Panasonic Technics SL-1210 MK7 turntable CES 2019 (1)
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NAILED IT: Here’s the official word on the Technics SL-1210 MK7

UPDATE: Price confirmed at £899.

UPDATE 2: What Hifi states prices as:
UK: £899 (SL-1210)
Europe: €999 (SL-1210)
US: $1200 (SL-1200)

Availability is May 2019.

Back in 2010, the DJ depression kicked when it was announced that Technics was wrapping up production of their venerable SL-1200 and SL-1210 turntables. Yet despite claims to the contrary, DJing did not end, music continued to be played, and people still danced. And here we are eight years later, with the re-introduction of the Technics SL-1210 MK7, a unit that was teased by Technics, and that we more or less nailed before most people had even posted about it.

It’s all available online now (except the price). So he’s the press release:

Technics Introduces the New, Long-awaited Direct Drive Turntable SL-1200MK7* Series with Technology for Outstanding Sound Quality

*The European model is the SL-1210MK7.*

January 2019

Las Vegas, NV, United States, 7 January 2019 – Technics today unveiled the new SL-1200MK7 Direct Drive Turntable. The new model inherits the traditional design of the same series and maintains the same operating ease, reliability and durability, while newly adding a coreless direct drive motor and other sound-enhancing technologies. It also features new DJ play functions, such as reverse playback. The SL-1200MK7 is launched as the first new standard DJ turntable in approximately nine years.

About the Technics 1200 Series
The SL-1200 was launched as a popular direct drive turntable in 1972, becoming a best-selling model with cumulative sales of 3,500,000 units for the series. It was supported by powerful torque, easy operation, and high durability. It became greatly admired by both audio enthusiasts and DJs who helped to unleash the DJ culture in areas such as electronic dance music. The series is still highly acclaimed by DJs worldwide today.

High-quality sound reproduction true to the Technics philosophy

Coreless Direct Drive Motor Achieving Stable Rotation and Powerful Torque

The direct drive system uses a slow-rotating motor to directly drive the platter. This system has various advantages. It offers high performance, such as rotation accuracy and powerful torque, does not require replacement of parts and maintains high reliability over a long period of time. However, the direct drive system was said to on occasion produce a rotation irregularity called cogging. For the SL-1200MK7, a new coreless direct drive motor was developed. This motor employs a coreless stator. The removal of the iron core from the stator eliminated the root cause of cogging. Furthermore, the magnetic force of the rotor magnets was improved to the highest possible level, and the gap between the coreless stator and rotor magnets was optimised, thus achieving high torque performance equalling that of the SL-1200MK5. Boasting smooth rotation and powerful torque, this motor reproduces sound accurately and faithfully from the groove on an analogue record.

Highly Sensitive Tonearm Accurately Reads the Signal Stored in the Record Groove

The tonearm, which is responsible for accurately reading the signal by tracking the groove on the phonorecord, is a static-balance universal S-shape tonearm, another Technics tradition. The tonearm tube is made of lightweight, high-rigidity aluminum. The bearing section of the gimbal suspension construction tonearm consists of a machined housing and high-precision bearing to assure excellent tracking performance with minimum stylus jumping, even in harsh playing conditions such as scratching.

Two-layer Structure Platter with Improved Vibration Damping Performance

The platter on which a vinyl record is placed features a two-layer structure with deadening rubber on the entire back surface to eliminate unwanted resonance in the aluminum die-cast platter. The platter offers high rigidity and outstanding vibration-damping characteristics to prevent harmful vibration from being transmitted to the record and delivers clear sound.

High Rigidity Cabinet and High Damping Insulator for Thorough Shut-out of All Vibrations

The chassis, an essential part for reducing external vibrations, inherits the audio quality enhancement technology fostered through the development of high-end turntables. The aluminum die-cast chassis is rigidly integrated with a special material consisting of ABS mixed with glass fibre to achieve a two-layer construction. The combination of this special high-rigidity material and a metal chassis raised the rigidity and vibration-damping performance to higher levels, realising a robust cabinet for beautiful sound reproduction.
The insulator is comprised of a spring and rubber to provide optimal frequency characteristics. This not only assures high sound quality and superb howling resistance, but also effectively shuts out external vibrations under high sound level conditions.

Detachable Power/Phono Cable Terminals Prevents Cable Discontinuity

The power and phono cable terminals allow detachment of the cables. The phono terminals are gold-plated to minimise sound quality degradation. Since the terminals allow disconnection of the cables, maintenance of the cables is easier, and your favourite phono cable can be connected to let you enjoy the change in sound quality resulting from a different cable.

Inheriting, and Enhancing the Operating Ease of the SL-1200 Series

Starting Torque/Brake Speed Adjustment Function

The SL-1200MK7 employs the newest motor control technology refined through the development of Blu-ray disc products. Utilising a microcomputer, this advanced motor control technology ensures high performance in normal rotation and also responds accurately to a wide range of DJ play styles, such as scratching.
The starting torque and brake speed can be adjusted individually to suit the user’s preference.

Pitch Control Function Enables Accurate and Stable Pitch Adjustment

The rotation speed can be set to 33-1/3 rpm, 45 rpm or 78 rpm.* The pitch control function allows fine adjustment of the rotation speed within ±8%/±16%. This function achieves accurate and stable pitch control thanks to full digital control with improved tracking performance and accuracy.

* To use the 78 rpm speed, the switch on the main unit must be turned on.

Reverse Play Function Expands the Breadth of DJ Play Styles

The platter rotates in the reverse direction when the speed selector button and Start/Stop button are pressed simultaneously. This expands the breadth of DJ play styles.

*To use the reverse play function, the switch on the main unit must be turned on.
* The phono cartridge used must support scratch play.

A Traditional Design Ideal for DJ Play

Stylus Illuminator Featuring a High-brightness and Long-life LED

The stylus illuminator features a new push-type structure and employs a high-brightness and long-life white LED. The illumination area and intensity were reviewed to provide improved visibility of the stylus tip compared to previous models even in a dark environment.

All Black Design

The SL-1200MK7 sports black buttons and a black tonearm while retaining the SL-1200 Series’ button layout. With the matte-texture black body and black parts, the new all black design presents an attractive, refined appearance. The LED light can be set to illuminate in either red or blue, further enhancing the DJ play environment.

Specifications

Technology for Rotational Stability

  • Coreless Direct Drive Motor
  • High-Precision Motor Controller

Construction for Vibration Tolerance

  • High-Dumping Turntable Platter
  • Rigid Cabinet Construction
  • High-Dumping Insulator

High Quality Parts

  • High Sensitive Tonearm
  • Detachable PHONO Terminal

Technics Definitive Design

  • Inherited SL-1200 Series

Turntable Section

  • Drive Method: Direct Drive
  • Turntable Speeds: 33 1/3, 45rpm (with switch 78 rpm)
  • Starting Torque: 0.18N･m / 1.8kg･cm (1.56 lbs-in)
  • Build-up Characteristics: 0.7 s. from standstill to 33 1/3 rpm
  • Wow and Flutter: 0.025%　W.R.M.S.
  • Turntable Platter: Aluminum die-cast
    • Diameter：332mm (13-5/64″)
    • Weight：Approx. 1.8kg (4.0 lbs) (Including slipmat and slipsheet)

Tonearm Section

  • Type: Universal, Static Balance
  • Effective Length: 230mm (9-1/16″)
  • Overhang: 15mm (19/32″)
  • Tracking Error Angle:
    Within 2° 32’　(at the outer groove of 30cm(12″) record)
    Within 0° 32’　(at the inner groove of 30cm(12″) record)
  • Offset Angle: 22° • Arm Height Adjustment Range: 0 – 6mm
  • Stylus Pressure Adjustment Range: 0 – 4g (Direct Reading)
  • Head Shell Weight: Approx. 7.6g
  • Applicable Cartridge Weight Range:
    [without auxiliary weight] 5.6 – 12.0g (14.3 – 20.7g (including head shell))
  • Head Shell Terminal Lug: 1.2mmφ 4-pin terminal lug

Terminals

  • Audio Output: PHONO (Pin Jack) x 1, EARTH TERMINAL x 1

General

  • Power Supply: AC120 V, 60 Hz
  • Power Consumption: 8W (Approx. 0.2W (Standby))
  • Dimensions (W x H x D): 453 x 169 x 353mm (17-27/32 × 6-21/32 × 13-29/32 inch)
  • Weight: Approx. 9.6kg (Approx. 21.2lbs)
  • Accessories: Turntable, Slipmat, Slipsheet, Dust cover, EP record adaptor, Balance weight, Head shell, Screw set for cartridge, PHONO cable, PHONO earth lead, AC power supply cord, Owner’s Manual

THE SAME BUT DIFFERENT

I could pour over the details, but that’s why I have always posted the whole PR so that you can read and tear it apart for yourself. We’d worked out most of the detail anyway. But it’s fair to say that it’s not an earth shattering update, but definitely what people expected, but not necessarily wanted. I’m already picking up “no ultra pitch” grumbles.

But removable cables, reverse, 78, 8/16% digital pitch, red/blue LED… you get the basic idea — they played safe. And why would you, if you were Technics, with a globally winning formula, step too far away from that? They sure as hell aren’t going to sell another 3 million turntables with a space age turntable, so best to keep singing the favourites.

Sobering thought — the SL-1210 MK7 is the first Technics specifically designed for DJs. And being all new… well just about everything, it’s fair to class this as an all new turntable. Yes, it is designed around the winning formula of the venerable 1200 range, but this is designed and built from the ground up with all new tooling. Let’s not all rush towards it like lemmings claiming it’s the second coming until people have played with them, and played with them.

Interesting side note — Technics repeats this a lot:

*The European model is the SL-1210MK7.*

But the press release bangs on about the SL-1200 MK7. Does this mean that we’ll see different models for different markets? And what will those variants be? It’s all very confusing.

BUT STILL NO PRICE

Like the last round of 1200 releases, the price was held back. And when it came out there was a sharp intake of breath. Maybe there will be a repeat of that, or perhaps the DJ world is about to set on fire as the new 1210 comes in at dare I say it a competitive price. I guess the coming hours and days will tell. Then we can have a discussion about second hand prices of old Technics too.

Forgive me — I’m so pleased that Technics finally made a 1210 for DJs, but it still doesn’t excite me. I’m better served by the features offered on other turntables. But if the SL-1210 MK7 floats your boat and ticks your boxes, then I hope you’ll be giddy as a schoolgirl at the news.

What do you lot reckon? Worth the wait? Or does that depend on the price? What would you pay? 599? 699? 799? Tell me when to stop…

GALLERY

 

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Mark Settle
The Old Owner
I was the editor around these parts for the first two decades of the DJWORX journey. I’m on a creative journey at The Worxlab, and drop in occasionally here. Expect the odd article from me every now and again.
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72 Comments

      1. Ultra pitch is as much essential to Scratch DJs, as the pitch is to any mixing DJ.

        I reckon Technics omited the ultra pitch, as it requires an ultra strong motor that would probably end up costing as much as the TT itself.

      2. Ultra pitch appeared on Vestax PDX turntables. It basically offered +/-50% pitch on a separate pitch fader. Subsequently +/-50% became standard on the same fader on superOEM turntables. For some DJs, it’s essential.

    2. all of cut and paste records, turntable training wax and scratch science release, to name a few, make use of ultra pitch.
      Why does technics miss such trends? especially as an organizer of the biggest turntablism competition.

  2. The model names are not more confusing than they’ve always been. It’s only in Europe that there have been a distinction between 1200 (silver) and 1210 (black). Other markets have had only 1200 for both colors. And this is black so that’s why it’s 1200 everywhere except Europe where it’s 1210.

      1. In Germany there was / is a distinction between 1210 (blackish) and 1200 (silver) and both models are around but typically everyone refers to them as 1210 “twelvetens” (zwölfzehner).

    2. i’ve had about 5 pairs (MK2, M3D, MK5), but everytime black = 1210, silver = 1200, but once i’ve got the black 1200, and paintjob looks very original. i’ve bought that piece used, without any paper – so i guess someone brings it here from overseas, i’ve never seen new black 1200 in any shops here in EU.

  4. Seriously ?
    40 years and all they got is “microcomputer” motor controller – which is actually a super fancy name for IC – a chip which you can find on any 10 cents toy from china, and detachable cords…
    “Hey we got a reverse function for the cool dj’s !” – yeah, you just forgot that the dj has only two hands and he can’t leave everything just to activate your super funky new feature…. That is SO LAME !
    I said goodbye to my pair of 1200’s 7 years ago, and lately got Reloop RP7000 MK2 – i have no regrets.
    Panasonic probably thinks that Technics logo and ridiculous price tag will bring the believers to buy it, but for me guys…. i have converted already and it seems that it’s great on the other side.

  5. I am currently in the market for a new set of decks to replace my old beat up Stantons. So I was stoked when I heard Technics was planning something. (I was looking at 2nd hand Technics before). Really eager to know the price so I will know what to do, keep looking at old M3D’s, PLX-1000 or is this one in reach.

  6. So this will be the best quality DJ turntable for 2019. And it looks pretty dope as well, maybe a silver version will also be available.

    The King of the decks is back.
    People complaining about ultra pitch are just scratch nerds, this is for the DJ who mixes original vinyl and cuts original records like they did in the 80s and 90s.

      1. Hehe, you know something, you devil…Pioneer and AT may bring new models, buuut – it’ll be Hanpin made. So, better? Not really. More unnecessary bells and whistles, like zillion % pitch? Most probably. In the end Technis remains the best, as it ever was.

          1. No no…In this case there are measurable figures that prove Technics has best wow/flutter, bearings friction, dampening etc + build quality. These may not be a strong enough argument in segments of the DJ world, but I would never trade them for 50% pitch, removable target light (that misses the target lol), straight arm or similar. Anyway, choices are good, so, to each his own.

            1. Would it surprise you to learn that the new MK7 has a quoted wow and flutter of 0.025%? That’s more than twice that of the new superOEMs. It’s a number that can no longer be quoted if “better” is the core thrust.

              It’s microscopic in real terms of course. Realistically the 0.15% of older superOEM is more than good enough for DJs. I’ve certainly had no issues over the years.

              1. That’s not correct.

                A quote from the MK2 manual:
                Wow and flutter :
                0.01% WRMS*
                0.025% WRMS (JIS C5521)
                *This rating refers to turntable assembly alone, excluding effects of record, cartridge or tonarm, but including platter.
                Measured by obtaining signal from built-in frequency
                generator of motor assembly .

                Both 0.01% and 0.025% apply to Technics since MK2, measured by different standards. OEMs report only the WRMS figure, while new Technics only the WRMS JIS standard figure (don’t know why, maybe the 0.01% is also mentioned somewhere). Let’s say they are equal in best case. But! Are they equal thru the entire pitch range? Technics claims same stability for the entire pitch range, not only at zero (ok, thats for the mk2-6 models explicitly in the manual, but hopefully transferred to the new ones), but not so sure it is the same with the OEMs. Reloop used to mark the reset button “Quartz” with RP7000mk1. Does it mean quartz stability (mentioned figures 0.01% / 0025%) is only at zero lock? Anyway, it’s quite impossible that Technics would make a worse spec turntable than the Hanpin copy.

                And for the 0.15% of the lower spec’d OEMs – it may be non problematic for djs, but any decent turntable in the past, even cheaper ones, had a W&F below 0.1%. That speaks enough for the manufacturing of today. We shouldn’t say “It’s ok, no big deal”, we should demand at least the same quality that once was already achieved. Otherwise the manufacturers will (continue to) serve us with trash.

                1. I stand corrected. On paper, they’re numerical the same it seems looking at manuals. The WRMS* is identical for Reloop and Technics. But the superOEM wow and flutter standard has been improved to match that of Technics. It’s one less number that can be used as a plus for Technics.

                  As for stability across the range — that remains to be seen. But it has never been an issue for me, even at 0.15%. Perhaps it’s because I’ve come from ancient belt drive times of the mid 80s. Everything is largely a luxury in comparison. ;)

                2. the significance your arguments are not that heavy in the real world, because vinyl only dj are a niche nowadays.
                  you are of cause right, that technics are the best drives out there, no doubt. nonetheless with dvs technology you dont need such high quality direct drive for mixing anymore.

                  also, turntables were replaced by CDJs in most clubs and CDJ are the first choice for the majority of djs.

                  today “everyone” uses a Solid-state device for storage.

    2. Your right in saying ultra pitch is just for scratch nerds, that niche market would barely dent the profit margins but…. from scratch nerds POV the desire to have Technics build/sound quality and legendary motor with a pitch range that doesn’t limit creative use is fierce to say the least. Put simply this could of easily been the turntable that answered the dreams of nerdier turntablists who’s only option ultra pitch options is 10+ year Vestax turntables and Super OEM decks that are both for the most part rubbish in areas that a 1210’s excel in.

  7. In all honesty, it’s… Tough for me to come up with an actual all-in opinion on this release. I’m glad to see they’re back, but they’re also back quite a few years after I’ve already gone and picked up a pair of Stanton STR8-150’s, that have been rather rugged and reliable (not that I put them through much, but still).

    I think the biggest thing that “bugs” me about that PR and prevents me from getting excited is that I’m growing older just how much of that PR release seems to read as marketing fluff aimed at someone who doesn’t know what a turntable is at all..

    One thing that’s probably a no-go for me though is the single start/stop button. Yes, I know, relatively easy to work around but I like the convenience of having them readily accessible in either orientation.

    …I will say though that it’s rather gorgeous all blacked out like that…. That’s something my Stantons don’t have, a black tonearm!

  10. If the improvements to pitch, torque, break control and an already exceptional motor make jus some noticeable difference then it’ll be the best Technic dj table to date. For Tablists like me it jus collectively adds to the frustration of no ultra pitch. I know I know…. that market is niche AF and wouldn’t realistically dent profits but the simple inclusion of -/+50 pitch would FINALLY give scratch geeks the best of both worlds vs being stuck with 10+ year old Vestax and super OEM decks that for the most part can’t step towards what makes a 1210 so legendary – sound/build quality etc…

    The combination of improved torque and ultra pitch would of been the tipping point for nerdier scratch dj’s like me to invest in a MK7, but if you fall in that category and you already own a MK2 there’s little point in upgrading.

    IF MK7 turns out to be as good as they claim and around the 900 price tag then its gotta be a no brainer for vinyl only dj’s that are after a new deck.

    As alluded to in the article and some comments below my only interest now is how it’ll effect pricing of used 1210’s and the retail price of super OEM decks.

    1. I’m really torn on the price. On one hand, £899 for a turntable that’s likely to last decades is a great investment compared to say a controller that’s obsolete and possibly broken in a matter of years. But at the same time, £899 is almost twice the price of what other turntables offer with way less features and is just as capable of playing vinyl, and likely to last a very long time too. It just doesn’t feel like good value.

      I get why people buy Technics, but seems like too many people are saying it’s a fair price when it’s twice what they used to be.

      1. I guess my initial response to the price is based on jus being used to most new released dj products in the last 5+ years at around 10-30% more than they seemingly should vs the price of tech from the late 90’s to say 2010ish. Wouldn’t be surprised if others share this mentality and have jus surcomb to the likes of a 2grand fee for a bloody modern day 2 channel battle mixer.

        Pretty sure my first pair of 1210’s were a shade under £700 18 years ago. To be fair it is nearly two decades later but vs over double the price for just one…. yeah I can definitely feel your reasoning for little value. Super intriguing to see how well they’ll sell.

        I can almost imagine the boardroom meeting at Panosonic…. half table wanting to charge over a grand and the vaguely more sensible half thinking that £899 will keep consumers onside, which it seemingly has.

      2. Well, the vinyl resurgence raised the prices of all turntables, so the most iconic one, resurrected, could not be an exception. A Mastersounds refurbed mk2 with decades of use sells for 1000gbp.

    2. I own a pair of custom M5Gs (internal ground and silver painted). One of them has feedback issue if volume reaches a certain deafening point. I was thinking of replacing both with these new MK7s. The price and hearing that these are made outside of Japan gave me second thought that maybe better choices are out there. I play strictly vinyl at certain gigs and do very little scratching, but I also do MP3s. So the 8000 mk2 would fit the bill for the vinyl/mp3 gigs but I am unsure of the sound quality on vinyl and if my feedback issue would be resolved by a Reloop. Still waiting and deciding……

    1. That would translate to 999€.
      Might be worth it from a quality standpoint. But I don’t see commercial success at this price point.

      The improved specs that Technics is advertising are targeted at scratch DJs.
      The same target group just got to see the new Reloop 8000MK2s with all the bells and whistles that everyone has been wanting for long. At almost HALF the price.

  14. btw the MK7 is not the first turntable designed for the DJ only.
    The M5G was also strictly a DJ turntable advertised at the DMC championships back in 2005. I know cause i was there.

    Other models with the pitch reset button were also aimed for the DJ.

  15. Lid?

    Looks good. Huge bonus points for including an alternative to the blue LEDs. The only thing I’d add is 16RPM. I know ultrapitch is niche but it can’t be more niche than reverse playback. 16RPM is an existing format so justifiable in terms of vinyl playback utility and at £899 ought to be included for the sake of definitive completeness. I wouldn’t expect Technics to add DSP or MIDI and DVS controls so no disappointment felt on that front.

    I’d choose this over a MK5 or those other gold/carbon fibre models but I’ll hold on to my MK2s and my £1800 for the time being.

      1. Me neither, but there’s 400+ of them for sale on Discogs right now (mostly old gospel records). Had to dig into their forums to find mention of a single record that demands reverse playback.

        Point is that Technics are a hi-fi brand that got hijacked for DJ use. Despite the historical DMC sponsorship and its cult following, the t-shirts and the handful of DJ focused products they’ve always appeared reluctant to abandon the hi-fi roots of the brand and the perceived higher prestige that hi-fi/audiophile brands hold over DJ brands (cf. the GAE model). Ultrapitch (meaning 33RPM at -50%) is a scratch DJ utility but 16RPM (100% of half of 33RPM) is a hi-fi specification. Build 16RPM into a 1200 and you can cater to the DJs (with the added bonus of offering regular pitch control applied to 16RPM) while maintaining and expanding both the function and the image of conservative hi-fi heritage. At £899 retail I can’t see the cost of adding one extra speed being prohibitively costly to the manufacturer. I’m not an electronics engineer but it can’t be that hard!

        Going back to MIDI/DVS etc… IMO those are more easily managed and catered to in the form of peripherals. Motor speeds have to be stock or you’re faced with invalidating your warranty. Not an appealing prospect on a grand’s worth of new gear. For comparison I reckon £899 would cover a vgc used MK2, plus bespoke after market mods, plus labour, plus postage, plus insurance, and potentially leave change to put towards the finishing touch of adding a cartridge.

        And I have to say it again: HUUUGE bonus points for including an alternative to blue LEDs!

    2. Yeah but 78RPM tho….. (FFS)

      100% agree with all your points, the simple addition of 16RPM would of been killer (definitely more useful than -/+50%) and kept the ultra pitch scratch vinyl heads more than happy…. +/-8% pitch range on 16RPM would give nice control for dialling in BPM of ultra pitch scratch wax vs the far to coarse +/-50% on same length pitch fader.

      The type of individual with a serious 78RPM vinyl collection isn’t a dj and wouldn’t put there 78’s any where near a dj focussed table, the inclusion of 78RPM on virtually every new Dj turntable released always hits home how disconnected these manufacturers are from the scene.

      “Well what about the guys with 78RPM wax?” = tumble weed…. “What about the guys who cut ultra records?” = at least 70% of the major scratch vinyl releases from European cut labels in the past 10 years has an ultra pitch side….

  16. just heard the news Technics is also releasing a new SL1500 turntable for audio use only with the same tonearm as the MK7.

    I never expected this to happen.

  17. The other brands don’t compare in quality or durability but this is a bit on the expensive side. Are these even manufactured in Japan? For that price they better be.

      1. Yes, end? Apple products are built in China, are they inferior? No. Cause it’s all about production standards set by each company (% of defects allowed etc).

        We all have to wait and see if Panasonic will keep the same productions standards as in the mk2/mk5 era.

  21. When all is said and done, the ultimate thing is this….what is the build quality going to be?

    Because all of the understanding I’ve gleamed from this website is that Technics went out of the market because their original product was so good in terms of its design and execution, that there was no need for people to upgrade, and that it would be next to impossible to come back to market due to the tools possibly not existing and the modern plants not being tooled up to make them in the same “mould”.

    The first thing I thought (and I’m afraid I’ve always been a bit of a depressive, glass is half full kind of guy) is that the only way this turntable could be brought to market at a consumer price (as opposed to audiophile/high end they’ve one for with the G series) is if they have found a way to design the deck with a certain amount of “planned obsolescence” built in from the start whereby they could have abs after market of (expensive) parts and/or people having to buy new ones every 3-5 years.

    IF the new deck is taken apart and found to be of the same or similar quality to the SL1210 MKII’s, I will certainly be interested. But I cannot see how circumstances have changed to make this profitable for Technics, unless they make the deck degradable.

    1. I’m of a different opinion on this. Technics will not put out a model less than what their heritage has built. Their history in high-end analog turntable is well documented and has cult status. This deck is a product of “trickle down” technology that started with the new G series and perhaps even from the more expensive SL1000 R model . We should all rejoice that Technics has brought the technology down to what we mortals can afford ( though $1200 is still quite a lot). I have a pristine pair of black MK2s from 2007, I see no need to switch to this, but it’s great to have that option.

      https://uploads.disquscdn.com/images/36f0b6018021783588f26ea3382807cb77885861e6ca2f60241c68e8d94979cd.jpg