I’ve had 1210’s for just about 15 years now, and they treat me well. I’ve always wanted to upgrade to some of the newer models, and recently, that had me thinking…
For the most part, everyone who is into this type of thing always wants the newer model decks. Now I know this is a stretch, but I’m really starting to think that maybe it’s not the best of ideas. Since just about everything is used at this point, I’m starting to think that maybe the older 1200 MK2 is the safest bet. All models are the best there are as far as turntables go, but the MK2 models have one thing that none of the other models have… 20 + years experience of being beaten on in clubs. There’s really no reason why the newer models can’t be as good, but it did have me thinking. Logically, the older ones were put together with components in a time where equipment was built to last. In the past 10-20 years, electronics have been manufactured with a disposable culture in mind. Granted… half the decks out there have been updated, repaired, and replaced with the same components that are in newer stuff, but I feel like a privately owned set of 1200 MK2’s that were bought new in the late 80’s-mid 90’s wil be better than any turntable out there, and FAR more dependable. That being said, good luck finding and verifying that kind of find.
Couldn’t agree more. I have no idea if newer Technics are built to any lower standard than originals - but all of the MKII’s I’ve had or used are solid as a rock.
The friends that have played on them a lot, most said MK5 or M5G models are good too, step up from the 1210 MK2. But yeah, MK2 tables are most common and stand the test of time.
I would like to get a pair of Technics as well one day, guess more for nostalgia purposes as well as playing. I’m gonna have to find them locally cause ebay wants too much.
Honestly the only real difference you will notice and the thing I care about with all models after the MK2 is the pitch reset button. There are other tiny differences you won’t notice, especially if you are modding them for LED popups anyway. If you are used to mixing on a MK2 fader with the quartz lock at 0 and like it no reason to change. M3D, MK5, and M5G are all the limited are all pretty much the same to me (I don’t think anyone really uses the 16% pitch range on the m5g as much as they expect to and it didn’t do much for me).
From years of repairing and servicing Sl1200’s and SL1210. I find the components are very much the same. There are slight differences like trim pots and slight component differences, diferent pitch fader PCB’s etc but, otherwise they are all very much the same quality of build. In my mind I does not matter how old the deck is only as long as it has been well looked after and serviced through out its life.
Also I totally agree with the other peeps here that all the models in the SL1200 range are very similar in there make up. A few have little tweaks here and there but, to me they all have the same feel when your playing them.
I’ve had so many Technics turntables in the past. My first Techincs was a pair of MK3 which I acquired in 1991. They come and go but the ones I kept and didn’t sell are my MK3Ds (Japanese version of M3D) which I got in 2003. I’ve also owned MK2s, MK5s and M5Gs but sold them because the M3D/MK3D is the perfect model for me and these are my reasons why…
-recessed switch knob
-reset button. Not really necessary but it’s coll having it.
-no “tick” pitch control (although this featire can be done on other lower/older models)
-I have no need for a 0-6 anti-skate adjustment found on the MK5, M5G/MK5G, MK6. Because if your tonearms are properly set and calibrated with your headshell/carts, then 0-3 is more than enough.
-I have no need for the extra pitch range found on the M5G/MK5G.
I also think there’s something to be said for being able to play on the MK2’s with it’s different pitch slider than some of the newer models, with the click. I had only used MK5’s before I bought my MK2’s (at least in the 1200’s range) and it threw me off a bit at first, but it was pretty easy to work around once I got into the swing of it.
If it ain’t broke, don’t fix it right? Well, there’s something to be said for the longevity of the 1200’s in any flavor. I don’t know enough about the internal components to make a real judgement call though.
But I do think it’s easier going from a MK2 pitch slider to a new model (M3D, MK5, M5G) slider, and that’s something to examine as well.
I run M3D pitch faders in my MK2 decks. No real difference in them apart from a slightly different resistance calibration and of course no dreaded quartz click.
My understanding is the main difference is the dipless pitch control (and greater anti-skate & % on ltd MK5’s I believe), which is very useful when hovering around the 0% mark. The direct drive mechanism hasn’t changed as far as I know. I’ve stuck with my MK2’s as I’ve never had a problem so never really needed to change.
The M3D fader will fit no probs however you will still have the quartz lock zero point. No real biggy. If you want a super smooth transition from + to - pitch simply clip the orange wire going to the pitch PCB and also clip resistor number TP17. After this has been done the quartz lock has been disabled. You will need to recalibrate the pitch fader via pot VR302 then calibrate the turntable speed via pot VR301. I have done this mod many times. Once the calibration has been done the pitch is super smooth and there is no gap between + and - pitch it is a perfect transition.
Thanks Xone/audiolive - much appreciated. I’ve seen the vids for both of those mods You’ve just clarified what I HAVE to do! A couple of questions:
I understand calibrating the pitch fader (to ensure you ONLY have one zero point - actually at the 0 mark) at VR302. Is this the pot that has to be set to 2.7kohms? Or is the only way to set it trial and error (tiny adjustments)?
If pot VR302 is properly calibrated, why do you snip the orange wire and the resistor? If the fader is properly calibrated, what is the need for disabling the zero% quartz lock?
I’ve seen a vid on youtube where this mod is carried out (orange wire snipped, resistor snipped, fader calibrated, etc…) and the green light still comes on at zero. I want to ensure that if I do this mod the green light is still active at zero. Is there anything else I need to do so that this happen?
Xone and audio can correct me if I am wrong; but I believe you snip the wire and resistor to guarantee that the only zero point you get is from the calibration of the fader and do not have issues from the quartz circuit creating a second.
1 the mk5 and m3d faders have a slightly different calibration resistance to the mk2 faders. I always do it by eye with the zero dots on the platter.
2 the reason for this mod is there are basically 2 circuits on the techs. The reason for the mod is a perfect transition from 0 in either direction. On a stock deck you will find when you move the fader in either direction there will be almost 1cm sometimes a bit more before quartz lock is switched of and the pitch shift becomes active. This can be a real pain in the ass when many of your tracks are a similar bpm. So the mod will still have a zero point however it will not be quartz lock 0. So as soon as you move the fader in either direction the pitch will shift instantly.
3 yes the led will light on zero. You set your calibration of the fader pot v302 when the 0 LED lights. No other mod is required for this to happen.
Yes but, a correctly calibrated stock table will only have 1visable 0 point. Essentially the 2 circuits are calibrated to be at zero at exactly the same point on the fader. In saying this though the quartz lock tracks in the fader are fairly long meaning it will take around 1cm in either direction of fader movement before the quartz circuit switches out.
