clearaudio's Photobucket GARRARD 401 album media

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Garrard 401

clearaudio — Sun, 9 Nov 2008 05:42:22 MST

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What you see here is the culmination of all my experience working with tonearms, turntables & plinths. This particular deck represents the state of the art for its class. This is as good as it gets. Slate has now replaced wood in my book as far as plinth design goes. Much as I love the look of wood it does not compare soundwise with slate. This particular plinth is made from 30mm hard dark slate & was professionally cut from a template I provided. The edges are bevelled as can be seen; the tops & sides are honed smooth & shine with an easy to maintain oiled finish. The slate compliments the 401 perfectly. Beneath the plinth, to hide the wires & motor, are a couple of hard wood sub-plinths held in place by brackets which attach to the original chassis mounting bolts. They are easily removed if you prefer. An IEC socket is fitted to provide power to the motor. The plinth is supported by three brass spikes bonded to the plinth on slate spacers. The 401 itself is in near mint condition. I spent along time searching for one & no expense was spared. It has been oiled & maintained in accordance with the Garrard manual. The main platter bearing has been modified by replacing the bronze thrust plate with a hard steel ball-bearing supported on a PTFE base. This is a well known mod that reduces bearing noise & friction. The motor is quiet & takes about 30 minutes to reach speed stability. The icing on the cake, as far as I'm concerned, is my Terminator tonearm. I wont go into detail on this arm, suffice it to say it has just won the ETM blue note award. Read all about it here (second one down): www.enjoythemusic.com/magazine/equipment/0908/bestof2008.htm It seems to partner the Garrard well. This auction includes the pump, smoothing tank & tubing needed to run this arm, but not the cartridge. It should also be noted this plinth was specifically designed for the Terminator only, no other arm will fit without modification to the slate. Believe me, once you have experienced this parallell tracking tonearm, you will never use a pivot again! So why have I decided to sell such a perfect item? Well, I get bored easily. There is nothing more I can do to improve the 401. But I do have a Gyro sitting in the corner collecting dust. Now, if I give it the slate treatment & add a Teres Verus motor............................... Terminator Tonearm The playback of a record should imitate the cutting of the lacquer as closely as possible. During the cutting process the cutter diamond makes an angle of 90 degrees at all instances from the beginning of the groove to its end. Obviously, the best way to read a record groove is by using an arm which follows the groove in a similar fashion as in the cutting process. A parallel tracking tonearm has the least distortion because the tracking error is minimized to practically zero. The cartridge stylus reads the two groove walls at the same time without any delay. Furthermore, a parallel tracking tonearm does not need bias compensation (anti-skate settings), as there is no centripetal force, unlike in pivoted arms. Pivoted arms, on the other hand, are the most commonly used tonearms. These can be further subdivided into unipivots and non-unipivots, as well as pseudo-unipivots. With common pivoted arms (also called radial arms), there is zero tracking error only in two instances. At other points, there is tracking error. This is minimized by giving the pivoted arm the familiar offset angle. The skating force is not eliminated, however, but instead increases. This can be corrected, of course. Unfortunately, the skating force depends on the friction between the record groove and the stylus tip, as well as the cut of the stylus. It also depends on what is recorded on the record, even the quality of the vinyl. As one can see, correcting anti-skate is always not perfect, technically. All this ceases to be an issue with a tangential tonearm, as there is no skating force. Basically, setting up pivoted arms properly with the various tools around is essential to minimize these tracking errors, as well as controlling the skating force. Designing and manufacturing a parallel tracking tonearm is not as simple as it may seem and only thorough engineering can result in a good functioning device. Precise and accurate geometrical proportions are essential to get it right. As a result, prices of the high-end parallel tracking arms are in most cases far beyond the budget of most audiophiles and music lovers. Thoughts from reviewers and users: Stewart Wennen and David Price in the October 2006 edition of Hi Fi World it 5 Globes and made it Tonearm of the Year 2006. So we know we have a winner on our hands. The model in question was a pre production model, With numerous improvements now made to the arm its now ohh so much better, and price has remained the same. Roy Gregory in the first issue of Hi Fi + magazine of 2008 has put pen to paper and put his thoughts on The Conductor in print. In his review featuring various 10 and 12 inch tangential tonearms he makes the point plainly that only with a parallel tracker will you remove audible distortion from vinyl replay, even if you try to minimise it using a longer arm tube. He loved the Conductor with its musicality and poise, rightly so as we have tried most other parallel trackers and now know this is one of the very best yet made, and is certainly the most affordable. Need we say more. "The density and tonal richness, the sheer amount of detail the arm digs out of the initial transient and the body of the note, its fundamentals and its harmonics both above and below the note itself are something to behold. Anyone who has a reasonably developed system will know how hard it is to get an audibly and quantifiably better sound from their system. So often we start thinking "well yes, there's more detail" only to realize it's actually a midband dip artificially boosting the transients or instruments like cymbals. Not with this arm. It seems to be actually delivering the real thing." ..."I've found over the last few months that due to its particular sound, this is not an arm I could live without. I have no hesitation in describing it as a world-class performer and a genuinely exciting and valuable new entry into the analog world. Edward Barker, 6Moons, 4/06 Read the full review: http://www.sixmoons.com/audioreviews/conductor/conductor.html We have a wide selection of cartridges and phono stages to complement The Conductor tonearm. Please call to discuss the product(s) that best fit your system and budget. I know analog.

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clearaudio — Sun, 9 Nov 2008 05:38:39 MST

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