Technics LINEAR tracking turntables

This is a design philosophy that has been extended to other Japanese industries - continous improvements on a proven design. That is why I have never owned American cars.

 

I'm not sure why anyone would purchase a vintage linear tracking turntable unless it is for nostalgic reasons. No one makes Linear tables anymore for a reason and the parts are very difficult to find for most vintage tables if they need repair.

 

True. But linear tracking is supposed to be almost exactly the process by which the master record was cut (or whatever is the right terminology) before mass production (i.e. pressing) begins. A linear tracking turntable is the closest to this original production process and that was the reason linear tracking turntable was designed.

I think it is nostalgia as there are still people who play LP's, myself included.

 

Says the man still using a McIntosh MX130??

 

I like vintage gear - not saying it is bad. I use two Nikko Alpha VI amps to vertically bi-amp my B&W 804s but wouldn't consider using a Linear table unless it had an air bearing tonearm or had some nostalgic significance for me. I understand why some people still like them. The MX130 used in stereo mode only for me. Still a nice pre but of course one can always find different or better.

 

I play LP's too. Linear tracking tables were great in philosophy but not in execution. Unless you are using an air bearing tonearm I don't see the point other than nostalgia.

 

Exactly. My point being, many LT's still work very well and still sound very good with the right cartridge; so, why not? As mentioned by other owners, many really don't need very much in terms of servicing or repair.

 

I happen to own an air bearing tonearm, as well. The SL-M3 is not demolished by it. The air bearing is better; but, the M3 holds it's own. (The M3 also has a titanium nitride arm tube.) Both sound better than many traditional pivoted arms I've heard. The main advantage of the air bearing is that I can use dang near any cartridge with it.

 

A good air-bearing tonearm alone would have cost $10K ...

 

This isn't an issue with CDs. Just sayin'...

 

If you go for streaming 100% of the time, all you need is a computer with internet connection and you will have none of the headache described earlier in this thread. Unfortunately, there are still people who have no access to broadband ...

 

My first stand-alone turntable was an SL-5. The world of counterweights and tracking forces remained a mystery for some time. (To be honest, I still don't understand most of it.)

 

You're right. You can find air bearing tonearms much cheaper but you get the point.

 

You can setup a music server on a PC without an internet connection if you are ripping your CD's to FLAC or another format. Better quality than the streaming services but it took me three years to rip my cd's and transfer my vinyl in 24 bit to my PC. HiRez downloads have been a big plus now with multiple vendors selling some nice sounding HIRez files if you are ok with not having the physical media. Of course, it sure helps with a good broadband connection!

 

coop, right now, I'm streaming a nice recording of Cal Tjader's Soul Sauce via Youtube to my system. Sounds great! No muss, no fuss. I live in the middle of nowhere but have 20 MBPS internet speeds.

I play my records on a linear Technics SL-QL1, play my CDs on a variety of players, but mostly, I stream music now. I couldn't care less if I'm not getting the Nth degree of fidelity. Sounds good to my ears and I'm exposed to far more music than I ever was before.

 

A modded SL-QL1 with a copper bonded platter; looks like an Ortofon X1-MCP cart?? That might get that Nth degree. TT next to it ain't too shabby, either.

 

The SL-M3 is nice but not built to SL-1200 or SP line standard, but is not too far from that level (still superb but cheaper) . Those are decent turntables, but neither is Top End. And once more, T4p mount hobbles these performance wise. The Ortofon also prefers to be tracked heavier than T4p allows. Therefore, it is not compliant in applications where strict T4p compliance is necessary, as it is tracked optimally at 1.8 grams. Love your copper platter mat tweak. I think that would be superb on my SP-25.

 

The turntable on the left is a SL-7 - just like mine!

 

One of the worst things you can do to one of these turntables is to not use it. The lubrication will get gummy. If you have a belt-driven unit and are not using it, make sure to disengage the belt from the motor - this prevents stretching.

 

SL-7 and SL-QL1 I pictured are not mine.

Different "audience". The M3 (like the M2 and M1A, for that matter) was not built like a drop-in broadcast drive unit (SP line) or 1x00MK2 series tables, by design. Clearly, Technics had a different demographic in mind. It would seem to me they were going after those who preferred the veneered look of similar Micro Seikis, Denons, JVCs, Pioneers and such, the fruit box as they call it, more "traditional".

Factually, the (quite heavy) M series tables have better rumble specs than the 1x00MK2 series and the SP series (with exception of the SP-10MK3). My M3 is much heavier than my 1200MK2. The M2 and M3 have titanium nitride arms, matching those of the standalone EPA tonearms. The 1x00MK2 series tables did not have TN arms. The M series also matched the W/F and speed accuracy specs of 1x00MK2 and SP tables (with, again, the exception of the SP-10MK3). As I mentioned, the platters of the M series tables were heavier and balanced; not so on the 1200MK2. The 13-1500MK2 (including the armless 150MK2) did have heavier balanced platters, as well. The M series tables also had more substantial/effective footers. However, you were not supposed to be able to drop the M series tables off a cliff and have them survive. They were supposed to be functional and be lookers... and they are. Top End is a relative term. For Technics, top end, I would think so... "drop from the 3rd floor" chassis, no.

The Grado p-mounts, as well as the Ortofons, were not perfect matches for the Technics LTs, by no fault of Technics. They offered their own carts, many of which, arguably, sounded better, anyway: P100CMK4, P310MC2, P205CMK4, etc. These carts (as well as many Audio Technica carts and even the p-mount version of the Shure V15) work plenty well in these TTs.

The SP-25 is nice though I think it's kind of a misfit in the SP line as it lacks 78 rpm which the SP-10MK2, 10MK2A, 10MK3 and 15, all had. But, then again, it's my understanding it was based off the 1200MK2.

Side Note: The M2 was not confined to T4P. It could also be had with an armtube that had a traditional SME coupling for use with headshells. They are extremely rare; but, there was that option. I'd love to find one.

 

Who cares as long as it works ...

 

Yeah, but the future is supposed to be hires streaming and physical media free ...

 

I don't do streaming and wonder if I ever will. I have some 10,000 recordings, from CD's to LP' to open-reels and cassettes. I do have a number of downloads, which I do not do often ...

 

Less than two years ago, I felt the same. I played records, CDs, and tapes. Then we got broadband in the boonies and close to 50 years of habits were turned on their head.

 

No. That's a total myth.