As a piep kicks uptempo enjoyer, this is poetry for my ears 
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17 quid Behringer phono pre-amp… no house move is stopping me from playing some donuts. Sounded pretty good, even through the sound bar.
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that is one CLEAN 1210! 
I love seeing when people take care of their gear.
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It’s probably older than half the people on this forum too 
, 2002 I bought it.
I have a paint brush I use to clean dust off them haha.
When we move they are going around my partners parents and will be sat on their spare bed for a few days so as not to risk damage.
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LoL, I use also makeup brush to clean the dust of my studio gear - works great 
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I have a pair from 1998, ha 
I am astonished how well the lacquer held though: most sl’s from that era, including mine, have spots where the lacquer got rubbed away…
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Woohoo!
1200 is from 1990, first I bought
1210 production date unknown, bought 2nd hand from a club that had to close. Cheers for the inspiration, just having a great back in the days session. Guess my PrimeGo will not be too jealous…
Purists. excuse the lighting mod - I love it.
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Whenever I see shiny LED mods, I am happy.
nods jackal head
There were some unique mods with illuminated platter rims á la VL12 which I have seen on some Technics a long time ago, as well as an RP4000. Maybe I should give my own RP7000 a closer look (but first I need to snatch a second one).
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After a few years, I noticed that videos over 2+ hours demonstrated up to 3 frame difference from each of my 4 cameras. This is a minor detail that is important to me since I film my mixes from 4 different angles.
So, to solve this, my wife gifted me some Deity-TC1 timecode generator boxes. These guys create an audio signal that is an encoded digital timecode that is “jammed” into the cameras via the microphone jack.
The devices all sync via wireless and all videos now are 100% accurate as the timecode tells the cameras when to capture each frame precisely.
Most people would not even notice the frame differences when I have all 4 angles on the feed, but I do
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Being an audio for film guy, timecode is an absolute necessity for keeping things frame and or sample locked.
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I am heavily considering buying an external audio recorder for this exact reason
Always useful. I bought an Olympus LS10 sixteen years ago. There’s an Alesis Masterlink in my gear stash too.
Ive only done a couple of videos but I recorded in Serato whilst using the built in mic on my cameras, then just synced it all in Final Cut using the actual sound to line the video up… seemed to work pretty well, its an automated function in FCPX.
That works perfectly for a short period of time, and after that period (it’s different for every setup), there will be drift in the audio.
I tried my best to explain it in this not so short video. 
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Ah yeah man I don’t doubt it would. Timecode is the daddy for syncing it all up defo. A lot of modern cameras have it built in don’t they? I think the newest Fujis do, my old dinosaur maybe not
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Buy a 12Inch Skin and looks like new 
Now that’s a possibility but I probably only need a 6 1/2Inch skin, realistically. 
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I think I’ve just found my xmas present for this year…
The Zoom LiveTrak L6 - a really small mixer/recorder with two mic/line inputs with phantom power, four stereo inputs, onboard FX, 3 band EQ on every channel (sweepable mid), recording of every channel + master to MicroSD, MIDI in/out, USB connectivity, four sample slots, works with computers, iOS or Android, MIDI programmable for external control of parameters, can run off 4 x AA batteries…the list goes on and on.
Seems ideal for the “no mic EQ” complainers to use with the Prime GO.
Very useful indeed. For what it can do, the price isn’t too outrageous at £285 (Thomann).
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The point of the Prime Go is that it is a compact controller. You shouldn’t have to add another £285 (third of the value) box to replace something that should be there in the first place.