Technics is a fabled name in turntables, best-known for its SL-1200 direct-drive ’table—a fixture in discotheques and dance clubs throughout the 40 years during which it was manufactured. But in 2010, Panasonic, which owns the Technics brand, stopped making turntables.
In 2016, the Technics brand re-emerged in the form of the SL-1200GAE, which was priced at $4000. Aimed at the DJ market, the SL-1200MK7 was introduced in 2019. It now sells for $1099.99. The Technics line has steadily grown ever since, with the highest-priced model, the SL-1000RE-S, selling for $19,999.99, tonearm included. I had the opportunity to review the SL-1210GR in June 2023, and found it to be an outstanding unit.
For those who don’t need the SL-1200’s DJ-focused bells and whistles, Technics offers the SL-100C. It lacks the pitch control, the little groove light, and the strobe of the disco ’tables. To my eye, the SL-100C is a more comfortable visual match for most home-audio systems. At its retail price of $1099.99, it will comfortably fit the wallets of most audio aficionados.
Description
The SL-100C has the classic Technics direct-drive look, but with a more minimalist vibe. Its design is very clean, with a black plinth accentuated by a round brushed-aluminum on/off switch situated just above the rectangular brushed-aluminum start/stop control. The speed-select switches for 33⅓ and 45 rpm are just to the right of the start/stop control; press both of them simultaneously, and you have 78 rpm—very nifty.
The motor is a coreless, brushless DC design, intended to deliver “stable rotation, free from cogging,” according to Technics. Specified wow and flutter is 0.025% WRMS at both 33⅓ and 45 rpm.
The brushed-aluminum arm is complemented by the black removable headshell. The 9.1″ arm is of the classic static-balance design and is accompanied by a dial for setting antiskating force. The arm lift/descend control lowers the stylus quite accurately, and there is an auto-lifter function to lift the arm at the end of a side. The height of the arm lift is adjustable by rotating a screw on the lift itself.
The aluminum die-cast chassis is rigidly integrated with a composite material consisting of ABS and glass fiber to achieve a two-layer construction for good absorption of vibration. The adjustable feet are designed to minimize external shock.
On the rear at the left are the two color-coded RCA output jacks and a thumb screw for the ground cable. On the right is a three-prong IEC inlet—the SL-100C’s power supply is built in. The supplied power/mains cable is quite heavy duty. I appreciated the fact that the RCA jacks and power inlet are recessed into the back of the ’table so that they don’t stick out.
The SL-100C typically comes with a pre-mounted Audio-Technica AT-VM95C cartridge, which has a 0.6-mil conical stylus. However, my review sample had a pre-mounted AT-VM95E, which has a 0.3 × 0.7-mil bonded elliptical stylus. This cartridge has underwhelmed me in the past. It comes pre-installed on several turntables I’ve reviewed (Thorens TD 402 DD and TD 102 A, Dayton Audio TT-1, and Fluance RT81+). In all cases I found its overall sound lifeless, its bass mushy, its midrange dull, and its highs veiled. So my expectations going in were modest. Audio-Technica offers three more-refined stylus designs, so upgrading is simple. The supplied interconnects were disappointing, such as you might find on a much less expensive unit.
The SL-100C is rather sizable, at 6.7″H × 17.8″W × 14.6″D, and weighs 21.8 pounds. It comes with a two-year limited parts-and-labor warranty.
Unpacking/Setup
A diagram on the SL-100C’s carton shows how the turntable and its items are packaged, which makes unpacking (and repacking) much simpler than with many other turntables. Right on top is a thorough owner’s manual, which has complete setup directions with simple steps and lots of diagrams.
The first step in setup is to remove the magnet cover from the bottom of the platter. The manual warns not to let magnetically sensitive objects such as a watch or credit card get close to the magnet and to keep dust or iron powder from getting on its surface.
Next, place the platter slowly over the center spindle, and the rubber mat on the platter. Then, fit the headshell with the cartridge onto the tonearm. Once it’s settled in place, tighten the arm’s locking nut and screw the counterweight onto the rear of the tonearm. At this point, Technics suggests making all the connections: the phono interconnects and ground wire to your amplifier, and the AC cord to a power outlet.
Then, use a bubble level to adjust the turntable’s feet until the unit is level: turning a foot clockwise reduces its height, while counterclockwise raises it. Be aware that using too much force on a foot may break it. Finally, attach the dust cover to the plinth.
Now come the “fun” steps of turntable setup: balancing the arm, adjusting tracking force, setting antiskating force, and making sure the arm height is correct. First, remove the protective guard from the cartridge by pulling it straight toward you. Then, after freeing the tonearm from the armrest, adjust the counterweight until the arm itself is absolutely parallel to the top of the plinth. Next, turn the stylus pressure control (the numbered ring at the front of the counterweight) to read “0” while making certain the counterweight doesn’t move. After you’ve completed that, check to ensure the arm still hangs in static balance, parallel to the plinth.
Now, turn the counterweight counterclockwise until the stylus pressure control reads “2,” which represents the optimum tracking force for the cartridge of 2gm (for both the AT-VM95C and At-VM95E). Also, set the antiskating control to “2”. This engages a force that counters the arm’s tendency to move toward the center of the platter. If you change the cartridge, check the height of the arm to make sure it’s parallel to the record surface.
According to the RPM Speed and Wow app, the SL-100C ran just a skosh slow at both 33⅓ and 45. At the former, the registered speed was 33.0 rpm, about 0.9% slow, but with a good wow figure of only ±0.03%; at the latter, the speed was 44.94 RPM (-0.13%), while wow was estimated at ±0.02%. With the tracking pressure control set to 2gm, my pressure gauge registered 1.96gm, a very modest discrepancy.
Using the SL-100C couldn’t be much simpler. Put a record on the platter and press the power on/off button followed by the start/stop button. Make sure the speed is set correctly. Use the arm lift to raise the arm, place the arm over the lead-in groove, and lower it. When the side is over, no need to rush over to turn off the unit; it raises the arm so the stylus doesn’t suffer needless use. You’ll still have to kill power to the motor.
Listening
My reference setup comprises a Music Hall Stealth turntable connected to an Apt Holman preamplifier, which feeds my NAD C 275BEE power amp via Morrow Audio MA1 interconnects. The NAD amplifier drives my Acoustic Energy Radiance 3 floorstanding speakers through Audtek 14-gauge OFC speaker cables terminated in banana plugs.
I disconnected the Music Hall ’table and replaced it with the Technics. Then, following my usual practice, I began my listening with a favorite classical record: this time, the famed 1980 recording of Camille Saint-Saëns’s Symphony No. 3, “Organ” (Telarc 10051), with the Philadelphia Orchestra conducted by Eugene Ormandy.
I zeroed in on the final section, which contains the powerful organ part that gives the symphony its popular name. The Technics ’table and Audio-Technica cartridge served up gobs of detail, such as in a soft section where organist Michael Murray plays sustained notes on the manuals accompanied by short staccato pedal notes, which were subtle but apparent. Meanwhile, the strings produced the famously lush Philadelphia sound—absolutely silken—and played so uniformly that it was impossible to pick out individual instruments. The trumpets, which play a leading role, were brilliant, with sharp attacks and fabulous timbre. In the big finale, the organ came in like a ton of bricks, creating a gloriously full and rich sound. The SL-100C acquitted itself very well and, to my surprise, I was quite satisfied with the sound produced by the AT-VM95E.
I love the sound of the 30th-anniversary reissue of Fourplay’s eponymous debut album (Evolution EVLP 025). This LP sounds better on my system—more complete, more gutsy, more defined—than my original CD. And I was blown away at how good the AT-VM95E made it sound. This was a revelation. As I said above, the cartridge has disappointed me in the past—but not here! The tune “Bali Run” was full-bodied all through the audioband. The bass had more than adequate punch; the cymbals, more sizzle; the keyboards, more presence; the guitar, more snap. The soundstage was outstanding, with the bass down low in front with Bob James’s keyboard/synths right behind. Lee Ritenour’s deft guitar usually existed midway between the center and hard left, but for short bursts it would show up on the right. The drums and percussion were on the right, with great attacks. There was spectacular depth to the performance. It sounded so good, I listened to both discs of the set and loved every minute. I felt as if I was in the control room of the studio while they were recording.
After this, I was looking forward to hearing how “Boogie Wonderland” from Earth, Wind & Fire: Their Ultimate Collection (Columbia 19439951261) would sound on the SL-100C. I was disappointed, as the AT-VM95E went back to sounding flabby. This song has a very strong beat, but it sounded too subdued. The Emotions, Earth, Wind & Fire’s female backup singers, play a major role in the song, but while they were “there,” their sound was flat and lifeless. The brass section was also too distant-sounding. And the only percussion that came through was the cymbal; I really didn’t hear any drums, which puzzled me, as they’re usually a big part of the band’s sound. In all, it just wasn’t what I expected.
Next, I went to a song I hadn’t played in 30 years: “Whole Lotta Love” from Led Zeppelin II (Atlantic SD 8236). Listening to this track after so long was eye-opening. I didn’t expect the depth of sound I heard; I thought it would be pretty much one-dimensional. Not a chance. Jimmy Page’s fuzz guitar was hard left and simply raw, as was John Paul Jones’s bass. Robert Plant’s vocals were front and center, with John Bonham’s drums closely behind. Plant’s voice came through as rather harsh and edgy, and drenched in reverb (supposedly to cover up some print-through on the tape). The long drum break was possibly the most interesting part, as it demonstrated fabulous reproduction of all the pieces of Bonham’s kit. The cymbals were spot on—nice and shimmery when called for. The snares were sharp and quick, the toms and bass rich and meaty. The second guitar part started on the right but moved back and forth across the soundstage to the point where it sounded aptly psychedelic. I very much enjoyed reacquainting myself with this song.
I wanted to see how well the AT-VM95E tracked an inner cut, so I put on “Diamonds on the Soles of Her Shoes” by Paul Simon from his Graceland album (Warner Bros. 25447-1). Throughout, Simon’s voice was sibilant, which indicated to me some possible mistracking, except when he reached up into his falsetto. The soft beginning section with Simon and Ladysmith Black Mambazo was gorgeous, the backing group’s mostly deeper voices contrasting beautifully with Simon’s choirboy tenor. But when the drums and percussion burst in, it was enough to knock me off my chair! The attacks were loud, but very clean. The same was true with the trumpet and saxes: their entrance was equally crisp and piercing. The percussion actually was the high point of the tune for me, with its many different sounds. It even outweighed Simon’s great singing. Ladysmith Black Mambazo, whose members stretched completely across the soundstage, made a perfect complement to Simon. I listened to the song three times just to try to process all that went on. It’s a superb recording, and despite the possible mistracking, I enjoyed hearing it each time.
I made two discoveries while listening to the title track of I’ve Got the Music in Me by the Kiki Dee Band (Rocket MCA-458). First, the AT-VM95E picked up a lot of surface noise, pops, and clicks from this old, heavily played record. Second, the recording itself has a shallow soundstage. There was good lateral spread of the singers and players, but they were all jammed on top of each other. Despite these negatives, the song sounded pretty good. The instruments were shown in a good light. For instance, the cymbals are played very rapidly, but I could always hear each strike of the stick. The guitars were in my face, but their attacks were precise and their tone suitably raucous. Dee’s voice had a bit of rasp to it on some notes, but others, especially high ones, sounded smooth and melodious. It came off as pretty satisfying, all things considered.
Comparison
I compared the Technics ’table with my Music Hall Stealth, which comes with a pre-installed Ortofon 2M Blue cartridge. For this comparison, I pulled out Weather Report’s Heavy Weather (Columbia PC 34418) and played “Birdland,” probably their best-known tune. Nearly all the instrument sounds came from Joe Zawinul’s synthesizers except his piano, Jaco Pastorius’s bass, Wayne Shorter’s soprano and tenor sax, and the drums and tambourine. I started with the SL-100C and found its presentation of this track adequate but not scintillating. There was precision to the drums, the acoustic piano, and saxes, but not a lot of snap. I felt the cartridge didn’t pull all of the music out of the groove. It was somewhat flat, and lacked flair.
The 2M Blue, on the other hand, did right by the piece. Everything had more life: there was more air around the instruments, there was more punch to the synth notes, and the bass had a greater presence. In all, the Stealth / 2M Blue combination provided a far more satisfying listening experience. Of course, the AT-VM95E has a bonded diamond stylus and costs $70 on its own, while the 2M Blue has a nude-mounted diamond stylus and costs $239.
Conclusion
My reference turntable, the Music Hall Stealth, is also a direct-drive design, and it has an adjustable vertical tracking angle. It comes with a better cartridge and a higher price tag—$1649.
So why did I just order a Technics SL-100C to replace it? Because if a turntable can make a lackluster $70 cartridge sound nearly as good as one twice or three times the price, just think of what it can do with a better cartridge. I’ve tried the SL-100C with the 2M Blue, the Sumiko Oyster Moonstone ($349), and the Goldring E4 ($299), and it’s taken my listening experience to a whole new level.
The SL-100C is not inexpensive, but it truly is one of the finest turntables I’ve had the pleasure of reviewing. It even tops my Stealth ’table, which I thought would never be surpassed. The SL-100C handles records beautifully. I love the end-of-side auto-lifter. I love its look and its sound. It’s fairly impervious to external shock. Its motor is extremely quiet. In all, the Technics SL-100C matches (or often surpasses) the performance of any other direct-drive turntable I’ve experienced. Take it to the bank: the SL-100C is worth its considerable weight in audio gold!
. . . Thom Moon
thommoon@soundstagenetwork.com
Associated Equipment
- Speakers: Acoustic Energy Radiance 3 floorstanding
- Power amplifier: NAD C 275BEE
- Preamplifier: Apt Corporation Holman
- Turntable: Music Hall Stealth turntable with Ortofon 2M Blue cartridge
- Interconnects: Manufacturer-supplied for turntables; Morrow Audio MA1 analog from preamp to power amp
- Speaker cables: Audtek 14-gauge OFC cables terminated in banana plugs
Technics SL-100C turntable with Audio-Technica AT-VM95E cartridge
Price: $1099.99 (with AT-VM95C)
Warranty: Two years, parts and labor
Panasonic Corporation of North America
Two Riverfront Plaza,
Newark, NJ 07102-5490
Phone: 1-877-803-8492
Website: us.technics.com
