Garrard 301 - Project

@lalitk,

I had a SME 10 and went to a Garrard 301. Never thought about looking back.

I'm not sure if a power cord makes much difference, but a power supply like Long Dog or Hanze does make a difference.

https://www.longdogaudio.com/product-category/power-supplies/

My system is posted if you want to look.

Good luck with your Garrard journey

Jim Perry

Jim @jperry 

Thank you for your recommendation on PS. I am familiar with your fine system and may have conversed with you in the past. How about this for coincidence, I used to own SME 15AV with Hana Umami Red cart 😊

I have heard the 401 with the LDA Speed Controller Prototype and the Marketed Model.

I have also heard the 401 using the LDA Speed Controller compared to other Speed Controllers, produced as designs to be DIY produced.

I do believe the LDA is the better as a basic design to a DIY basic design, but have heard a bespoke modified DIY Basic design that was parity or possibly a little better that the LDA on both a 401 and a GL 75.

I use a Nigel Built (Personal Built Model) NSC on my PTP Solid 9.

I know the Idler Drive Sound very well and have encountered many ID's including the 301's, I have heard these models in a large selection of Plinth Designs, but not all demo's are in the home system.

A good selection are in systems I know quite well.

I today find the DD TT, especially in my own case, a Vintage Japanese DD TT, when mounted on a particular plinth type, is much more attractive to my unique preference as a method to replay a Vinyl Album.    

I’m obviously a big fan of idler drives, as I have a Thorens TD-124 in addition to my 401.  I’ll give you a brief synopsis of my journey with the 401:

- Purchased it on ebay from a UK seller; had it shipped directly to Woodsong Audio (Chris Harban) in Idaho.  It was not in as good a shape as described on ebay, so Chris did one of his full restorations.  All the steps involved are listed on his website under “Garrard 301 Restoration”.  

- I decided to have Chris repaint the chassis in piano black; this was because the stock gunmetal color would not have looked very good with the blue I had picked for the plinth.  Why blue? To match the Italian tube integrated and phono pre I was pairing it with.  Some traditionalists may have a problem with that, but it turned out stunning, and is now one of the turntables featured on the Woodsong website.  (pretty cool!)

- Chris installed an IEC outlet on my 401, but I don’t know what brand.  A couple years ago I replaced a stock pc with a straightwire gray lightning.  Nothing particularly expensive, and I can’t tell you it made a difference, but my own experience is that PCs are more important on the amp and phono pre than on the TT.  Also keep in mind that I’m using the original motor, so ground is floated on the IEC outlet anyway.  

- Regarding the stock motor:  I’ve had the 401 for 6 years now, without any servicing.  Since my deck was a UK version, the strobe light wouldn’t have worked correctly on the platter markings, which assume a 50 hz signal.  So Chris didn’t bother to get that working.  Well a month or so ago I installed an LED strobe light conversion kit on the turntable and guess what?  Speed is still spot on 6 years later.  The speed adjustment dial is still set at noon.  Pretty remarkable.  Great engineering by Garrard and great restoration by Woodsong.  So I’m not sure I’d recommend an external speed controller.  

- Regarding the tonearm and cartridge:  I went with the 12” Reed 3P (Cocobolo); got an amazing deal cuz Chris had a demo he needed to move.  I originally paired it with a cheap Hana EH knowing I’d upgrade eventually.  Landed on Koetsu Urushi Tsugaru, well, for three reasons: (1) It’s gorgeous; (2) Koetsu was always a destination cartridge for me because, well it’s a Koetsu! (3) Sugano San originally voiced his cartridges on a modified 401, so it was meant to be.

That’s pretty much my story.  I have one last step in the journey.  Am about to upgrade my step up transformer to something more befitting a Koetsu.  Am very satisfied with the setup.  

Hope that helps, and am happy to answer any questions you might have.

Thanks for the mention lalitk.

As the photos in my profile show, I favor a large plinth, as large in all three dimensions as your rack can accommodate. Forgetting about any thought process that a massive plinth absorbs vibration, the real estate on the top allows for all arm lengths without a cantilevered arm mount hanging off of the edge of the plinth. 

Unfortunately it appears that Russ Collinson has moved on from plinth building. The alternatives for a quality plinth are pricey. Stay away from the two different plinth builders seemingly based in Muldovia seen on eBay. I have one sitting idle in by basement where it will likely remain.

The Reed arms are a bit tricky to mount because the mounting template supplied by Reed is confusing to use. You are going to need a bit of patience or the assistance of a Reed dealer to mount its P-S in such a way as that your cartridge can be optimally aligned. 

Your choice of rack for the deck will be critical. I use Symposium's rigid (non floating top) model. The rack should be massive, offer good isolation from vibration at the top shelf, and should offer leveling footers. 

The IEC and PC imho are not important. I have had no compatibility problems among a broad range of cartridges, currently a Lyra Etna SL and a VdH Crimson Strad XGW. 

I use Stillpointe footers under the plinth. Though more willing to be of assistance if you are buying something from him, Steve Dobbs (Xactaudio) is a great source of information. 

As I think I told you in a PM, I chose to go with an aftermarket heavy duty brass bearing from Ray of ClassicHifi in the UK. And that is despite the fact that my 301 came with a NOS grease bearing (which I have kept for later use one day).