Technics Grand Class SL-1200GR2, SL-1300G, and SL-1200G
Review samples supplied by A Tube High Fidelity
Retail prices:
SL-1200GR2 – 1.998 euro
SL-1300G – 2.997 euro
SL-1200G – 4.470 euro
For the cartridges, see “Phono Cartridges Galore” on page 4
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 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 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.
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.
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.
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.
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, and later, the ultra-robust AVID Sequel SP. 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.
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.
To my delight, the then-new Thorens TD1601 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. 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. This is the power of an integrated concept. With no apparent vices sticking out, it became easy to get back to simply enjoying the music. This brings me back to the Technics turntables.
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!
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.
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.
SL-1200G
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.
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.
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!
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.
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.
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.
Brass-milled, gold-plated phono- and ground terminals with a metal shielding construction inside the case
AC input terminal (mounted sideways)
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.
The player is supported by high-damping silicon insulator footers with an outer construction milled out of aluminum.
Next: SL-1200GR2 Description
