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The SL-10 was the first linear-tracking turntable to feature direct drive, a Technics innovation dating back to 1969 with the SP-10 Mk I. The SL-10, along with its fully programmable stablemate the SL-15, was able to penetrate the consumer electronics market much more effectively than any preceding linear-tracking turntable, and it spawned a wave of imitators throughout the 1980s, along with ...
The Technics SL-1200 [1] is a series of direct-drive turntables manufactured from October 1972 to 2010, with production resuming in 2016, by Matsushita Electric (now Panasonic Corporation) under the brand name of Technics.
In a direct-drive turntable the motor is located directly under the center of the platter and is connected to the platter directly. It is a significant advancement over older belt-drive turntables for turntablism, since they have a slower start-up time and torque, and are prone to wear-and-tear and breakage, [5] as the belt would break from backspinning or scratching. [6]
The AT-LP120 was intended to be a viable replacement for the long-running Technics SL-1200 series of turntables that was set to be discontinued in 2010. It supports both phono and line-level output, [2] using a built-in preamplifier. The turntable also has the ability to dub records directly to a computer in real-time using a USB connection.
The Technics SL-J2 is a quartz-controlled direct-drive fully automatic turntable system produced by Technics between 1984 and 1988. It features a linear tracking tonearm with an optical sensor that allows for the kind of track-skipping more typical of CD players. The sensor also detects the size of the record sitting on the platter (7-inch, 10 ...
In the CD era (post 1983), the top line Nakamichi products were termed the "Dragon." The Dragon-CT turntable ("Computing Turntable") automatically adjusted for off-center holes in records by moving the platter in two dimensions. The Dragon CD playing system has special mechanical damping to prevent vibrations of the CD and holds multiple CDs.
Linn presented an important challenge to that by claiming that the source (i.e. the turntable) was the most important part of the system. [1] Ivor Tiefenbrun has talked about how Sondek derives from the term “sound deck” to emphasise the revolutionary concept that the turntable, the “deck”, is responsible for the sound quality. [9]
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