert and I honestly don’t know what tracking error percentages normal record spinners yield.<\/p>\n btw Cartridge shown in these J3 pictures is the standard EPC-P33 with a cheap replica stylus. We swapped it out for an EPC-P540 with original 540 stylus and it made a very, very large difference to the sound: much more refined treble, more low-level detail and more air with less ragged edges. The P33 had already been fitted with a brand new stylus but clearly, that didn’t help cover up that the cartridge can be bettered. The EPC-P540 did have less forceful bass though.<\/p>\n It may well be that normal pivoting arms cannot manage such low tracking error percentages as the Technics linear trackers, except on two places on the record. At least audibly I can attest to the fact that typically the last tracks on LPs sound worst. I’ve heard it countless times in friends’ setups as well as my own, when I still owned a Michell Gyro SE. Guess what? The Technics linear trackers sound as distortion-free on the last track as they do on any other track on the LP. And what’s more: I don’t hear any off-centre-related speed variations.<\/p>\n The downsides? Two that I know of. Supposedly these more complex systems are prone to break down. Well, all the linear Technics units I’ve seen, still play on nicely after 35 years. Second, you’re supposed to be able to hear the servo as it pulls the arm in short bursts every 2 grooves or so. Well, I don’t hear anything there either. Direct drive related downsides? Again, I don’t hear them. But I do hear the upside of Quartz lock though: perfect pitch and superb transients.<\/p>\n But I’ve only got MM cartridges to play with. The story might be different with the more sensitive MC variants. After all, the signal is much weaker and needs to be amplified more, and in the process, more rumble might be picked up. I don’t know. And I don’t really care. They are just too much fun.<\/p>\n SL-7<\/strong><\/p>\n In the SL7, the arm assembly is built right into the cast aluminium lid, as opposed to being built into a separate folded metal part in the J3. Contrary to what is said on the Vintage Knob site (“The SL-7 is an SL-10 sans built-in MC preamplifier, with less aluminium and more plexiglass”), the SL7 has very little in common with the SL10 and SL15. The Vintage Knob is right in that the SL7 lacks a MC to MM preamp, but otherwise, the info is wrong. SL10 and SL15 are actually practically the same machines, but the SL7 stands out.<\/p>\n Compared to the earlier SL10 and SL15, the later SL7 has completely revised electronics, a simpler platter motor and a different arm mechanism. The latter still works via motor-worm-wheel-waxed-rope, but the plastic assembly covering the rope is very different. The arm itself is also slightly different, as is the locking mechanism. Oh, and the SL10 and SL15 have a mostly metal puck, while the SL7 has one entirely made out of plastic. The SL7 and SL10 also sound very different. “Oh dear, there he goes again”, some readers might think. Yes: I’m saying that I hear clear differences between SL10\/15 and SL7 using the same cartridge and styles, and the same 1.4-gram tracking force (needle pressure).<\/p>\n btw: Technics recommends 1.0 – 1.5 grams, aiming for a centred 1.25 grams. Importantly and conveniently, all T4P cartridges and stylii are made to this spec. Even so, I found that it is good to check the actual tracking force with a digital meter and adjust accordingly, not only relying on the mechanical indicator.<\/p>\n Initially, I noticed that 1.4 is just right: 1.5 makes for better bass but kind of suffocates dynamics and fluidity. Lower settings improve fluidity and air but at the cost of bass power. For the remainder of part 1 of this review (this page), I used all Technics T4P turntables with a calibrated 1.4 grams tracking force. However, recently I found out that the EPC-540 cartridge in the SL-7 was slightly loose and I tightened it, without giving it another thought. When I had a friend over a few days later and we listened to the SL-7, I found that it sounded a bit restrained and too controlled. It then occurred to me that my preference for a higher than usual tracking force may have sounded better only because the cartridge was not fixed in place well enough. I recalibrated to 1.25 grams and yes indeed: back was the fluidity and agility. So, from this point forward (next page of this review) I calibrated all Technics players to 1.25 grams.<\/p>\n For best tracking, as well as lowest wear, some believe that tracking force better be nearer to the highest value that the manufacturer recommends, while others believe that it can better be set nearer to the lowest. Opinions on this matter differ, and even the experts can’t seem to agree, so I suggest you experience for yourself and form your own opinion.<\/p>\n Tracking Force (Needle Pressure)<\/strong><\/p>\n How did I manage to measure tracking force with these Technics players? It’s a bit tricky actually because they’re made to be foolproof. They won’t lower the arm unless there’s a record on, and not unless the platter is spinning. Here’s how I do it. First I trick the player into thinking the lid is closed by pressing the contact switch, then move the arm to the middle position and switching off power so that it stays there. Unfortunately, it is really, really dummy proof and it raises the arm again right after switching off the power.<\/p>\n Ultimately I found a way to jig the arm lowering mechanism, simply by blocking the lever that takes it up again. I then place a digital needle pressure reader in the right spot and carefully lower the lid.<\/p>\n Oh, it looks like if one really wanted, the counter weight’s position could probably be changed slightly, further enabling tweaking (negating) the spring’s tension.<\/p>\n That’s an original Technics EPC-P540 in the SL7: a big improvement over an EPC-P202 which itself seemed to be an improvement over the P24, but perhaps my particular P24 was not in optimum shape, as apparently all the Technics P-mount bodies are the same. There’s a scale indicator for the needle pressure near the adjustment screw all the way at the back of the top cover, under the arm, but it’s not very precise. It’s supposed to be at 1.5 grams in the middle position, but I already measured enormous differences between the various players when set to that middle position. The screw tensions a spring that adds pressure to the metal weight that is at the end of the arm. This is how these turntables are able to play vertically. However: too much spring tension can have a dynamics crushing effect (Thorens owners take note). That’s why I like to keep it slightly under the recommended 1.5 grams.<\/p>\n Sound – J3 versus SL7<\/strong><\/p>\n The big difference in sound between the J3 and SL7 is in timbre\/tonality and dynamic behaviour. While the J3 is very lively and engaging and has a beautifully open midrange and treble, it is also devoid of colour and sounds a bit synthetic. Pianos sound more like keyboards. And bass, while fast and articulate, is less than full-bodied. The J7 sounds much fuller, yet less coloured. It’s almost as if you can hear the calming effect of using lots of aluminium\/mass. However, the SL7 sounds dynamically more compressed: all sounds being seemingly equally loud.. Not good. Setting the needle pressure to 1.4 grams helps, but not enough.<\/p>\n Next suspect item was the clamp. While it may look loose and wobbly when touching it hanging from the lid, it actually contains a spring and is pressed tightly to the record when the lid is closed. That’s the other reason why these players can play vertically. But I remember from earlier turntable days that clamps, especially heavy ones, do more damage than good. They improve sonority and calmness but, you guessed it, they crush the dynamics. The player still sounds fast (it doesn’t have pre-ringing, like a CD player) but still it’s like the transients are stopped in their tracks before reaching full potential, in a word: they sound topped off. Removing the SL7 clamp is not very difficult, but it requires unscrewing a lot of screws, and careful removing of the plastic part of the lid. With the SL10 it’s a little bit more fiddly as it requires the removal of the plastic inside cover that can’t easily be totally removed.<\/p>\n With the clamp removed and used with the same EPC-P540 cartridge in the J3 and SL7, the SL7 now sounds just as fast and dynamic as the J3, but with much fuller tonality and no synthetic feeling whatsoever. For fun, I momentarily placed the puck back on the record manually, without the spring, but even that has an influence on the sound, and I don’t like it.<\/p>\n SL-15<\/strong><\/p>\n The same owner of the J3 then brought along an SL-15. Turns out he has a whole fleet of these preciousnesses. The J15 is the big brother of the J10 and it is built almost exactly the same. Obvious difference is the track programming section on top and this is actually very cool: the player scans the record and makes a distinction between the tracks which can then be programmed to play. Say you like only track 2 and 3 then just put on the record, close the lid, press the buttons 2 and 3 and off you go. Well, not always. Maybe the electronics are a little off, or not all records have clear enough distinction between the tracks, but it doesn’t always work. But never mind: the rest still works beautifully, and in playing the SL15 sounds a lot like the SL10. Please note though that the record clamping puck for the SL10 and SL15 is made mostly of metal as opposed to all plastic, and that this means that its negative influence on dynamics is even bigger than with the SL7. Because I don’t own the SL15, and the owner doesn’t want to have the puck removed, I will leave it aside for further comparisons.<\/p>\n Coming Up Next<\/strong><\/p>\n In the next instalment of this review, I will directly compare the SL7 and SL10 with the same EPC-P540 MM cartridges, and I will see what the influence is of the Artesania platforms on which they sit. Also, I have obtained another SL10 with an original EPC-310-MC cartridge and I will discuss the benefits and downsides of MC versus MM by means of 2 different phono preamps: the Musical Fidelity M1 Vinl and the Jeff Rowland Cadence.<\/p>\n What’s more: I managed to borrow a beautiful Avid Volvere with SME 309 tonearm from Ben Hoedjes, proprietor of Studio Alkmaar<\/a>, an audio store in Alkmaar Netherlands, that sells new and second hand high-end audio equipment.<\/p>\n The Avid Volvere will be compared directly with the best of the Technics direct drive crop. Will the Avid crush them? Or are the differences not all that large? All will be revealed in the next instalment!<\/p>\n <\/p>\n Avid Volvere turntable, Grado and Benz cartridges and Musical Fidelity M1 Vinl phono stage kindly supplied by Studio Alkmaar<\/a><\/p>\n The SL-DL1 is the only Technics turntable I tried thus far that doesn’t have quartz lock. It’s still direct drive, but not referenced by a Quartz PLL, which means that you can\/have to manually set the correct speed. This is done neatly via a viewing prism that shows the bottom part of the platter which is spotted much in the way that the SL1200’s platter is. Via a built-in strobed light you can then see the dots on the platter move forward, backward, or stay perfectly still. In this particular sample, the adjustment wheel had to be set all the way to the maximum, indicating somewhat drifted off values in the electronics, but nevertheless, it still worked well.<\/p>\n Speed<\/strong><\/p>\n I can’t say that this non-Quartz model sounds different from a Quartz model in terms of speed, accuracy or the (absence of) cogging which is supposedly plaguing all direct drive players.<\/p>\n I never hear any speed instability with any of the Technics players I have or had at hand at all, but I think I am starting to understand the related effect of this, which seems to be faster start-stop transients, at the expense of less decay\/sustain, when compared to belt-drive turntables. I’m still investigating this though, so wouldn’t want to make hard conclusions at this stage.<\/p>\n Sound<\/strong><\/p>\n For judging the DL1’s sound, I used the very same cartridge and stylus as I use in the SL7, and set up both players on the same platform. The DL1 can be said to be based loosely on the SL7, with most elements being the same except for the width of the player and without Quartz lock. Most importantly though, the upper part of the DL1 cabinet (to which the platter is mounted) is made of plastic. And this really shows in its sound, the DL1 sounding closer to the J3 than it does to the SL7. The latter sounds much more luxurious, full-bodied and rich.<\/p>\n What I do like is that the DL1 doesn’t have a record clamp, as I routinely remove it from the players that do have it, leaving a rather “work in progress-esque” exposed well in the cover when it is open.<\/p>\n Technics SL1200<\/strong><\/p>\n To add some more balance to this review, I connected a Technics SL-1210, the black version of the SL-1200. Hardly what one would call high end and not the most characterful player in the world, but still I have to say that it performs admirably. It has a very transparent, airy and overall pretty neutral and friendly sound and it seems to be even more pitch accurate than the SL7 and SL10, which aids DJ’s and audiophiles alike.<\/p>\n Compared to the SL-7 and SL-10, the SL1200 could do with more body through the upper bass and lower midrange and it also lacks the euphonic richness that the jacket size spinners seem to naturally have. The first cartridge I used in it is the Grado Statement Platinum 1, which was adjusted with the excellent Acoustic Solid protractor. Set up like this, the SL1200 produces a somewhat thin, but dynamic, well paced, free-flowing and relaxed sound, with lots of air and great transparency. The SL-1210 is lots of fun and sounds much better than audiophiles would want to admit, but I prefer the more luxurious presentation of the SL7 and SL10 and in any event, all Linear Tracking Jacket Size players track a lot better than the SL1210 does with the Grado.<\/p>\n To further up the game, I installed a much more high-end cartridge: the Benz ACE SH<\/a> high output MC. This cartridge costs a lot more than the SL1210, so this is a bit silly but still interesting. Like the Grado, the Benz ACE Hi Output MC cartridge was adjusted using the Acoustic Solid protractor and after raising the tonearm to adjust for VTA and re-adjusting the VTF to cater to the much heavier Benz, listening resumed.<\/p>\n Above I stated that the Linear Technics players tracked much better than the SL1200 with the Grado? Well, guess what? With the Benz ACE, the SL1200 tracks even better. Yes, also on the last track. The secret is in the much more refined needle shape: a very fine line versus a normal elliptical shape for the SL7 and SL10. The Benz even tracks my most worn album as if it is in perfect shape.<\/p>\n The Benz doesn’t make for the best combination though, it being too clinically precise for the already thin-sounding SL1200. It works better with warmer and fuller sounding cartridges.<\/p>\n Avid Volvere<\/strong><\/p>\n As part of the Artesania Turntable Platform reviews, I managed to get on loan from Studio Alkmaar a magnificent Avid Volvere turntable. While in terms of price no proper comparison material for the Technicses, of course, I did compare it to them, with interesting results.<\/p>\n As I learned quickly, a turntable’s sound quality is heavily dependent on the marriage between player, arm and cartridge. Even with a very good phono preamp, the sum of the total can still be underwhelming. This I gather was exactly the case with the Volvere. No matter which cartridge I tried, it wouldn’t sound right. Sure the Avid had deeper, more tuneful and more powerful bass, its midrange was both more detailed and more natural, its timbre much more natural, and its treble more precise… but it didn’t move me emotionally in the way that the humble Technics SL7 did. Apart from my apparent inability to find a well matching cartridge, I also feel that this feeling of overt control may be partly due to the heavy clamp that the Avid uses and without which, the turntable cannot be used.<\/p>\n Cartridges<\/strong><\/p>\n I tried the Grado Statement Platinum 1 and Benz Micro ACE SL. Both I think were not a good match with the Avid, the Grado sounding too lacklustre and the ACE sounding too technical. By now I have some more cartridges in house that I suspect will work better, such as the Audio Technica AT33EV, but alas, the Volvere is long back to Studio Alkmaar.<\/p>\n Clamp<\/strong><\/p>\n For every Technics jacket size linear tracker I tried, removing the sprung clamp resulted in a freeer sound with subjectively better dynamics, the players all sounding restrained with it in place. Seeing as the Avid goes one step further by incorporating a concave platter (higher on the inside than on the outside), it necessitates the use of the clamp for forcing the record to ly flat on the platter. Unfortunately, the platter being concave prevents experimenting with not using the clamp. And as a result, even if the Volvere is technically superior in every aspect, my emotions run deeper when listening to the Technics SL7.<\/p>\n Read more about the Avid Volvere in the Artesania Turntable Platform review.<\/p>\n Big Boy – Yamaha PX-2<\/strong><\/p>\n Let me tell you boys and girls: this beast of a turntable really is something else. Until now the Technics SL7 was my favorite, but the Yamaha effortlessly and unashamedly puts the SL7 in its place. Even if I found the SL7 to sound much more real than the cheaper, plastic J3 and co, compared to the PX2, the XL7 sounds more synthetic and much less acoustically convincing. Of course the comparison is a bit off because the SL7 cannot take a high-end cartridge and as a result, its P202 cartridge + Tonar replacement stylus is much well-resolved, and also tracks less well than the Benz Ace SH in the PX2. The SL7 still sounds very nice, but it is quite simply outclassed by the Yamaha.<\/p>\n Repairs<\/strong><\/p>\n The Yamaha really deserves its own article, but in a nutshell, I bought this unit “for repairs or parts” and had it shipped all the way from San Jose, California USA to Amsterdam, the Netherlands. Of course, it didn’t play right away and I had to do some surgery involving replacing a worn belt and a whole lot of cleaning. Then it played, but using the cartridges I had at hand, just not very beautifully.<\/p>\n Cartridge swapping<\/strong><\/p>\n I tried the Technics P202 (p-mount with adapter) with Tonar replacement stylus, Grado Statement Platinum 1 and finally the Benz. The Benz did the trick and brought the PX2 to life. It may be a little bit over clinical in some cases, really showing you which records are less than well recorded, but in general I really like how it takes the PX2’s inherent powerful sound and adds to that with deep, solid bass and very Wadia-like midrange timbres (ie a little bit hard sometimes, but highly communicative). Some might prefer a more lush\/fluid presentation and that can be achieved using Denon or Audio Technica cartridges. My best match at this moment is with the Audio Technica AT33EV MC cartridge.<\/p>\n Postscript<\/strong><\/p>\n I am thankful for my friend bringing by the humble Technics J3. In retrospect, it is not a great player, but still, it managed to get me to take my focus off digital and back onto analog. In spite of its cheap quality, it managed to show my Wadia a thing or two about emotional involvement. The J3 quickly gave way to the SL10 and SL7 which both really sound very good, much better than many other turntables in their price class I’m sure, and even in the context of higher-end players, they both perform admirably. They have a colorful, relaxed yet agile sound with deep, powerful bass and they make almost all your records sound good. For carefree listening, they are just perfect.<\/p>\n In the process, the Technicses paved the way for big boys such as the Yamaha PX2 and Pioneer PL-L1000, and eventually, “normal” pivot arm turntables such as the Thorens TD160MKII, Linn LP12 and Avid Volvere, as I learned that tangential tracking may not be a prerequisite for perfect tracking as long as a very good stylus is used.<\/p>\n These players were the perfect re-introduction to analog for this spoilt convenience lover. I still like the convenience in these handsome “jacket size” players, of slapping on a record, closing the cover, hitting play and be on my way to the couch. It’s also very convenient that you can skip tracks without having to open the cover, and I want to emphasize once more that while I recognise that these players are old, and the electronics settings may wander far from their initial settings, most of them just play on without a care in the world. Where I did notice that the arm’s angle was off, this was easily adjusted and I have no doubt that as long as the correct azimuth is set, VTF is measured with a digital scale (not relying on the built-in values), and a good quality stylus is used, these players will continue to play just fine for a very long time.<\/p>\n Replacement Stylii and overhang<\/strong><\/p>\n Finally, stylii vary greatly, no make that GREATLY, in quality. I will write an extensive review of replacement needles, but in a nutshell, I can already say that all replacement stylii I tried except for Tonar, are absolutely terrible. The best ones can be had from Jico, and if you can stretch to $130 + shipping and duties if applicable, go for the SAS types. Please bear in mind that T4P may be a very convenient standard and it actually works well, but is not made specifically with linear trackers in mind. All the replacement stylii I tried had varying cantilever lengths, some of which were multiple mm too long, which means that there is permanent mistracking because the overhang cannot be adjusted with T4P arms.<\/p>\n Blocking the arm lift to allow measuring Vertical Tracking Force<\/strong><\/p>\n Measuring VTF seems impossible with these turntables because as soon as you stop the platter from turning or switch off the player altogether, the arm comes up. The simple technique below works for SL7, SL10 and SL15 and probably many other Technics players.<\/p>\n First, move the arm to a one-third position to the left to allow placement of the needle weight measuring scale. Naturally, I forgot to do this before taking the below photos.<\/p>\n Then use a toothpick to force the sprung arm lift down and lock it in place so that the arm also comes down.<\/p>\n Then while holding the toothpick in place, break it off just above the point where it touches the plastic cover to prevent it later touching the LP. Make sure to switch off the record player prior to placing the scale, otherwise, it will fly off the platter and might be damaged. Now measure the VTF by lowering the lid (and with it the arm) into position onto the scale.<\/p>\n Note how low the cartridge is now, even though the arm lift is up?<\/p>\n This is how it is normally positioned.<\/p>\n Associated Equipment<\/a><\/p>\n Thorens TD1601 turntable compared to TD160 Super, TD160mkII, TD125mkII, and Linn LP12<\/a>![\"Turntables-compared-550pix](\"http:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2016\/02\/Turntables-compared-550pix-IMG_2913.jpg\")
<\/p>\n![\"Technics-linear-tracking-tt-550pix](\"http:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2016\/02\/Technics-linear-tracking-tt-550pix-IMG_3050.jpg\"){kind=tracking}
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<\/p>\n![\"Technics-linear-tracking-tt-550pix](\"http:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2016\/02\/Technics-linear-tracking-tt-550pix-IMG_3234.jpg\"){kind=tracking}
<\/p>\n![\"Technics-linear-tracking-tt-550pix](\"http:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2016\/02\/Technics-linear-tracking-tt-550pix-IMG_3213.jpg\"){kind=tracking}
<\/p>\n![\"Technics-linear-tracking-tt-550pix](\"http:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2016\/02\/Technics-linear-tracking-tt-550pix-IMG_3229.jpg\"){kind=tracking}
<\/p>\nTechnics SL-DL1 and other SL-7 challengers in the shape of turntables like Avid Volvere, Yamaha PX2, Pioneer PL-L1000 and, just for fun, an SL1200.<\/h3>\n
![\"Technics-linear-tracking-tt-550pix](\"http:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2016\/02\/Technics-linear-tracking-tt-550pix-IMG_3963.jpg\"){kind=tracking}
<\/p>\n![\"Technics-linear-tracking-tt-550pix](\"http:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2016\/02\/Technics-linear-tracking-tt-550pix-IMG_3953.jpg\"){kind=tracking}
<\/p>\n![\"Technics-linear-tracking-tt-550pix](\"http:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2016\/02\/Technics-linear-tracking-tt-550pix-IMG_3941.jpg\"){kind=tracking}
<\/p>\n![\"Technics-linear-tracking-tt-550pix](\"http:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2016\/02\/Technics-linear-tracking-tt-550pix-IMG_3418.jpg\"){kind=tracking}
<\/p>\n![\"Technics-linear-tracking-tt-550pix](\"http:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2016\/02\/Technics-linear-tracking-tt-550pix-IMG_3670.jpg\"){kind=tracking}
<\/p>\n<\/p>\n![\"Technics-linear-tracking-tt-550pix](\"http:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2016\/02\/Technics-linear-tracking-tt-550pix-IMG_3526.jpg\"){kind=tracking}
<\/p>\n![\"Technics-linear-tracking-tt-550pix](\"http:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2016\/02\/Technics-linear-tracking-tt-550pix-IMG_3859.jpg\"){kind=tracking}
<\/p>\n![\"Technics-linear-tracking-tt-550pix](\"http:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2016\/02\/Technics-linear-tracking-tt-550pix-IMG_3864.jpg\"){kind=tracking}
<\/p>\n![\"Turntables-compared-550pix](\"http:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2014\/12\/Turntables-compared-550pix-IMG_4219.jpg\")
<\/p>\n<\/p>\n![\"\"](\"http:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2014\/11\/Technics_VTF_IMG_1082_550pix-550x367.jpg\")
<\/p>\n![\"\"](\"http:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2014\/11\/Technics_VTF_IMG_1085_550pix-550x367.jpg\")
<\/p>\n![\"\"](\"http:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2014\/11\/Technics_VTF_IMG_1099_550pix-550x367.jpg\")
<\/p>\n![\"\"](\"http:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2014\/11\/Technics_VTF_IMG_1100_5450pix-550x367.jpg\")
<\/p>\nThat’s all, folks!<\/h3>\n
Videos on the Hifi-Advice YouTube Channel<\/h3>\n
\nHFA Front Page<\/a><\/p>\n \r\n Related Posts<\/div>\r\n \r\n\r\n \r\n \r\n \r\n\r\n ![\"\"](\"https:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2025\/02\/Technics_SL_alle3_4X3A8296_corr_1500pix.jpg\")
\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Technics Grand Class SL-1200GR2, SL-1300G, and SL-1200G <\/a>\r\n\r\n <\/div>\r\n \r\n \r\n \r\n\r\n ![\"\"](\"https:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2024\/03\/Thorens_TAS160_TAS1600_TAS1500_4X3A5821_750pix.jpg\")
\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Thorens TD1600 Turntable with TP 160 Tonearm <\/a>\r\n\r\n <\/div>\r\n \r\n \r\n \r\n\r\n ![\"\"](\"https:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2024\/03\/Thorens-TAS1500-TAS1600-4X3A7277_750pix.jpg\")
\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Thorens TAS 1500 and TAS 1600 <\/a>\r\n\r\n <\/div>\r\n \r\n \r\n \r\n\r\n ![\"\"](\"https:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2015\/10\/AT-OC9XML-en-AT-OC9XSL_4X3A4472_v2_750pix.jpg\")
\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Audio Technica AT-OC9XML and AT-OC9XSL MC Cartridges <\/a>\r\n\r\n <\/div>\r\n \r\n \r\n \r\n\r\n ![\"\"](\"https:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2023\/12\/Denon_DP-3000NE_4X3A4307_750pix.jpg\")
\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Denon DP-3000NE Direct-Drive Turntable with DL-103, DL-103R, and DL-A110 Cartridges <\/a>\r\n\r\n <\/div>\r\n
![\"\"](\"https:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2023\/11\/Bergmann_DS_Audio_4X3A4535_750pix.jpg\")
\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n ![\"\"](\"https:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2023\/04\/AVID_BORON_4X3A0195_750pix.jpg\")
\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n ![\"\"](\"https:\/\/www.hifi-advice.com\/blog\/wp-content\/uploads\/2022\/10\/Stylus_Cleaners_4X3A9967_750pix.jpg\")
\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n