Raul, BINGO on the damping paint. I am yet to encounter anything in the industry that works like the paint. I used it on my MARANTZ 7 STEREO CONSOLE preamp in a painstaking way. First I painted all the resistors and joints in the preamp. Next painted the chasis(three coats)and the tweaked power supply and the glass portion of the after market fuse. When people say blacker backgroung, it is a joke until you have performed this task and listen to the component in question. This preamp is a back-up unit for me but the drop in noise level in unbelievable. I will do it to my TT101 later but will first try the exercise on TT71 when it returns from Applied Fidelity. If you have a unit that you want to keep and have the schematic, go for the gusto. It works wonders on my ML Request speaker. The whole backplate of the speaker including the woofer cabinet was paint(three coats). The speaker is a different beast. Even the accompaning sub(Janis) received the same treatment but this time five coats. The only thing about the sub that vaugely resemble a Janis is the cabinet.
Nude Turntable Project
I could not fit the whole story in this Forum so have had to add it to my System Page.
I am attempting to hear if a 'naked' DD turntable can sound as good as Raul claims.
Please click the link below to read the story.
NUDE TT81
I am attempting to hear if a 'naked' DD turntable can sound as good as Raul claims.
Please click the link below to read the story.
NUDE TT81
481 responses Add your response
Dear Aigenga: Well the blend material I used only sees and apply as a white paint but certainly it is not a paint. I can't remember its industrial name and I don't know if even still in the market, what I know is that works great. I respect your opinion/take on the cones but as is possible to drain some TT vibrations in the same manner transmit vibrations coming from the granite that's a resonant material, yes is heavy but to resonant. Btw, I combined the pneumatic footers with the metal cones as you can read it in my virtual system: +++++ " Both TT's seats over three Audio Technica AT-616 neumatic suspension isolators with inverted Tip Toes ( position ) on top of these AT isolators. Anyway, you have the whole idea. Regards and enjoy the music, R. |
Halcro and Gary: In this thread (here), dgad and dgarretson suggested using springs underneath the platform that supports the tt. The thought was that one could control the frequency at which the platform moves by calculating the load on the spring. Choosing a lower freq outside the audible range will ameliorate your issue, Halcro? I have no idea how to do the calculation but this should be kinderspiel for an architect. I haven't myself tried it, but I did something similar (I believe) when I had my sp10 on spikes resting on a sandbox which was in turn supported by 4 AT 616's (which are just fancy springs?). That set up was a great improvement over what I had before. I was going to buy the springs to test whether they could give me the same results--but for far cheaper than the 616's. McMaster-Carr has a bunch of different springs for different loads and compression rates: here |
Raul, I was thinking about a paint solution but decided that I had the space to use this 3M product and that it would be even more effective. I have the pneumatic AT footers under my pre-amp and I used to have them under my TT (I also used squash balls at one point)but decided that I didn't want any rubber creating a flexible suspension so I went with the cones. I don't expect them to damp anything but do hope that they will couple the TT to the granite and drain some vibrations from the TT. The platter on the JVC already has a ring of rubber-like material on it from the factory. I was afraid of putting anything additional on the platter for fear of effecting the balance. Your idea of the motor cover is an excellent one and I will gladly borrow it and dampen the motor cover on my TT as well. Thanks. |
Dear Aigenga: A coincidence with your latest tweck: years ago I made it the same with my Denon's DP75/DP80, even I did it with both Denon platters ( the down side. ). I used sorbothane and works great I did it too with the MS RX5000 platter with good success too. Now, I posted somewhere ( not in this thread. ) that I used a damping fluid/paint that was used several years ago to damp internally speakers ( it apply as a paint. In my speakers I think I gave it like 2-3 layers of that " paint " and works wonderful. ). Well I used with the Denonn's motoer covers to damp it and works really good too. One " advantage " in the Denons is that that motor cover is not made it of one piece but three different ones and in some way when these parts were atached together trhough screws it damps in some way each to the other vibrations or at least change the frequency resonance and intrude the less on the final performance. The other experience I had and have with this very similar Denon/Victor is that " still points "/metal like footers does not damp almost nothing and at least in my set up the pneumatic AT footers are way better. Regards and enjoy the music, R. |
Halcro, I see all improvements as cumulative. I agree that the shelf can have a huge effect and must be addressed. And it MAY be a good idea to support the TT at the original support ring. But no matter what else you improve, if you don't damp the tin-can you will still have problems. Even if you decide (heaven's forbid) to go back to a plinth even a wonderful slate and unobtanium plinth, you need to damp that can. I would also damp the chamber under the platter. By the way, no matter how high I set the volume I don't get feedback. $7 and two hours and you will be much happier. Gary |
Hi Gary, Very interesting improvements and co-incidentally.......I have been testing and analysing the 'weakness' with the nude Victor as well. As you have discovered.....the thin perforated metal circular surround is, I fear, the Achilles heel to supporting the Victors on spikes? With the Technics SP10 models (as Chris has shown)..... it is possible (and preferable) to fit custom long tube spikes to the underside of the platter surround itself whereas it is exceedingly difficult to do with the Victors? The problem is structure-borne feedback as is mostly the case with turntables? Every supporting shelf is under 'stress' to some degree depending on its material, thickness and load, but most importantly.......on the 'span' and 'type' of span. In my case with the wall-mounted shelf.........the cantilevered nature plus the heavy load and wood core structure sets up a particularly 'nasty' stress pattern. What I have recently discovered is that 'stress' in any material....... creates a subsonic 'sound-field' within that material which is directly related to the 'level' of stress. I previously thought.....wrongly I must admit.....that lower frequencies could not 'bridge' the pointy end of a spike support? It is now known that they can and that spikes in fact 'couple' rather than 'de-couple'. The 'stress-induced' sound waves in my cantilevered shelf are being transferred to the thin metal surround of the Victor which in turn passes them on the platter surround, motor and spindle support which the stylus then 'reads'? This can be verified by placing the stylus on a record without turning on the motor......and then turning up the volume of the preamp until one can induce a loud low-frequency feedback loop through the speakers. You, Gary.....have tackled the problem at the resultant culprit.....the metal surround which can work well. I am going to attempt to tackle the problem at the 'source' by trying to prevent the transfer of this 'sound field' between shelf and turntable by isolation devices. I'll keep you posted......:^) |
Although I would like to have all of the electronics mounted remotely it doesn't seem practical - it sounds to me like many hundreds of dollars and weeks of absence - after I find someone to do it. As far as the rigidity of the base goes it is one piece of pressed steel supporting 7 lbs or so. Not a problem. Gary |
Victor 101 - Could you get rid of the flimsy bottom cover completely and mount the nude deck via an inverted tripod ? It doesn't look particularly rigid from the photos. Potentially could you remove the internal transformer and some of the electronic boards from the main chassis and mount them separately to eliminate as much vibration as possible. Make sure all internal joints are as rigid as possible. If you check out the Cotter and Kaneda versions of the SP10mk3 you can see what is possible in terms of stripping down to the bare essentials. |
Time to pick-up this thread again as I have made a notable improvement to my nude TT-101. Damping and draining vibrations is one area that all audiophiles are aware of and many try to address in any number of ways. I have previously worked on the vibration problems of the TT-101 in two ways: I put rubber bands around the sides of the tin-can base (an obvious problem area) as well as putting a support (I tried both a brass cone and squash balls) in the center of the bottom of the can and brass cones as feet to a granite slab base. (See earlier entries). But, I knew that I hadn’t done near enough to optimize this TT. By the way, all of these new improvements will work on turntables that are plinth-mounted as well. For previous turntables I followed the advice of a poster on another site who recommended using copious amounts of clay to fill-in cavities and cover surfaces and I found it worked but I knew that clay was the wrong material for the tin-can base of the TT-101, so I went looking for a different solution. I decided on 3M Sound Deadening Pads: http://multimedia.3m.com/mws/mediawebserver?mwsId=66666UuZjcFSLXTtOXMEMXMtEVuQEcuZgVs6EVs6E666666-- One pad costs $7 and was more than large enough to do the entire TT. They are designed to sound proof cars so are available where car parts are sold – I got mine online. I covered more than 60% of the inside of the tin-can including much of the bottom as well as the sides – necessarily covering a lot of the air-holes. I left enough of the holes open for air circulation (I had monitored the can for heat and after many hours of operation it was still at room temp so I knew it was not a big problem to cover some of the holes). I did leave the top edge of the can uncovered – the area where it mounts to the TT - so that a solid metal-to-metal contact remained and allowed vibrations to drain from the TT. I put a rubber-band back on the outside of that area of the can to damp it. I also covered 90% of the surface area of the cavity below the platter – to me this is just a resonating chamber left there for manufacturing reasons and in need of damping – see photo: http://s1106.photobucket.com/albums/h373/Garya1/Nude%20Turntable%20and%20DIY%20Arm%20Pod/?action=view¤t=TT-101damping003.jpg I also covered the bottom surface of the TT where it used to sit on the plinth – why not. The entire job took me about two hours. The material is very easy to work with and mistakes are easily rectified. I used dinner plates of various sizes as templates and a bowl to hold the TT upside down. A circular mat knife was perfect to cut the material – a scissors did well also. My first spin after putting it all back together was Brahm’s first piano concerto (Rubinstein and Mehta on London) an album that I know well and love. I was floored by the improvement in image solidity and full-volume orchestra clarity. Of course I asked my wife to come in and give me the true story – without my bias. After listening to the Brahms as well as Christopher Parkening (a rather long listening session for her) she gave me congratulations and confirmed a significant improvement overall. So, $7 in material and 2 hours of time, I guarantee you will be floored as I was. What are you waiting for. Gary |
Hi Lew, I have just returned home.....although your description of the 'stranger on the train' is tempting me to return to Positano forthwith to conduct a house to house search? And yes......whilst there maybe a Sorrento in Victoria just as there is a Naples in Florida.......there ain't no Positano in Australia? |
Hi Mab, Welcome to the TT-101 Club. It's certainly growing? You're fortunate indeed to have found one in good working order as the complexity of the innards looks quite daunting? With all these nude Victors now in use.......someone suggested a 'package deal' on my cast bronze armpods? I would like to oblige but there are many impracticalities involved in making these:- 1. I designed the height to suit the cones under the nude turntable and the selected spikes screwed into the bases of the pods. 2. The spikes for the base of the pod need to be selected so that the right diameter holes can be drilled and tapped. 3. The casting of the bronze is just the first process. 4. The rough casting then needs to be taken to an automotive shop for a 2 pack polyurethane paint finish to be applied. 5. The painted casting then needs to be taken to a machine shop for the drilling and tapping of the top fixing holes and the bottom spike holes. 6. The machine shop then needs to fabricate the thick linished aluminium top plates to be screwed to the base and which needs purpose made fitting and fixing holes depending on the arm to be used? 7. The finished assembly then needs to be protected and packed in a sturdy box which will take the weight (13Kg....approx 29lb) 8, This 30lb box then needs to be shipped overseas. The costs of doing all this would be prohibitive IMHO? However.....I have all the design drawings which I am quite happy to Email to anyone who might be interested in having it done at their locality. Just let me know? Have you had a chance to set up the turntable and listen to it in some sort of fashion? |
Lew, I wasn't baiting you. I agree that each type and indeed each model of TT has advantages and disadvantages. I am ignorant about idler TT's and so rather suspicious of them, but willing to accept that the best of them are truly good. I don't agree that the lp/stylus interface has much effect on a plinth. My thinking is more about motor & contact from shelves & airborne vibrations that get loaded into and radiated as well as reflected from a broad plinth. I think the latest wave of plinthed tables is A: retro styling and B: easy arm mounting. Tomorrow I am going to start a thread on vibrations at the lp/stylus interface (which I have been thinking about) I hope to see you there. |
Mab33 welcome to the TT101 group. The idea of draining the vibrations from the bearing is quite interesting. It is a simple plastic thrust plate and a steel ball in a cup of oil. I drained and cleaned mine and refilled it with Mobil 1. I don't know if a more sophisticated ball - synthetic ruby or the like - would make an audible difference, but I am going to try it soon. I think that I would want to replace the plastic plate with a brass one before I fitted a draining rod as the plastic might not transmit the vibrations too well. If anyone knows of a brass or copper thrust plate that I can buy I would appreciate it and then I would replace both the plate and the ball. If you are interested in the original plinth I happen to have a spare. I would certainly try the double mat that I am using as it does the job beautifully. |
Hi guys - I think you will need to start a Victor TT owners thread soon. Henry’s nude thread is partially responsible for ramping up my own vinyl lunatic phase. His Copernican thread was the real culprit however for me. Well lets call it 25% Nude – 75% Copernican. Not sure whether to thank Henry or curse him. It did stop my speaker activity for a couple of years anyway. Aienga - Great pictures. You look like you are having a lot of fun. Mab33 – I can send you a document that shows how to construct a basic armpod. If you email me at bcpguy (@) bell (.) net I will return an email with it. Remove parentheses when sending – I used to get a lot of spam. Cheers Chris |
Henry, You are in Positano? A very attractive women whom I met on a train only two days ago was on her way to JFK airport to catch a flight to.... Positano, Italy. Look for her, very short blond hair cut like a man's, mid-40s, the rest of her definitely does not resemble anything male. Of course, now I remember that there may be a Positano in Australia, given that one of my best friends has a summer home in Sorrento, near Melbourne. Aigenga, I hate myself for taking the bait, but the fact that an idler drive sounds best in a well-designed plinth does not make it inherently inferior to other drive systems. Other drive systems present different unique issues that also have to be dealt with. Also, what I was trying to say about belt drives, however badly I phrased it, was that many current generation belt drives could be said to follow the no-plinth dictum but in fact they do have very elaborate underpinnings. What has been done away with is the wide open deck surrounding the platter. Losing that deck seems to result in a more open sound, possibly because it reduces direct reflections of sound energy emanating from the stylus/LP interface. (That's completely off the top of my head and possibly complete BS.) I think that's the major benefit of what you guys are doing, getting rid of the open deck. It's what I liked about Nottingham Analog tts. Yet in the last few years, the conventional plinth has reappeared among mainstream (i.e., <$10,000) belt drives. To wit, the VPI Classic, Well Tempered Amadeus, etc. |
I picked up a TT-101 on eBay a couple of weeks ago. I was very happy to receive it in excellent condition! Going through the process now of figuring out how to build an arm pod etc. Probably going to take a while before it starts spinning records in the system, but it's a project for fun so not in any rush. I think my first effort for the armpod is to have a relatively simple brass pod(need something pretty heavy, could be steel or bronze too) made that I can attach an extra aluminum armboard from my Galibier to. This would allow some flexibility, make use of things I already have and require a minimum of machining. Some things I've noticed. The bottom "cage" definitely seems like a weak link. I can totally understand the need for damping it somehow. If I were to build a plinth of any kind I think I would just remove it entirely. The bearing actually has an area at it's underside that would be easy to create a vibration sink for ala Albert Porter's plinth design for his SP10 Mk3. He uses a threaded brass rod screwed through a lead plate which is supported by his plinth to make contact with the bottom of the bearing in order to damp vibration. An interesting idea. Even without a plinth it seems like an area where some sort of damping may be easily applied. On page 24 of the service manual it discusses the braking mechanism. It says to spin two heavy records (200g each) on the platter at 33rpm and push the stop button. Then adjust the VR647 on the circuit board to get it to stop fully. This VR647 pot(?) was pretty easily found and looks like it adjust with a small screwdriver. It says to do the same procedure but with one record at 45rpm. Got me thinking that maybe you could use a heavier mat or center weight and still adjust the brake to get it to stop. Anyone ever try adjusting this? Anyways, first project is the armpod. I'll report back once I get that working. Excited to have a direct drive to play with! Matt |
Dear Aigenga: Congratulations and welcome to the CLUB! ++++ " As far as plinth/no plinth, Lew and I just exchanged posts on Vinyl Asylum and he easily stated that bad plinths cause problems but that good plinths can be a benefit. My opinion is that good plinths sound better than bad plinths but at least in the case of good DD tables no plinth is even better. " +++++ Lewm is a very good friend and I respect him a lot, problem is that on that subject he is only speculating because he never gave/gives the opportunity to hear/test the DD non-plinth/nude alternative so he really can't know and can't affirm nothing about but only speculate against people like us that we know because we have the first hand experiences " before and after " the nude road. Regards and enjoy the music, R. |
Banquo, You do realise that if you get the Victor pigskin mat.......your turntable won't be fully kosher? Continuing to amaze me with all things audio......how do you suppose it is, that removing a heavy rubber mat from the aluminium platter of the TT-101 and replacing it with a paper-thin pigskin mat......can create a sound virtually identical to that of the 1.8Kg Cu180 copper mat from Micro Seiki? This I can ruminate on as I watch the sunset from my terrace at Positano. What are the peasants doing? |
Halcro, The rubber straps are flat bungee cords - available at home-goods or hardware stores. Yes I clearly hear an improvement with them - that tin can needs dampening. Perhaps it would be better to coat it somehow. My observations on poorly recorded albums is that the better I make my playback system the better I can hear the flaws in the album. I am quicker to chuck bad records now than I was in the past because they are unlistenable. Of course the good albums just open up wonders. As far as plinth/no plinth, Lew and I just exchanged posts on Vinyl Asylum and he easily stated that bad plinths cause problems but that good plinths can be a benefit. My opinion is that good plinths sound better than bad plinths but at least in the case of good DD tables no plinth is even better. Lew also made the point (Lew my apologies for quoting you and especially if I, by some stupidity on my part, misquote you) that idler drive tables require a good plinth and that string/belt drives often don't. That may well be so, but it doesn't say anything good about the vibration issues of idler drives, does it. As I have stated before, somewhere, a plinth is unnecessary and often undesirable because it collects, holds, and returns vibration to the tone-arm and turntable. I hear the loss of this vibration as gain in all things musical - like going to a better turntable. Things improved for me as I went from full plinth to semi-plinth to no plinth. I am not going back. |
Halcro: yes, difficult to find but patience pays off. Mine is cosmetically in very fine condition--but there are speed problems. I bought it so I could test your theory about vintage direct drives and 'living dangerously'. That and it was just too cheap to pass up. It was sent directly to Bill Thalmann's hands. I'm confident he can locate and fix the problem. I plan on buying that pigskin mat. Thanks for the advice. My table is the ql10 so I will keep in plinth for a month or so to get accustomed to the sound. I'll try to set up my pod next to the plinth as well but I suspect that I won't have the shelf space. Ultimately, I plan to go nude because that's how I roll (as the kids like to say). It depends though: I might like the plinthed sound? Yes, many comparisons to be made. I'll choose ten tracks and make notes with each different set up to compare differences. The sp10 is sounding pretty darned good these days, so I'll be happily amazed if the Victor gives me something better. |
Just a comment on mats which may be of interest to the 'now' many TT-101 owners here..........compared to the standard rubber mat supplied with the deck, which I found adequate........the best mat I have heard on my TT-101 is the Micro Seiki Cu180. This mat gave a silence and depth to the sound that was impressive. Unfortunately.....its weight (1.8Kg).......rendered the brake-stop mechanism inoperable, with the platter continuing to spin after the stop button was pressed. This bothered me (although some readers appeared unperturbed) and I searched for a different solution. The Victor pigskin mat (available in black or brown from Tommy at TopClass Audio in Hong Kong)......applied directly to the aluminium platter of the TT-101 gave virtually all of the benefits of the Cu-180 mat with the added bonus of even better 'brake' function. |
Aigenga, Those rubber bands look like a good idea to control any possible audible vibrations of the thin metal enclosure. Where did you obtain them? You say you can hear a difference? I am assuming that before you tried the TT-101 semi-nude and then fully nude........you listened to it coupled to its original wood plinth? If so.....could you describe what you heard in the moves to a fully nude model as many readers here have commented on the lack of plinth/no plinth comparisons (are you there Lew??) Returning to your comments on the reduction of 'noise floor'....with which I agree....and the ability to turn up the volume......I do somewhat disagree on your comment about 'poorly recorded' albums sounding worse? I have found that generally, even the worst recordings seem to be more listenable via the TT-101? |
Ingenious DIY work Aigenga. I too would like to have Halcro's pod, but if I recall he had a friend do the casting, which casting would have otherwise cost mucho dinero (not to mention the difficulty of locating such a person in the first place). We do what we can. Don't spikes couple, as opposed to isolate? I'll be joining the tt101 club very soon. We 3 can compare notes. |
Audpulse, I do what I can. My cantilevered arm pod looks somewhat like the arm boards on Halcro's Raven. . I've thought more about taping the pod to the granite slab vs putting it on points. My current thought is that taping it makes it one with the slab from a mass perspective and points will isolate it. I am going to try both but I am betting that the massive approach is preferable - a 40lb arm board seems good to me. Gary |
Halcro, I added two photos: the rubber strapped turntable and the component rack. The rack is cast iron, stands seven feet tall and is 3 feet wide. It weighs 200 lbs maybe 300. I am considering building a wall shelf and integrating it into the rack at the level where the TT is now. Yet another project. Gary |
Halcro, Yes, I agree that a cantilever will magnify vibration and it is a new thought for me. Micro Seiki and many other manufacturers have used this approach for decades and this MS arm board is made out of a very heavy copper alloy that will dampen the 'diving board' effect considerably. So perhaps it isn't that much of a problem? The double-stick tape is mostly for holding geometry on a very slippery surface. I could put the base of the pod on 'tip-toes' and use tape under the cups like I did under the turntable. I have designed another pod made from heavy stainless steel that I will show once I've got it together - 3 weeks or so. It will be a straight vertical design so I will have another data point. Last night I put two heavy rubber straps around the lower portion of the table - pictures soon (maybe before you read this). It was a worthwhile change as I noted a loss of 'cupped hands' coloration. I also want to mention that I have changed the mat. It is now a 1lb lead mat from Merrill glued to the bottom of a thick Achromat. Best I've heard. Gary |
Hi Aigenga, Thanks for posting those pictures which were illuminating. As your set-up is now nearly identical to mine......it would be interesting to compare some differences? Firstly.....is the base for the turntable/armboard mounted on a floor stand or off a wall shelf? Secondly....I can understand why you elected to use the Micro Seiki armboard and then had to attach it to your 'pod'......but to me, there a few compromises in that set-up which you may be able to change to see if you can detect any differences? The cantilever affect of the Micro armboard will inevitably increase any vibrations /movements over a 'directly' located arm to armpod by a factor of eight or even more depending on the length of cantilever. Secondly.....my armpods are mounted on 'spikes' whilst yours are 'attached' with double-sided tape? I know that Chris......who has also 'nuded' his SP10MkII.......initially had his on sorbothane feet until cleverly achieving stainless steel spiked legs. As you similarly have done......perhaps there might be a difference with spiked armpods over 'attached' armpods? What do you think? |
I have made the move to a fully nude TT with DIY arm-pod, from a semi-nude version and so am resurrecting this excellent thread. Previously, I had my JVC TT-101 turntable supported on sorbothane feet - independent of the plinth, but still sitting in the plinth's cut-out. The tone-arms were mounted to the plinth, which therefore served as a large arm-board. You can see my previous set-up here: http://s1106.photobucket.com/albums/h373/Garya1/Dual%20Tone-Arms%20Dec%202011/ Now I have eliminated the plinth completely and support the turntable on three brass points. The single tone-arm is mounted on a Micro-Seiki copper-alloy armboard which is in turn mounted to 1/2 of a 20lb dumbbell. Both the TT and the pod sit on separate parts of a large sheet of granite. And here is what it looks like now: http://s1106.photobucket.com/albums/h373/Garya1/Nude%20Turntable%20and%20DIY%20Arm%20Pod/ In addition to cutting one end off the dumbbell (close to one end)I had to increase the diameter of the shaft to 1.17 inches from 1.13 inches to properly mount the MS AX-6g arm-board. This was done using 4 layers of aluminum tape (used for hvac ductwork). I also sanded the bottom (rubber coating) flat. All together the pod weighs about 15 pounds. I wanted a heavier dumbbell but the shaft diameter was too large for some and the base was rounded on others. The total cost of the arm-pod was $285 of which $250 was for the arm-board. I used double stick tape to secure the pod and the TT to the granite to maintain geometry. Sound-wise the noise-floor dropped noticeably which sharpened the leading edges of the notes and made it desirable to raise the volume while listening. My wife pro-claimed this to be a marked improvement (unusual for her). I find it to be far more revealing, which is good for good lp's and bad for mediocre ones. I would highly encourage anyone interested in doing this to pursue it. An easy and rewarding change. |
The TT-71 in the QL7 or QL-7A uses the same motor as the TT-81, except less sophisticated electronics. It's a good performer and I used to own several of them. I sold them all after comparing to other models with coreless motors such as QL-Y66F or QL-Y7, just not as smooth sounding but still very respectable and I much prefer that over any mid-priced Technics. The tonearm is underrated. Have fun with it, since you didn't pay much for it. Experiment away! _______ |
Halcro, sorry to disappoint you with the non-nudity. :) The Technics SL-1200mk2 motor's stator is directly soldered to the circuit board so it's almost impossible to separate the motor independent from electronics. The SL1200 is, to me, a rather cheaper incarnation of its older siblings, the SL-1300mk2, SL-1400mk2, Sl1500mk2, and the armless SL-150mk2, which all have a heavier balanced platter and detachable motor. Those models already improved on the SL-1200mk2 so I feel it's misguided to go overboard on modding the best selling DD table of all time. If people want to improve the SL1200, just get those models or the SL-M2. Hey, it's their money... Back to the Monarch plinth; it is not possible to denude the SL1200 without destroying the electronics. They were constructed as one piece. By the way, that metal enclosure in one of the pictures is the housing for the power supply. But the Monarch is still a fine example of taking the bare motor out of its stock chassis/plinth and install onto a new plinth. I suppose someone can mount the raw motor & electronics on a platform with some screws and call it a nude project. :) _______ |
I guess this souped up Technics SL-1200Mk2 also qualifies as a "nude" project: http://www.inspirehifi.co.uk/inspirehifi/monarch_info_photos_price.html Hi-Fi World review of the Inspire Monarch direct drive turntable. Page 1 Page 2 Page 3 Some more pictures: Guts exposed New platter Monarch with power supply New plinth _______ |
Motor picture: http://amp8.com/amp-etc/record/technics/jpeg/10mk3-51h.jpg A unit under repair showing the bearing with exposed stator coil wires. http://amp8.com/amp-etc/record/technics/jpeg/10mk3-8j.jpg http://amp8.com/amp-etc/record/technics/jpeg/10mk3-8n.jpg http://amp8.com/amp-etc/record/technics/jpeg/10mk3-8m.jpg _______ |
