Technics Grand Class SL-1200GR2, SL-1300G, and SL-1200G
Sidenotes
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.
Arm height control ring lock
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.
Arm height control ring scale
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.
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.
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.
Arm Lift Damping
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.
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!
Review Context
The three Grand Class turntables will be listened to and compared to one another in the main system using the Manunta EVO Phono 3 and M2Tech Nash phono stages. Other turntables available for comparison are the Thorens TD1601 with TP92 tonearm, the Thorens TD1601 with TP160 tonearm, and a classic Technics SL-12010MkII. The rest of the system comprises the CH Precision L1 preamplifier, CH Precision A1.5 power amp, and Magico S1 MkII speakers.
Phono Cartridges Galore
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:
- Audio Technica AT-OC9XML MC (599 euro)
- Audio Technica AT-33PTG/II MC (599 euro)
- Audio Technica AT-VM740ML MM (339 euro)
- Audio Technica AT-VM750SH MM (439 euro)
From my inventory, the following cartridges were also involved:
The AT-OC9XML MicroLinear (aka MicroRidge) MC is an old favorite. Sadly, it died prematurely due to a moment of inattention. It’s worth mentioning what happened to me in hopes that it may prevent someone else from encountering a similar mishap.
While comparing two phono stages, I had the record still spinning with the stylus in the lead-out groove, and the power amplifier was muted. As I swapped the cables between the two phono stages, the stylus unexpectedly jumped out of the lead-out groove and onto the label portion of the record. I could not see it initially, but the damage had been done. After queuing the stylus, it quickly skated to the center of the record. Upon inspection, it became clear that the diamond tip had been shaved off entirely. Later, I discovered the cause of this issue: I had mistakenly connected the phono cables to the phono stage’s output instead of the input, creating an oscillation loop that made the stylus jump. Such is life, and this is undoubtedly one mistake I will not be making again! In any case, A Tube was happy to supply a new sample for the review, which I treated extra carefully!
The AT-33PTG/II MC cartridge is new to me. It has a very precise MicroLinear stylus, but it is said to sound smoother and warmer than the AT-33SA or the AT-OC9XML, both of which I used with the Thorens TD-1601 turntable. I’m a sucker for articulation and precision, but if the new Technics players performed in line with my expectations, the AT33PTG/III cartridge might potentially harmonize very well.
The AT-VM740ML (MicroLinear) and AT-750SH (Shibata) are two variants from Audio Technica’s best MM cartridge series. This review marks the first time I will hear them, although I have earlier experience with the former’s predecessor, the ATN-150MLX.
I have a special preference for MicroLinear/MicroRidge types for their super-articulate and precise bass, but I should note that these stylus types can, under certain circumstances, also verge on the clean and dry side. That’s why I also asked for a Shibata variant, which is, to put it very simply, a Special Fine Line with an elongated back end. This is an oversimplification; please see the Stylus Shapes article for all the details on the subject.
Under equal circumstances, the Shibata stylus is usually smoother and richer-sounding than a MicroRidge or MicroLinear stylus, making it an interesting variant to try in this context.
Finally, having these MM cartridges also creates a perfect opportunity to see how much of a performance gap there is between them and their MC counterparts.
Setting the baseline
Before diving into the main listening comparisons, I wanted to prepare myself and set a baseline using the classic Technics SL-1210MkII. As mentioned in the foreword, I have always found this player to be a two-edged sword. On the one hand, it has an immediate, upfront, and exciting sound, but on the other hand, I find it lacks body, tonal saturation, and soul. While rhythmically surefooted, I always found it ultimately sounding gray, restless, and somewhat shouty. And, sure enough, hearing it again and comparing it to either of the two Thorens TD-1601 turntables, it performed in line with my earlier experiences. I still like it for its particular strengths, but its weaknesses prevent me from wanting to own one. Now that I was fully primed, it was finally time to listen to the new players. I was excited to learn just how much they had improved. But first, I had to investigate the cartridges and find the ideal marriage for each turntable model.
Listening Part 1 – Cartridge Comparisons
The Nagaoka MP-150 worked superbly well with the AVID HIFI TA-3 arm, which is an OEM Rega RB-330, in combination with three different AVID HIFI turntables. However, with the two aforementioned Thorens turntables, the cartridge performed underwhelmingly. The cartridge worked a lot better with the Technics players, but both Audio Technica MM cartridges outperformed it in the areas of resolution, refinement, articulation, and overall precision. That is, in part, to be expected, given that we’re comparing an Elliptical stylus to a MicroLinear and a Shibata. However, it was still interesting to note, given that the Nagaoka and Audio Technica cartridges are similarly priced. Of course, there’s always the uncertain matter of achieving a happy synergy with a turntable, tonearm, headshell, and cartridge, meaning this remains a relative matter.
Every time I use the Denon DL-103 or DL-103R, I find that it has a unique charm. Its basic conical stylus can inherently not resolve fine detail and elicits sibilance on the s’es. Nevertheless, it always sounds nicely full-bodied, tonally richly saturated, smooth, and pleasingly musical. This cartridge harmonizes with the classic and new Grand Class Technics players as well as it does with the Denon DP-3000NE. Ultimately, though, the DL-103, even the R version, lacks the resolving power to elicit the best from the Technics players.
To my surprise, the AT-33PTG/II sounded far more romantic and relaxed than I had anticipated. Moreover, the (measurably visible) dip in the midrange made it sound less transparent and explicit than I liked. As a result, I did not feel this cartridge worked well with any of the Technics turntables. Unless you are looking for a particularly mellow and inoffensive sound, I recommend using one of the alternatives that achieve a livelier and more neutral balance.
Next up was another surprise because the AT-VM740ML and AT-VM750SH instantly formed hugely successful marriages with all three turntable models. As expected, the ML was relatively leaner and more articulate, and the SH was relatively smoother and more liquid. Unlike the AT-33SA I used before and ultimately found to sound a little too mellow, the AT-VM750SH was smoother than its MicroLinear counterpart but still infectiously upbeat, crisp, and expressive.
Given that the AT-33PTG/II has a similar characteristic mellow sound as the AT-33SA, and I recall the AT-33EV that I used before it also sounding similar, it seems evident that this “romantic” aspect is an intended quality for the entire AT33 range. In contrast, the OC9X range possesses a crisper and more direct sound signature.
Speaking of which, the AT-OC9XML MC cartridge was not in stock and would be delivered two weeks later. So, for the time being, I settled on using the AT-VM750SH Shibata MM cartridge to form my initial baseline conclusions while using the AT-VM740ML MicroLinear counterpart as an alternative.
Next: Listening Part 2
