The Technics SL1000mk2 in all its glory:
SP10 mk2 turntable, SH-10B3 Obsidian Base, EPA-100 Tonearm and the Remote Control SH-10R.

Click here for Manuals for SP-10Mk2, EPA-100, and Real Size Mounting Template.

ANALOG SOUND Analogous recorded sound has a far higher resolution than sound recorded in any given digital format. Both the analog tape and the long playing record contain millions of variations in loudness and frequency. Both the analog tape and the long playing record have - contrary to what music lovers and some technicians believe - many, many times more bits so to speak than the 16, 20, 24, 32 or 64. And of course there is no steep filter in the top and no noiseshaping, multiplication of frequencies and other suggestive renderings of the sound to suggest high resolution. If compared to tape recorder and Lp, the resolution of each and every digital recording format, really looks poor. ANALOG TAPE RECORDER The drawback of the audio tape recorder however is its essence: the recording and playback heads. They have coils and gaps. These need to be manufactured in accordance with very strict parameters. Even then one can easily hear the difference between a record cut from a tape and a recording which is cut direct-to-disc during the actual session, the performance. And then there is the infringing effect which noise reduction techniques like Dolby have. These should be applied with the utmost precision. It is better not to use them at all. But the record companies wanted to eliminate tape hiss and used Dolby. Any incision in the audio band which will be restored with the utmost care is detrimental to the natural harmonics and the transient response. There are other techniques like compression and the use of limiters that do deteriorate the analog signal even further. Better not use them. VINYL RECORD The drawback of the vinyl record is that engraving the lacquer and retrieving the signal from the vinyl is a mechanical process. The signal is read by a diamond tip which is connected to a rod or tube (cantilever). This tube or rod has on the other end a small magnet which moves in between coils (MM cartridge) or it has tiny coils which move in a magnetic field (MC cartridge). The cartridge is in essence a dynamo generating variations in electricity. A disadvantage of the long playing record is that (because of the chosen speed of 33.3 revolutions and the chosen size of 12") the quality of the signal is highest at the beginning and lowest near the label. Yet the importance of the reproduction of music by means of an analog medium (be it Lp or tape) is that it has a wide frequency band, has a high resolution and contains the complete harmonics of acoustic instruments. CONTROLLED SPEED The diamond tip is limited in its movement. The tip follows the meandering of the groove. When a loud passage occurs the groove has a more complicated pattern. This complexity will increase the movement of the diamond tip The contact between needle tip and groove wall will put some strain on the cartridge and it will tend to slow down the turning of the record - even if it is just a tiny bit, it will be noticed. Therefor the steady and unrelentless turning of the record at the chosen speed is a must as the tiny changes in the groove are mere micrometers! If the record slows down at the occurrence of, and during loud passages of music, each and every instance will be spread out. Hence a drummer's attack and the heavy chords of a pianist will sound muddy and the trumpet player will miss strength and the sharp tonality. CONSTANT TURNING A perfect and steady turning of the record is of the utmost importance. This is why an EMT, a Thorens TD 124 and a Garrard 301 and 401 (and also the early Goldring/Lenco L 75 and the later L 78) each have a heavy platter, a strong motor and an idler wheel which make the platter turn in a steady fashion, without a trace of slowing down when loud and complex passages suddenly occur. A slip free contact of record and platter is a must. The immobility of the record can be improved by the use of a record clamp, spindle weight, a vacuum mat, and/or a stabilizing ring. RUMBLE The acoustical isolation (separation) of motor and platter should be maximal. When the transmission takes place via an idler wheel, the circumference of the idler wheel needs to be impeccable. If not, the values of rumble, wow and flutter will be increased. The rubber of the idler wheel should be durable and should not transmit motor vibrations to the platter at the same time. In the Thorens TD 124 the engineers de-coupled the idler wheel from the motor by means of a belt. FLOATING CHASSIS In the nineteen sixties Mitch Cotter invented a new way to drive the platter, a method that eliminated these hazards. He devised the independent sub chassis on which platter and arm are mounted. This chassis rests or hangs on springs (floating suspension) and the motor is completely separated from it. The only connection with the motor is a belt or a thread which acts like a spring. The first turntable using this principle was made by Acoustic Research and later copied by Thorens and Ariston. The Linn people produced their LP12 on the basis of the Ariston turntable for which they initially manufactured parts. HEAVY PLATTER At the end of the nineteen seventies several manufacturers began using a heavy platter (6 to 20 kg) with the bulk of the mass concentrated at the periphery in order to achieve extraordinary values for wow, flutter and constancy of speed: Thorens Reference (Referenz), Platine Verdier, Melco and Micro Seiki. If the shaft (spindle) and the bearing are engineered from the best materials and to close tolerances, the playback of an Lp can give stunning results if arm and cartridge are also of a high quality.

	DIRECT DRIVE There exists another method of achieving accurate reading of the record's signal. That method is letting the platter rest directly on the motor shaft. In fact the shaft of the motor is the spindle of the platter. The platter is in place of the pulley. In this case a heavy motor is necessary as the platter is directly connected to it. The strength of the motor (its accuracy and its torque) can be used completely while eliminating any transmission by intermediate parts. Since motors do not turn smoothly but rotate in steps (the more poles the smoother the rotation), the turning has to be regulated electronically, has to be smoothed out, in order to achieve a continuous and even turning. This principle is called 'direct drive'.
	FIRST DIRECT DRIVE PATENT Thorens developed a direct drive motor way back in the nineteen twenties. Thorens applied for a patent for this direct drive turntable motor, tourne disque in French. On the document is written: "TD à commande directe". It was issued by the "Federal Office of Intellectual Ownership" in Switzerland, on June 21, 1929 and was described in the "Exposé d'Invention". Thorens however refused to use a direct drive motor in the music lover's turntables. At the time the technique was probably too expensive to make it work to perfection. Thorens applied the direct drive technique in the nineteen seventies in their studio turntable. And so did EMT. It was their answer to the success of the Technics direct drive turntables, especially the SP-10 mk2 turntable.
	EARLY SP-10 In 1970 National Panasonic (Technics) had introduced the SP10 direct drive turntable. It was a single unit with no separate power supply. Its speed was regulated by reading the minute fluctuations of the platter with a tachometer and so fluctuations in the turning of the motor could be corrected.
	A WOODEN BASE The player had two speeds: 33 1/3 and 45 rpm. These were adjustable. AThe pitch control had a margin of +/- 2%. Wow and flutter measured 0.03 %. Rumble values were -50 (DIN A) and -70 dB (DIN B). The weight of the platter was 6 lbs., appr. 2.720 kg. A wooden base plus acrylic cover were available as extras.
	SL 1100 Later on other tables like the SL-110 and the SL120 were introduced which worked along the same principle. At left you see the SL110 with a Decca International arm. The machine looks quite impressive with its high platter, the strobe-light in front on the left and a beautiful wooden armboard with whte markings. The SL110 and SL1100 had a facility to adjust the two speeds to a certain degree, similar to the SP-10. Because of the less effective de-coupling by the four feet, the sonics could not entirely match those of a Thorens TD125 floating sub chassis turntable for instance, especially if the rack or shelf was not rigid enough.
	TECHNICS CATALOG LP A tool in the clever marketing by Matsushita/Technics/ Panasonic of their direct drive turntables was the release of a special Technics Demonstration Lp in a gatefold cover picturing the range of DD turntables: SP-10Mk2 (SL1000), SL-1100, SL-120, 1300, 1400, 1500, 1800, etc. At left the Dutch edition. I am not sure if this was a typical Dutch affair.
	SP-10 Mk 2 In 1975 the SP-10 mk2 was introduced. It was a great step forward if compared to the technique of the Mk1 and other DD-turntables. The functioning of the Mk2 was quite different. Now -to put it simply- the motor was turning at a given speed which was steered by a set frequency which was generated by a quartz crystal. Hence the turntable's performance is not affected by any altering in the frequency of the mains nor any voltage fluctuation. A fluctuation in speed is instantly corrected by the motor itself without the use of a tachometer or a playback head which reads the magnetic imprints on the inside of the platter (a method Denon used in their DD turntables). This meant a mere perfect performance as far as speed accuracy, wow and flutter are concerned. In order to avoid fluctuations from temperature and those caused by mechanical parts no speed adjustment facility (variable pitch) was incorporated. This was a drawback for people with perfect pitch and for those music lovers who wanted to play a variety of old shellac records which are not always cut at 78 RPM. The SP 10 MkII also had a mechanical and electronic brake which was a new feature not encountered on other DD turntables, not even the SP10MKI. By increasing the capabilities of the motor and designing refined and complex electronics to regulate the motor's rotation (for smoothing out the shocks when moving from one pole to the next) the SP10mk2 attained its practically incomparable specifications. (Technics applied this principle -except for the breaking feature- lateron in the newer, less costly MK 2 versions of SL1300, SL1500 and SL1800 with a new styling: SL 1310, SL 1510, SL 1810, etc. These turntables were a big step ahead of the SL1100 and SL120 but still could not match the sound quality of some high quality, heavy, belt drive turntables with a floating chassis.) Instead of the soft mat which was used on the earliest SP10 (SL1000) and SP110 (SL1100) now a hard mat adorned the heavy platter. The hardness is not without significance for the sound performance which is an essential feature of the SP10Mk2. It goes without saying that an Mk2 or Mk3 is practically worthless without the appropriate power supply. A power supply is hard to find separately. And if only the motor is offered in an auction you will never be sure to find a separate power supply and you will not be able to play records with your SP 10. For an expert it would be possible to build a power supply as in the Service Manual all circuits and values of components are given. Yet, it is a hell of a job. The platter of the SP-10 mkii weighs 2.9 kg / 6.4 lb.. To prevent turntable platters to sound like a bell, the inside is often covered with a sound absorbing material. This can be a cover of a resin like substance as with the early Melco turntables or - as in case of the Technics SP 10 mkii - with a relatively thick bithumous sheet. Of course not in the middle part which is connected to the motor.

	Sony PS-X9 There are other high quality direct drive turntables: the Kenwood Kenwood L-07, and the Denon DP-65, 75 and 80 are well known. Denon and also Sony came up with specific studio turntables: PS-X9 and DP-100M respectively. These are complete systems, tonerarm included. Not only the price but surely the design may have been the cause that the DP-100M and the PS-X9 were less popular amoung audiophiles and serious music lovers.
	Denon - Nippon Columbia - DP-100M While the Technics SP-10 and the Denon DP-65, 75 and 80, can be mounted on any sort of plinth and can be combined with a variety of tone arms, the Kenwood came with its own arm and there was a possibility to mount a second arm. Although the Technics SP-10mk2 and Mk3 are considered as studio turntables, Nevertheless audio magazine 'La Nouvelle Revue de Son' in France awarded the DP-100M their "Decibel of Honor" (Décibel D'Honneur). (The four pictures of the DP-100M below, courtesy Richard Huxley from France.)
The Denon DP-100M uses a split platter to minimize rumble. The rumble value is -90 dB which is an credible achievement. It is not advised to use a different turntable mat on the DP-100 (if this would be possible at all), as a different mat will influence the signal to noise ratio in a negative way. A spindle weight can of course be used.	The DP-100 boast of a very strong and heavy motor which is used in quality cutting lathes. Wow and flutter is also excellent: 0.003 %. The heavy chassis and motor rest on appropriate springs in order to isolate the chassis and platter from the environment.
When taking off the top platter, the basic platter is revealed. The two holes are there to lift this basic platter from the spindle. The basic platter is designed in such a way that there is a second rim underneath which has a fine magnetic pattern on the inside	The magnetic pattern on the inside of the platter is read by a recording head as used in tape recorders. The recorded signal is compared instantly with the frequency of the quartz crystal in the electronic circuitry for steering the motor. The smallest deviation is recorded and corrected.
	SP 10 Mk III Technics went even a step further in designing the perfect turntable. In 1981 the SP-10 Mk 3 was introduced. It had a platter weighing a mere 10 kg = 22 lb. and the complex electronic circuitry to regulate the speeds and constancy of the rotation of this heavy platter. The total unit itself weighs 18 kg (=40 lbs). This machine was not sold in great quantities because digital media were emerging on the horizon and few owners of an SP-10 mk2 saw the need of switching to this newer version of turntable. VARIABLE SPEED The advantage of the Mk3 is not only the practically unmeasurable wow and flutter, but the fact that now all speeds can be adjusted in 0.1% steps to +/-9 % which makes this unit ideal, also for transfers of all records including all sorts of shellac records. Note: if you look carefully you can see that the SP-10 Mk3 has a softer turntable mat (at least in the picture) compared to the mat on the SP10Mk2 which is harder.
	Note: If the motor unit of an SP10, SP10mk2 or SP10Mk3 is being transported, instructions in the owner's manual have to be followed. In case of the Mk2, the motor has to be secured with the original metal clamp which should be fixed with three screws to the disc of the motor and with four screws to the chassis. This in order to avoid damage caused by shock. If the clamp is not available, a clamp should be borrowed. The omission of a clamp can damage the motor and the spindle and impair its accuracy.
	Many prospective buyers and also owners of the SP10Mk2 have asked for details of the special clamp which is necessary if the turntable has to be transported. If your SP-10Mkii does not have this clamp, you can make this shipping bracket yourself or have it made in a machine shop. It is a simple piece cut out of a thin sheet of iron. Aluminum will be less sturdy and may bend. It will cost you probably $20 if you use a flat sheet, or a bit more if you want it shaped as the image at left indicates. The distances between the screws to hold the motor unit and those to be fixed on the chassis are 78 mm and 96 mm respectively. Click to view a larger image. You can download the larger image and print it. Check if it needs adjustment or slight enlargement to fit your turntable. The indicated measurements are your reference. The part in the middle is 1 mm higher (or looking from the other side it is 1 mm recessed.
	In some cases the original screws are lost and have been replaced. At left the original screws. The fixed, brass cylinders take care of precise positioning of the platter. No deviation is allowed.
	The MkII has a completely closed motor, similar to the SL1100. The relatively large disc which is the top of the motor supports the platter. In addition to the eletronic brake there is an adjustable belt which helps break the motor/platter combination mechanically. Belt and the adjustment facility are hidden under a plate which surrounds the motor/disc so dust is kept out.
	Like in the newest generation of Technics turntables introduced at the end of the nineteen seventies/beginning of the nineteen eighties, the platter of the Mk III is fitted directly to part of the motor without an intermediate disc. The support is actually very small and fits in the center of the magnet. Now the magnet is fixed to the platter and falls over the coils of the motor fixed in the chassis.
	This is the underside of the heavy platter. Much of the weight is of the large ring with magnets. The weight is not concentrated at the periphery of the platter because that would slow the starting time of the platter. It is obvious that care has to be taken to prevent damage and/or dust to settle when taking the platter off and putting it back again.
	PLINTH The technicians of Technics designed a special base for the SP10 mk2 which was also used for the SP10 mk3. It was made of obsidian (volcanic glass) which had a nice shape and was beautifully polished.
	EPA 100: DAMPED TITANIUM TONE ARM They also designed a special arm to match the new SP10MkII by using a very innovative damping mechanism with an oil reservoir inside its counterweight, and by applying the then new space age material titanium: EPA 100 (1976). The titanium arm tube and the damping of the counterweight by means of an oil reservoir in the weight made the signal very precise and clean. Also the head shell contributed to that much controlled signal. That was not to the liking of all audiophiles.
	EPA 500: INTERCHANGEABLE WANDS Technics introduced a tone arm with an even more revolutionary design: EPA 500 (1979) with various arm tubes for use of a variety of cartridges from low to extremely high compliance. Paarantly inspired by the SME Series III from 1978. The EPA-500 was initially intended for the SP-15 turntable which has the values for accuracy of speed, rumble, wow and flutter of the SP-10 MkII. The motor was less powerful, 11 Watt for the SP-15 and 26 Watt for the SP-10 Mk2. But the SP-15 has the possibility to adjust the three individual speeds by a margin of +/- 9.9%. At left you see the SH-50P1 electronic balance scale to measure the playing weight/down force from 0.5 to 3 gr.
	Because of the high torque the platter of both SP10mkII and mkIII starts within a fraction of a second. There is an electronic and mechanical stop. When the platter is not spinning it is mechanically locked, hence the SP10 is not suitable for scratching even if the mechanical brake has been disabled (which can be done). The time of mechanical braking (the speed) can be adjusted to one's own needs. If you want to use this quick start and stop capabilities while the diamond tip is in the groove, a heavy base is imperative. If you do not own the obsidian base you will have to construct a solid and relatively heavy base and de-couple it from its environment by means of insulating rubber feet. Various materials can be used for the base: plywood covered with a thin sheet of aluminum (1 mm) layers of thin wood glued together serpentino (thin plate of stone with a sort of grainy and not too dense structure), and - as some people suggest - corian. Better not use corian as it has a frequency curve with emphasis on high frequencies. The properties of corian are also not always as desired because the percentages of aluminum varies. And better not use MDF, also because of its odd frequency characteristic which shows uneven sonic qualities with emphasis in the lower mid area. This anomaly may disappear when you use many layers and construct a very heavy base. But then the fact remains that it is in fact "dust" pressed and bonded together. I myself am not an advocate of too heavy plinths made of materials with a high density. Better choose the material and the volume in accordance with speed of sound and an even characteristic without abrupt filtering of the signal. Look for the data of density, sound propagation, stiffness, etc. in The practising Scientist's Handbook by Alfred J. Moses (Van Nostrand Reinhold Company, New York, 1978). The frequency of the isolating rubber feet or springs supporting the base plate (the SP10mk2 unit included) should preferably be between 2 and 4 Hz.

A SOLID BASE There are many solutions on how to build a plinth for the SP-10Mk2 and Mk3. You can find several proposals with drawings and pictures on the www. These pictures were sent to me by professional photographer Albert Porter. They show the solid base he constructed for his SP-10 mkII with SME 312S (Magnesium), and Air Tight PC1 Moving Coil cartridge. He used multiple layers of Bass wood and Birch plywood, an aluminum sheet, brass mounts for the arm board, and a relatively heavy piece of iron. You can see more pictures and read about Albert Porter's base on the page.

	SPRING SUSPENSION In his audiophile high-end magazine, 'The Audio Critic' (1979), Peter Aczel and his staff rightfully warned against the use of the Technics obsidian base and any other heavy base on rubber feet if one wants to listen to music at high sound levels via big loudspeaker systems. The rubber feet do not de-couple the heavy base from its surrounding sufficiently, although the fundamental resonance of the complete system is 5 Hz. according to Hi-Fi Choice No. 12 from 1978. Because of the combination of volcanic glass and the titanium arm with the specific Technics headshell will give some "shyness" in the low bass. On top of that volcanic glass, like any kind of glass, is an amorphous material. It has no structure and slightly smoothes out fundamentals and harmonics. Glass should be used only for esthetic reasons. Not for the best sound. That is why different wooden bases have been constructed. A famous one was designed by Mr. Kaneta from Japan. A glass platter mat and glass shelves in your audio rack do not give the full sound picture.
	Peter Aczel advised the use of the special base designed by Mitch Cotter, specifically for the Technics SP10 and also for the Denon DP6000. In 1980 the German high-end magazine 'HIFI exklusiv' reviewed the Cotter B1-Base, in this case with the Denon player and Fidelity Research tonearm. The staff measured the acoustic breakthrough and the mechanical resonances and compared these to other high-end turntables (Platine Verdier, Win SDC 10, Marantz TT1000). 'HIFI exklusiv' also compared the sonic qualities to the Marantz TT1000. Cotter's modifications of the player and the base he designed was the winner of the lot on all points.
	Mitch Cotter strips the unit and mounts it on a sandwiched baseplate of about 30 mm. It consists of several layers of plastic and steel (the ratio being about 4 mm to 6 mm). The unit should be level at all times. This can be achieved by adjusting the springs by means of inserting small pieces of the same sort of plastic used in the baseplate, but much thinner (1 to 2 mm).
	The springs are heavily damped with plastic foam (at left in the picture). The original electronics are incorporated in the base.
	If you are - like I am - a lover of classical music and jazz and like to play at very realistic sound levels through big loudspeaker systems connected to quality amplifiers, then you need to eliminate mechanical and acoustic feedback. In that case you should build a different plinth in which you use springs instead of rubber feet and de-couple the SP10mk2 from its surrounding to the max. That is why I let myself be inspired by Cotter's design, though the article did not give too much insight into the details of the construction. So I did not strip the turntable as Cotter did, but kept it intact and made my own design for a base. I also did not use the special layered base plate
	The base plate rests on 3 springs. The positions of the springs can be determined empirically by shifting the positions in relation to the total weight of the base plate with motor unit. My construction makes it easy to lift the rectangular box (side panels) in order to position adjust the springs and find the best position in relation to the weight, and to adjust the height and the damping of the springs and to connect a cable to the tonearm. The box is not fixed to any part but rests on top of the beams fixed to the bottom plate. For the mounting of the arm I used a sandwiched board of acrylic 4 mm thick covered on both sides with 1 mm thick aluminum.

	In my construction the base plate's measurements are: 58 cm (W) x 44 cm (D). Two 18 mm chipboard panels are glued together.
	The bottom of the construction consists again of 2 layers of chipboard, but now the plain kind. On the 4 sides I have glued (and screwed from underneath) 4 pieces of wood of 4 x 7 cm. They are positioned at a distance of 1 cm from the periphery of the bottom plate. On the inside of the side panels I have glued 4 pieces of wood of 10 mm x 10 mm at such a height that they will rest on the 2 layers of chipboard and disguise the bottom.
	The measurements of the bottom plate is 60 cm (W) x 54 cm (D). Height of the box (side panels) depends on the height of the springs used when they are pressed down by the weight of the unit on its base plate (including the weight of the platter and arm).

In the drawing below the amount of foam to be inserted inside of the spring to dampen the resonance and to prevent the swinging of the subchassis is omitted. The best thing is to make the base on which the motor and platter are bolted quite heavy. Stronger springs will be necessary.

The measurements of the outside are: 640 mm wide, 500 mm deep, 200 mm high. There is 10 mm space between the baseplate and the outside panels. Using springs has another advantage. By filling the space inside the springs with plastic foam it is possible to tune the Q of the springs, which means actually adjusting the de-coupling. A lot of foam will make the sound heavier and give more bass (more coupling). Little foam will give the sound more air and speed (less coupling). Not enough foam will impair the speed constancy (stability). So be careful to determine the best sound with no fluctuations. The total weight of this construction is about 35 kg. That is 15 kg for the unit and the base plate it is mounted on, including the arm and armboard. The remaining some 20 kg is for the rest: the bottom, side panels, springs, hooks, etc. That is all in all a total of about 77 lb.. Cotter's Base B1 weighs 100 lb.. (45.5 kg.) I am told. Cotter's sandwiched plate for the motor has a high percentage of aluminum and is much heavier than wood glued together with one or two layers of 1 mm aluminum sheet. Cotter located the power supply inside the base, that also may add up to reach 100 kg. Once you have chosen the kind of baseplate you are going to construct and you know its weight, you can determine what springs are to be used best. The frequency of the springs depends on the total weight of the unit mounted on its base plate. You certainly can be advised by an expert from a factory or a specialized shop what springs you should use. I myself took about 12.5 kg of weights to the shop in my neighborhood and the owner permitted me to search in boxes and drawers until I had found 2 sets of 3 springs. This was done by trial and error while evaluating the behavior of the springs while they supported the weights I had brought along. So in the final evaluation I had the choice between a supple and a more sturdy type of spring and could determine the frequency.(Read more info.) The result can be extraordinary. The sound is that of a belt driven turntable with a floating subchassis, but has the high accuracy of the best direct drive motor ever made. The accuracy depends a great deal on finding the right springs and make them stiff enough by inserting foam otherwise the turntable does not show the precision it should have. I have not tried using spikes but that could probably also be an alternative to just rubber feet with a large contact surface. If you use a special Record Stabilizer Weight and/or a Record Stabilizing Ring you can improve the retrieving of the signal from the record further. I am interested to know about experiences of visitors of the page. Of course it would be better to strip the SP-10 completely if you dare to and just mount the platter and motor with circuit boards on the new top plate. In that way you get rid of the material Technics used which included some damping material which was incorporated to make the production of the design cheaper, as I have been told. Do not forget to glue three pieces of ultra thin double sided tape on the platter to keep the turntable mat from moving even one micrometer. You will see, the high frequencies will be cleaner, more precise. Further improvements are the Stabilizer Weight and the Universal RSR. My SP10 Mk2 with a Yamaha tonearm (manufactured by Micro Seiki) and Coral M8 moving coil cartridge with Van Den Hul tip. This is the complete SP 10mkii (not a stripped version) with its original hard rubber turntable mat which gives the best mid band, precise high frequency reproduction, and firm bass. There is a lot of room at the right. It is for practical reasons: 12 inch tonearms and even longer arms can be mounted. (Images edited and all original drawings made by R.A. Bruil). My SP10Mk2 with the The Universal Record Stabilizing Ring. In this picture a Shure M75 cartridge was tried, with very good results. If you have any questions you can mail me. My pages do generate a lot of traffic for which additional bandwidth has to be bought. If you like the advice and it was useful to you? I can supply the following manuals and the template for the SP10 Prices in $$$ do vary according to the exchange rate at the day of your order. Please contact first.

SP-10MKII SERVICE MANUAL For owners of the SP-10mk2 I offer a brochured copy of the complete Service Manual which gives all details of the electronics of the unit: prints and schematics. It is a neat, professional print from completely edited and enhanced Service Manual. Size DIN A4 (folded DIN A3) white paper, 24 pages in total. The cost is $20 / Euro 14. Shipment is not included! Click to order the Service Manual.  TOP OF PAGE
SP-10MK2 OWNER'S MANUAL The brochured, exact copy of the Technics SP-10 Mk2 Owner's Manual in English on DIN A4. The cost: $9 / Euro 6 Shipment is not included. Click to order the Owner's Manual.    TOP OF PAGE
SP-10 REAL SIZE MOUNTING TEMPLATE INSTALLATION DIAGRAM MONTAGE PLAN SCHEMA D'INSTALLATION INSTALLATIONSDIAGRAM MONTAGE-DIAGRAM Large real size copy of the original mounting tamplate. The cost: $12 / Euro 8. Shipment is not included. Click to order Real Size Mounting Template.  TOP OF PAGE
EPA-100 TONEARM MANUAL The brochured, exact copy of the Technics EPA-100 Tonearm Brochure (8 sides, DIN A4): # Technical Specifications # Adjustments # Choosing the Right Damping in Relation to the Cartridge # VTA Adjustment # Parts List The cost: $9 / Euro 6. Shipment is not included. Click to order the EPA-100 Service Manual.  TOP OF PAGE

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