![]() ![]() As was typical for a Japanese design, isolation from external vibrations was provided only by simple sprung feet, although the unit's high mass (6.5kg) and rigid construction helped to make these effective. The complete arm mechanism, the tracking servo and the microprocessor were located in the lid, the two parts being connected together by flexible cables running through the hinges. The plinth contained the power supply, the turntable motor and its attendant circuitry and the MC head amplifier. The challenge of packing this functionality into such a small unit was overcome by using all of the available space within the cabinet. ![]() The Technics SL-10 was intended to rival the performance of the very best. No expense had been spared and no corners cut. Operation of all of the functions was fully automatic, sequenced by a built-in microprocessor, while the arm came tipped with an EPC-310MC moving-coil cartridge, the preamplifier for which was built into the plinth. The turntable motor was a direct-drive type with its rotor integral with the platter, controlled by a quartz-locked servo. Each half of the casing was die cast in alloy and machined to fine tolerances. While most of these were basic products for the casual user, the SL-10 was built for the discerning listener and used the best available materials and technology to give top audio performance. So compelling was this idea that nearly every Japanese manufacturer was soon producing a lookalike copy of some description. As well as being the first turntable with linear tracking from the Matsushita group, it also pioneered the idea of a complete turntable system with a footprint the same size as an LP in its sleeve. The SL-10 was introduced late in 1979, at the absolute peak of the Japanese hi-fi industry's power. Both were groundbreaking, state-of-the-art products of their eras and both began series that would eventually include a wide range of derived types. The two most famous linear-tracking turntables are the B&O Beogram 4000 and the Technics SL-10, as reviewed here. The conventional radial turntable may be simple to make, but the economies of scale resulting from big production runs allow advanced techniques, such as electronically controlled linear tracking, to be employed. All are cut using a head that moves tangentially across the disc's surface, yet the pick-up of the typical turntable describes an arc, which is a quite different geometry. When it comes to LP records this simple principle is often forgotten. For example, a tape deck identical to the one used in the studio should replay the original master tapes with the highest achievable accuracy. There is an argument which says that to recover maximum information from any recording the playback system should be as similar as possible to the arrangement with which it was made. It dazzled in its day, but how does this '70s direct-drive deck sound now? Parallel tracking, optical position sensing and all in a slick package no larger than an LP sleeve. ![]()
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