I owned the HW 40 and the sound quality was dynamite. It is huge and barely fits on a normal rack. I own a Technics 1200g now and believe the engineering is tighter if that makes sense. Nothing is left to chance. I would recommend the HW 40 but highly recommend the Technics. I can only assume the more expensive Technics TT are even better.
Technics SL-1200GAE or VPI HW-40 or …?
Hello all!
I’m looking for my “reference” direct-drive turntable and am looking at these two usual suspects: the Technics SL-1200GAE or the VPI HW-40. However, I was wondering if the VPI is “worth” the more than triple the price of the GAE? Also, is the new motor Delta Sigma Drive technology Technics introduced in the new GR2 models worth waiting for should it (hopefully) trickle up to a G-model?
I’m happy to pay for performance should it be difference making, but as I’ve not auditioned the VPI (I have listened to it at several Capital Audio Fests numerous times), I wonder if the substantial price difference is warranted in real-world listening.
Thanks for any insights…Enjoy the music!
Arvin
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- 36 posts total
I Myself have become an advocate of Lighter Plinths where materials selected have effective dissipation properties along with attractive measurements for damping properties. Mass Plinths are in general as a design quite able to add a colour to the end sound. For some loke myself, the colour can be easily homed in on, and can become a detractor and even a cause of early onset listening fatigue, hence my preference has evolved to lightweight Plinths that are not able to create the colour being referred to. I myself have for many many years been an advocate of overhauling Platter Spindle Bearing Assemblies, these are very noisy when not optimised as a design. Bearing Assemblies are also able to add a colouration to the end sound, it depends on what proportion of a rotation is Metal on Metal, and how much weight is applied as a result of a Off Axis Spindle rotation. A Journal Bearing depends on lubricant to fill a very tight tolerance void, to stop the contact of metals. The Hydrodynamic Design for a Journal Bearing is dependent on a different operation to that of the TT Platter Spindle Bearing to be successfully Hydrodynamic and be able to keep the tight tolerance space filled with lubrication, where the oil is the contact surface for the Spindle and not the other metal parts. A TT's bearing will create a Boundary lubrication when using a typical design commonly offered. Boundary lubrication is basically Metal on Metal as a proportion of the rotation or as for a TT Spindle set up in a typical Bearing Design, metal on metal will be occurring throughout most of the rotation. How does one avoid the Vibration and Noise Transferred through the Boundary effect? One method, is to swap out Metal Parts for Thermoplastic with engineering qualities such as Acetal, this is commonly seen today as a upgrade for a bearing. . Alternatively, create a Bearing Housing that can retain Oil and produce a Housing that can function as a Oil Bath, with the parts submerged in oil, boundary effect id highly unlikely, with the correct viscosity of oil selected to use for the fill. A oil bath is not an option on a Inverted Bearing, and typical lubrication methods is also another challenge. There are to relatively easy finds, historical info, to show how not too old TT models using the inverted bearing design, have shown catastrophic break down of the most important interfaces, as a result of metal on metal and applied force to the surfaces. The OP will be best served if they find a way to have a demo' of each TT, and learn how the TT's Structure and Bearing Assembly is able to impact on their sensitivity to colouration that is able to be produced. |
Hello, all! Once again, I truly thank everyone for their comments and sharing of knowledge…this is what really makes this forum great. As an update, I have purchased…and am awaiting the arrival of…a new-in-box Technics SL-1210GAE. I was lucky enough to track one down from a high-end audio retailer in CA. Pricing wasn’t too bad, either…especially considering all but one of the used GAE listings on the auction and classified sites were priced at or more than what the GAE initially launched at, and the few new in box private listings were way more than what I purchased mine at. I plan on keeping my current belt drive ‘table (the limited edition Ortofon Century LE, which was a souped-up version of the Pro-Ject EVO with a integrated speed control, updated tonearm and the very limited Concorde Century cartridge) to “switch it up” every once in a while…but I suspect this will be extremely infrequent. Maybe it’ll be used in a second system? Anyway…will report back once I get it up and running. Will the GAE truly give me that “this is all the turntable I’d ever really need” vibe? I’m anxious to see. Thanks again for all the responses…Enjoy the music! Arvin |
Great choice! I've had two VPIs (Scoutmaster and Classic) and they ultimately left me wanting for more. I now have a Pure Fidelity Harmony and a Technics SL-1210G and both are much, much better than either VPI. Hopefully, you didn't pay much more than $4K for the GAE--outside of the nameplate it's the same table as the G version. You are going to enjoy the Technics! |
@arvincastro Good choice. We used to make a turntable we called the Atma-Sphere 208. IMO it was better than the VPI in every way. More neutral, more speed stable and so on. But I think the Technics is a better machine than our 208 so that is what I have at home. I replaced the platter pad, as that is far more important to the sound than most people realize. You might consider doing the same- the best I've heard so far is made by Oracle. If you get it you'll have to raise the arm which is a matter of a second or two; the pad is meant to be permanently applied so you don't want to use the bolts that affix the platter to the motor else you'll never get it apart without a chisel to remove the platter pad. But it really helps the 'table to be more neutral and its easy to hear and measure. |
- 36 posts total