Turntables, Arms & Cartridges

Is Technics trying to recreate its phonographic glory days of the 1970s? Back then, its catalogues were filled with 10-15 different models, while the arrival of the new £2799 SL-1300G turntable takes the current tally to seven across DJ, Grand Class, Premium Class and Reference Class ranges, plus the odd limited edition. So, the modern day Technics brand is inching closer!

The SL-1300G is positioned in the middle of the Grand Class line, above the £1800 SL-1200GR2 [HFN Sep ’24] and below the £4000 SL-1200G with which it, and the flagship SP-10R, share the same coreless, dual-rotor direct-drive motor. The SL-1300G also incorporates a similar alloy top-plate and BMC chassis structure to the SP-10R (though that top model is not equipped with Technics’ new Delta-Sigma motor drive technology) and is fitted with the same S-shaped, alloy tonearm as the SL-1200GR2. Missing on this new model, however, are all the DJ appendages, including the pop-up stylus illumination lamp, the pitch slider and platter strobe markings. No loss to the audiophile...

Better by design

Working your way through Technics’ comprehensive catalogue makes more sense if you separate the company’s models into ‘DJ’ and ‘domestic’ styles. There has always been a clear progression from the SL-1200Mk7 to the SL-1200GR2 and SL-1200G in the former category, while the domestic models now have the same ascendency from the SL-100C, to the SL-1500C, the SL-1300G and the SL-1000R.

Nevertheless, Technics typically approaches the release of each deck on the basis of achieving incremental, marginal gains. In this instance, it’s Technics’ 4th generation direct-drive motor electronics, debuted in the SL-1200GR2, that gives the ’1300G its edge. The technology behind this proprietary Delta-Sigma/PWM motor controller can be traced back to Panasonic’s JENO Engine (Jitter Elimination and Noise-Shaping Optimisation) digital amplification we described in our review of the SE-R1 power amp [HFN Feb ’15].

Above: Cast alloy platter has a brass disc bolted on top and then damped by a rubber mat. The coreless direct-drive DC motor was debuted in the original SL-1200G model but is powered by a new digital PWM amplifier in the SL-1300G

The Delta-Sigma Drive is a digital feedback system that monitors and corrects the platter’s speed via a PWM DAC and amplifier. Technics has taken care to remove the ultrasonic (switching) noise just as it filters both high- and low-frequency noise from its innovative, multi-stage switch mode power supply. Technics claims all this ‘reduces minor rotational inaccuracies and minute vibrations to improve sound image localisation’. Obviously, high torque is a given but the SL-1300G has flexibility here, as three different torque levels can be user-selected by a button beneath the platter. The deck is delivered factory-set to the highest torque and speeds of 33.3rpm, 45rpm and 78rpm are available.

Bold as brass

The new multi-part platter comprises a cast alloy main section with a rubber layer beneath and 2mm-thick brass top plate above. During production, every platter is individually dynamically balanced for optimal rotational stability and is physically bolted to the top of the motor/rotor so that no slippage can occur. A rubber mat is supplied as a final damping layer and an ‘interface’ between the vinyl LP and the platter’s brass surface.

The alloy-tubed tonearm is a traditional S-shaped design and comprises high-precision gimbal bearings contained in a sturdy bearing housing. Tracking force is applied via a calibrated counterweight [see PM's Lab Report] and bias by a spring using a rotary dial. The VTA adjustment ring offers a useful 6mm arm height adjustment range, and the manual gives recommended VTA scale settings for a range of physical cartridge heights.

The deck’s plinth consists of a die-cast aluminium upper section on top of a Technics BMC (Bulk Moulding Compound) base, with new support ribs between motor and tonearm mount. The feet feature silicone rubber damping and are adjustable for levelling. The whole thing feels sturdy and very well made, with the only slight hiccup being the tonearm’s cueing device – although well damped, the lever feels flimsy and it’s occasionally reluctant to stay in the ‘up’ position.

The deck is available in both black and silver but, unusually, the black version is not given the expected ‘SL-1310G’ moniker. Finally, a special mention must go to the packaging, which is a work of art. It even folds into a nifty setup stand for the deck, supporting it at the rear to aid the user’s grappling with mains and signal sockets, which are tucked underneath.

Maximum impact
Switching between Ortofon Cadenza Black and Clearaudio MC Essence [HFN Aug ’17] pick-ups was very easy thanks to the SL-1300G’s detachable headshell. In both cases, with my usual Yamaha C-5000/M-5000 amplifiers [HFN Aug ’20] in tow, the SL-1300G extracted the best from both with its inherently neutral and rock-solid (pitch stable) performance.

Anyone clinging to the fanciful notion that Technics’ modern direct-drives are simply warmed-over versions of the old SL1200Mk2 need to ready themselves to be proved very wrong. The SL-1300G is a delight across the board. Now free of the motor cogging that bedevilled early direct-drive designs, it offers an insight and clarity rarely encountered with belt-driven decks. The soundstage isn’t emphatically wide, but the turntable still serves up a ‘big’ presentation as a result of the separation it offers throughout the frequency range.

Focus group

Performers, whether vocal or instrumental, were beautifully delineated and easy to focus on. However, the SL-1300G also pulled these parts together into a satisfying whole. This is a neat trick, because it allows you to listen into a particular aspect or sit back and enjoy the overall performance – and it’s surprising how few turntables are able to pull this off convincingly.

As a result, Kari Bremnes’ voice on the slow and contemplative verses of ‘Zarepta’ [You’d Have To Be Here; Indigo 2929-1] had a husky intimacy and an exquisite sense of focus in front of the backing instruments. Then, when Nils Petter Molvaer’s trumpet joined in, it seemed to hover right in front of me. This sense of palpable realism was something I last encountered on a turntable with a price tag ten times that of the SL-1300G.

Right you are

Although most noticeable in its open, clear treble, the purity offered by the SL-1300G extends throughout the frequency range. Its midrange delivery is rich and clean and makes things sound eminently ‘right’. Be it the unerringly vivid plucks of the guitar strings backing Siobhan Miller on ‘The Ramblin’ Rover’ from her Strata album [Songprint Recordings SPR001LP], or the sublimely judged weight of the piano key strikes made by Laufey on the live version of ‘Valentine’ [AWAL Recordings LAULPOOV4], Technics’ turntable brought an immediacy and presence to everything.

And of course, the SL-1300G utilises direct-drive technology so it would be reasonable to expect its low-frequency handling to be in the top drawer. Once again, the deck easily surpasses expectations, its bass performance sounding little short of breathtaking at times. And it doesn’t do this through any false sense of artifice, or by appearing to turn the lows up to 11.

Above: RCA output sockets and a knurled ground connection are fitted under the rear of the SL-1300G’s chassis. These are a little fiddly to access...

Yes, if there is deep bass to be heard – acoustic or electronic – then this Technics turntable will let you know, but its trump card is the level of precision, texture and speed that it confers on the low octaves. The chunky synthesised bass notes that propel the choruses of Chappell Roan’s ‘Pink Pony Club’ [The Rise & Fall Of A Midwest Princess; Island Records 00602465983333] simply arrived, pounded my ears and then departed. There was no hint of bloat, overhang or hesitancy from the SL-1300G, just properly controlled notes with a rich vein of warmth running through them.

Ace of clubs

Experimenting with the different torque settings on the motor revealed subtle but audible changes. The lower settings made the deck’s performance a little cosier and, dare I say it, more ‘belt-drive’ sounding. Yet I found they also had a limiting effect on sheer clarity, introducing a slight blurring to the leading edges of notes – enough to convince me that the factory-set maximum setting is the one to go for.

It was in this set-up that Technics’ SL-1300G proved ready to recreate your favourite nightclub if you want it to. The original mix of ‘Drifting Away’ by Lange featuring Skye [Virgin VCRT101] – on 12in single of course – punched riotously from my loudspeakers and turned my corner of Hampshire into a little bit of Ibiza for ten minutes or so. It was energetic, dynamic, and thrilling. If you’re going to do this, though, please remember that moving-coil cartridges really don’t take kindly to back-cueing...

Hi-Fi News Verdict

The SL-1300G is a very fine addition to Technics’ turntable portfolio. It offers exceptional sound quality wrapped up in a slick package that’s both superbly made and a joy to use. Compared to the SL-1200G/GR2 models, the SL-1300G’s stripped-down feature set makes it less appealing to budding DJs but, for audiophiles, the results speak for themselves. Horses for courses then, but we know which runner we’re backing!

Sound Quality: 91%