Being totally honest my knowledge of the existence of such a thing as a turntable that had its platter driven by a rubber coated wheel rather than a belt, or direct motor drive was unknown to me, up until fairly recent times.
The audio business I started work in originally, first as a Saturday boy, then sales man and eventually senior sales man never to my knowledge had one brought in for trade in, service or having a new arm or cartridge fitted. I was eventually one of the main turntable set up guys within that business and I never had a Garrard, Thorens or a Lenco cross my path in all the years I worked there, and certainly not in more recent audio employment. It also may seem amazing but I don’t recall hearing about idlers or even reading about them either.
I guess that can possibly be explained to a degree, maybe, by the amount of modern equipment options out there in the late 80s and early 90s, and the attitude that bang up to date was best, and vintage not so good. This attitude seemed more prevalent at the time – no doubt fuelled by folks buying CD players and buying new systems to suit the shiny new silver discs. Except that doesn’t entirely wash in that I saw a reasonable number of Quad 2 and Leak valve amplifiers and the occasional Quad 57 electrostatic speaker, just no Idler turntables.
Was this story all over the audio world or just the part of it I lived and worked in, Ireland ? Or even maybe just the place I worked ? I really don’t know the answer.
I am however pretty sure that many audio enthusiasts of both new and vintage audio on reading all this will struggle to believe in all the time I worked in the audio retail world, – about 12 years – that I never saw or heard an Idler. Believe it or not that was the case.
An itch that needed scratched.
My entry into the world of the net, audio forums, and a growing appreciation, interest in vintage audio all seemed to coincide, and it wasn’t long after this that I began to see pictures of Thorens 124, various Lenco’s, Garrard 301 and 401s in various plinths, with vintage arms and more modern ones, that a curiosity grew within me as to what hearing one of these turntables might be like. Those early stirrings of interest I would date to around 2008/2009, but it wasn’t until the last year or so I began looking out for a nice example of a Garrard – having decided a Thorens 124 and Lenco were not for me – but which one ? To 301 or 401 that was the question.
If I thought selecting a Garrard would be easy it turned out not to be.
Selecting a Garrard.
On the face of it getting a Garrard should have been simple, but as I dug behind the pictures that had attracted me to the idea, I began to uncover a topic that was far from straight forward – is anything in audio ? – and it wasn’t long before I came to realise that there were layers of opinion and history surrounding this topic that made it, certainly in some areas a fairly hotly debated one and truth and clarity was about as intangible as a will o the wisp at times.
There were debates about which version of any of the Garrard turntables was best, which type of bearing and lubricant best, and a fairly complex production and development history presented along with testimony from folks that had worked for Garrard and all of this somewhat muddied the waters to a degree that I began to back off from getting a Garrard.
However the idea didn’t entirely die and I continued to visit the topic from time to time and keep an eye out on Ebay and the various audio forums in case temptation might come a knocking.
Despite many folks saying the Garrard 301 was the better of the two turntables, the looks of the 401 appealed to me more, probably a good thing as the Asian market has pushed the prices of these early 1950s 301 decks to pretty heady figures.
However the 1965 era Garrard 401 was and is still somewhat affordable on the used market, and so it was that a nice 401 came along, suitably tempted I took the plunge.
Scratching the Itch.
With the safe arrival of the 401 there then became the need to get a suitable plinth for the turntable, as Garrard 301/401 turntables were often sold as motor only units to be mounted in a plinth made by the customer or a second party plinth supplier.
Frankly the number of options regarding plinths available and the need to have the 401 looked over by experts took me to Loricrafts door and the main man behind the company Terry O’Sullivan. It was out of that contact that the germ of an idea came to life regarding a review.
Loricraft say this about themselves…
‘Terry O’Sullivan had been involved with turntables since he got his first Bush Record Player in 1958. After lusting after a 301 in the 60’s, he started building plinths in 1979 and bought his first 401 from the factory in nearby Swindon. He began to collect and restore 301s and 401s and in 1990 he set up Loricraft Audio, encouraged by his friends Julian and Nigel, who owned the HiFi shop in Oxford, “Westwood and Mason”. Terry visited the Garrard development team at Swindon up till 1995, when it was finally closed down completely, and he still remains in contact with some of the owners and employees.
Following the closure of Garrard in 1995, Terry opened discussions with Gradiente Brazilian owners of Garrard and in 1997 he obtained the licence to use the Garrard brand name. Gradiente had always wanted development to continue and the later that year the award winning Garrard 501 was launched at the London Audio Show.’
Loricraft offer a number of services (1)
The motors in Garrard idler turntables are hefty devices and the operation of the mechanism and idler drive can produce a fair bit of energy which has to go somewhere, and into the platter and then cartridge isn’t where you want it to go. Even a fully working Garrard with every part up to spec isn’t the cleanest turntable regarding noise creation, say in comparison to more modern designs. However with a properly designed plinth, properly maintained and set up Garrard the issue that once saw it and its ilk referred to by idler detractors as ‘rumble drives’ is mitigated to the point of no longer being any kind of problem.
One thing I did want was the ability to change arms, so a swappable armboard was required, something Loricraft did not, at the time I spoke to Terry, offer with the skeletal plinth design. In the past this plinth was made to suit a 9 inch tonearm or 12 inch option and as such was pre-cut to accept one arm only. However Terry did say that they were thinking of adding that option to the skeletal plinth, but would need to work out how to do it so as not to compromise the performance of the plinth. After talking more on the phone and via email exchange I decided to accept Terry’s suggestion of a plinth that could if needed take a 12 inch arm – thus helping to future proof itif a customer decided to switch to using a 12 inch tonearm.
Path agreed upon I carefully boxed up and sent the Garrard 401 I owned to Loricraft, to be checked over and to have a skeletal plinth designed for it, with a swappable armboard.
Arrival and Description
Then after getting an email to say it was on its way back to me a very large box arrived, however its arrival sadly coincided with my physical health not being good (2), so it sat where the courier had kindly brought it into the hall area of where I live, for much longer than I would have liked. When I was able, I unboxed the well packed contents and took a look at what I had been sent.
The plinth was a two piece design, finished in a dark grey slightly textured finish, 56.5 cm long, by 40 cm deep, by 2.5 cm in thickness per section. On the bottom part of the plinth, at the four corners, nicely finished aluminium tubes into the top of which sat damping spheres.
Underneath it shorter tubes, which were the feet upon which the turntable would sit. The top section had a cut out to allow the motor unit to sit, and the bottom section where a smaller cut out was located to allow the bottom of the motor/electronics – which due to its depth would have prevented the top plinth sitting on the four damping/isolation spheres had there had not been a cutout to allow the motor to hang free. The motor assembly doesn’t sit much below this though.
In the top piece to the far right the substantial armboard sat, attached to the surface via 6 bolts. Underneath a cut out to allow the bottom of the tonearm arm cable to protrude. Loricraft can supply this armboard to suit the adjustable height of what ever arm you want to fit upon it. SME vintage and modern tonearm owners won’t need an underarm spacer to achieve this correct height anymore. The top part of the plinth simply rests on the damping spheres.
The skeletal plinth does allow for levelling of the whole plinth via the feet, so while its not totally necessary it sits on a level surface I personally feel having that surface level is better than adjusting the feet on the Garrard, or any turntable for that matter. Having a level turntable is something that is vital in achieving good record playback regardless of the type of drive system used. Also worth keeping in mind that if you opt for a 12 inch tonearm version of the plinth, its footprint is rather on the large size, so your equipment table needs to be able to take that substantial footprint. My Clearlight Audio Aspeckt rack’s large top plate was an ok fit but the plinth came close to being too big. The living room system equipment stand was fine as well, as I also use a Clearlight Audio large shelf there as well.
The electrical input cable has a cable retention clamp but the tonearm cable doesn’t.
I used two systems to do this review, initially my main listening room, but later on the living room system. Those components where as follows:
First System: Balanced Audio Technology VK53Se Pre-amplifier, Music Reference RM200 mk1 power-amplifier, PassLabs X Ono phono stage, Anthony Gallo Reference 3.5 speakers. Cabling Atlas Mavros XLR interconnects and speaker cable. Mains Cables Audience AU24. Equipment tables Clearlight Audio Aspekt Racks. Mains distribution Mark Grant and Russ Andrews. No mains filters or conditioners were used. Electrical supply from a dedicate consumer unit and separate spur.
Second System: Balanced Audio Technology VK300SE integrated amplifier, Balanced Audio Technology VK10s SE phonostage (later on PassLabs X Ono), Tonearm 9 inch SME 5, Cartridges: Audio Technica AT EV33, Ortofon MC2000 m2, Benz Micro SL Glider, VDH MC10. Speakers Anthony Gallo Reference 3.1. Cabling: tonearm cabling was initially SME VDH, Graham IC70 and AMG basic. Interconnects Audience AU24 balanced and speaker cabling QED Genesis. Equipment Stands Base and Target Audio. Mains cabling was TCI Boa Constrictors with a Mark Grant distribution box. No mains filters or conditioners were used. Electrical supply from a dedicate consumer unit and separate spur.
Return To Forever – Music Magic
Yello – One Second
Dead Can Dance – Into The Labyrinth
Thomas Dolby – Aliens Ate My Buick
Yello – Flag
Pat Metheny Group – Secret Story
During the listening period I also used a lot of other recordings.
Initially I had planned to listen to the 401 with an SME 5, SME mount Graham Phantom B44, and a Triplanar 10 inch Mk7, but, and this isn’t Loricraft’s fault, but mine. I found that the Graham, even though it was an SME mount version would not fit on the turntable as the armboard was too low. The Graham needs the armboard to sit above the 401 chassis so as to be correctly aligned, as it needs to be moved in part over the 401 chassis to achieve this. The lower armboard I had would not allow this so the Graham was not used. Unlike an SME arm which has a movable arm assembly with the mount staying put, the whole Graham arm must be moved in order to align it correctly.
The Triplanar also didn’t happen because of the aforementioned ill health and finding it awkward to find someone to drill holes and thread them in the supplied armboard. Loricraft were reluctant in doing this because they were not sure the measurements I sent them were correct. I can’t blame them for this as their professionalism required exactness which I had perhaps not provided.
The SME Model 5 arm became the only tonearm I used, but in order to vary things once the review was up and running fully I decided to use 4 cartridges during the listening period.
Setup was fairly straight forward and amounted to loosening the locking mechanism in the turntable, this lowers a clamping bar which is tightened to act as protection in transit, and releases that part of the turntable to hang free in its isolation cradle. As the motor was already fitted to the plinth, the bearing pre oiled all that was required was to lower the platter into place and set the arm up. As mentioned earlier as Loricraft had sent an SME 5 9 inch cutout armboard I used the SME Model 5 tonearm I had.
The lovely thing about SME tonearms is the ease of setup, I almost feel that pretty much anyone following the beautifully illustrated instruction manual could do this. No other tonearm manufacturer comes close for this. As such I was able to change cartridges fairly quickly which helped a lot in doing this review.
The Mat/The Record Weight.
The platter mat supplied with this particular Garrard 401 (from its original owner) was somewhat damaged so I opted to explore some other options I had to hand, and off those I listened to I felt the Funk Firm 3mm platter mat and the Oyaide MJ12 mat were the best, with my ultimate decision coming down on the side of the Oyaide, with a BR One undermat soundomg best. This was in combination with the Oyaide STB record weight.
I did a fair bit of listening to determine the best mat for use, but another bout of ill health stopped me in my tracks and it wasn’t for a number of months that I returned to the review. As a consequence this review is several months late and I apologise to Loricraft for the delay.
The only exposure I have had in recent years to an Idler turntable was setting up a Lenco based Inspire Enigma. That particular deck is driven by the idler wheel from beneath the platter, so the wheel contacts the platter directly beneath where the record sits. In the case of the Garrard 301 and 401 the wheel drives the inside edge of the platter.
Never having heard a Garrard before I wasn’t sure what exactly to expect, and as such I had no preconceived ideas, well I didn’t think I did, about what that sound might be. Thus I approached this with what I thought was an open mind, with the only ghosts being my current references, SME Model 20, a modified Technics 1200, and the AMG Giro – comparison to which would be unavoidable.
I let the 401 run on and off for a number of days to let things settle down before I began the review.
With the Audio Technica AT33EV
Having removed the SME 5 from one of my Technics 1200 turntables awhile back with an Audio Technica EV33 in place I began with this pairing which works fairly well with the Technics 1200, but would it work well with the Garrard 401.
As the needle landed in the groove I was impressed with the lack of surface noise, not the silence of my AMG Giro but very low indeed. The idler drive method was not making its self known through my speakers as I have read some say these do – rumble drive…. really! Putting my head down near the platter I could hear no noise of the Garrard going about its business.
First up on the platter was Air Head by Thomas Dolby. One of the first aspects of the presentation that struck me was the deep propulsive bass, not a boomy bass, but controlled full of nuance, shade and detail, but driving. The soundstage was wide, and had good depth and resolution of the acoustic – albeit a studio created one.
Midrange and treble detail was nicely presented and sat coherently along with the bass but there was an energy, in the music that mean’t the performance bounced along at a rate that was very enjoyable and immersive – foot tapping.
The track Pulp was also very enjoyable, fine detail well resolved and as with Air Head the bass was very powerful and went deeper than I had heard before.
Moving from Thomas Dolby I put Dead Can Dance on the 401 and the album Into The Labyrinth, which is an album I often use for reviews as it has within its 55 min, 26 seconds, varied instrumentation and music that covers numerous musical styles, from ethnic to haunting Gothic, and it was The Carnival is Over I played first. My listening notes have words such as: beautiful, beguiling, sumptuous, all highlighted with a circle, and yet as I continued listening I began to feel that there was a slight veiling going on in regards to the acoustic space in which Brendan Perry’s vocals exist, and some fine percussion just wasn’t as clearly defined as I felt it should be.
Feeling fairly certain I knew what was causing this I checked to find that a certain cable was in place from the tonearm to the phonostage. I had forgotten to swap it out and not long after I was fitting the Graham IC70 that I usually use. Queing the tonearm again to drop on to the beginning of The Carnival is Over was a revelation, as those veiled aspects of what I was previously used to returned.
Being honest it was like listening to an entirely different piece of music. My notes have WOW in bold and circled.
Along with the previous observations, there was increased information, a wider, deeper soundstage and improved separation and layering of fine detail. Brendan Perry’s vocal now felt much more solid and the acoustic it existed in more clearly resolved and three dimensional.
The heartbeat drum that underpins the track was much clearer than before, it too had more solidity and reality in the tracks soundstage.
The fade out towards the end was much more clearly resolved and fine detail stood out better than it had before. And there are those who say cables don’t make a difference !
I listened to more of this album and enjoyed it so much I didn’t take notes, but one thing that seemed better to me was the degree of coherence between the frequencies, while the bass was still deep and strong the mid and treble had a better cohesiveness than before. To check this out I put the Thomas Dolby album back on and found the same to be true here as well.
Keys to her Ferrari, had excellent drive, rhythm and pace. My head and feet working in time with the music. There was very nice articulation and delineation of bass lines behind the spoken word section of the track. Bass notes existed within the space behind Thomas Dolby’s voice, and the fingers plucking them clearly heard.
Hot Sauce starts with a fairly quiet beginning and moves into a Mariachi band vibe and the low noise floor allowed a lot of detail to be heard, the presentation being nice and open.
I revisited Pulp and the balance was much better this time around. The bass was still powerful and drove the track along but there was definitely better articulation and coherence with the rest of the frequencies.
What its all about – Interlude.
Its been a very long time since I have seen the face of someone who suddenly has an audio revelation. Such a thing happened during the review period. A friend asked if his son could hear my system, he was showing an interest in analogue audio, different to the computer audio and headphones he was listening to day to day. So round they came and during the listening session which included an album he had bought, he started hearing things he hadn’t heard before. He asked lots of questions, then I suggested listening with his eyes closed.
The face of someone having a revelation is remarkable and a real humbling thing to see. First surprise, then shock, then puzzlement then joy. He turned to me and said. I could hear a soundstage, depth, instruments in the air. I thought only headphones did that. But that was better.
That is what music on good equipment is all about, joy, fun and discovery. (3)
Briefly an Ortofon MC2000 MK2
Many years ago when I was not long in the audio trade an opportunity came up to buy an Ortofon MC2000 mk2, and perhaps crazily, I never used it. The first sample I got while installing it had developed a crack in the ceramic body. Now whether I had over tightened the bolts or a spec of dirt had caused it I can’t say, but despite the possibility I had inflicted this damage or not, Ortofon very graciously replaced it. Rather than using this sample I chose to use the Van Den Hull MC 10 I got not long after the replacement Ortofon arrived and the thus the Ortofon stayed NOS in its box.
Thinking of selling the cartridge I decided that really I needed to make sure it was ok, as no one would really want to take a crap shoot when it came to buying a cartridge that may or may not have been ok after 26 years of storage.
As I was unable to try other arms on the Garrard I decided this was as good a time as any to try out the Ortofon. Very carefully I installed it and for its first outing – three LP sides max – I played Yehudi Menuhin Introduces the Instruments of the Orchestra. My main reason for using this album was if the cantilever was to fail I didn’t much care for this LP getting damaged.
Obviously I had stored the Ortofon MC2000 Mk2 properly as the cantilever didn’t collapse and I was confronted with my foolishness in not having ever used this cartridge.
Even after a few bars of Dead Can Dance’s track The Carnival is Over, it suddenly became clear that as good as the Audio Technica cartridge had been the Ortofon was blowing it out of the water. Its often the case that familiarity with how a component sounds can blind the listener to its short comings and compared to the Ortofon MC2000 the Audio Technica sounded somewhat crude in comparison. The simple fact is the Ortofon brought a degree of sophistication to the way music sounded on the Garrard that I had to re think my feelings.
The Carnival is Over was simply stunning, not as good as on my AMG Giro but the gap had closed compared to how the Garrard had sounded before. There was a degree of openness, detail, nuance that had been missing. There was an effortless portrayal of the complexity of the track, layers of detail more obvious than before, with note decay into the acoustic more clearly defined. I was somewhat flummoxed by this.
After playing a few tracks from Thomas Dolby and a few tracks from Return to Forever’s wonderful Music Magic album I had to stop it there, rather than exceed the three LP sides of use and I found that very frustrating as the wider deeper soundstage, increased focus, dimensional spaciousness, increased subtly but still nicely pacey and in the right place weighty performance was equally beguiling and addictive to listen to. However I had to stop, and remove the Ortofon, and being honest it was a bind to do so but do it I did.
After removing the Ortofon I opted to install a few more cartridges to see how that would effect things.
Benz Micro Glider SL/Van Den Hull MC10
Rather than bore my readers with lots more description it became clear that a Garrard 401 is a much more transparent tool to dig into ones vinyl collection than I at first thought. I will be honest despite having an itch I wanted to scratch regarding this vintage turntable I also if I am honest wasn’t expecting it to perform as well as it did and does. I guess I felt that many audiophiles who enthuse about vintage gear did so through rose tinted glasses and as such possibly made excuses for less than wonderful performance all in a quest to relive the audio glories of a past, that maybe wasn’t that glorious to begin with.
The next cartridge I fitted was a Micro Benz Glider SL which sounded a little less open and detailed compared to the Ortofon and for those that feel Ortofon’s of the vintage the MC2000 mk2 is were all lean, bright and somewhat unnaturally spotlit in how they reproduce music that was not the case. Certainly the Benz was slightly richer in its tonal palette compared to the MC2000 and yet this came across more as a loss of detail and resolution than the Ortofon having been brighter, which to my ears it had not been.
The Benz was very enjoyable but after a fair bit of listening just lacked the magic the Ortofon had brought to proceedings.
Next I installed the Van Den Hull MC10 that I had bought at about the same time as the Ortofon and things opened up a bit more. In fact the MC10 sounded more like a cross between the Audio Technica and the Benz with much of the detail of the Ortofon, but not quite.
Further thoughts and Conclusions.
Loricraft were a pleasure to deal with through out the time they had my turntable for service, and the period in which they made and designed the plinth. The arm board they have designed for their skeletal plinth works very well, offers a solid platform upon which to mount a tonearm and this new design will open up the options regarding tonearms that can be used. For those who want to swap tonearms regularly this new aspect to the Loricraft skeletal plinth design will permit that easily.
The only small issue, one more of aesthetics than function or sound quality, I would suggest to Loricraft to counter sink the board so as the heads of the bolts used in securing it to the plinth are level with, or slightly below the top of the board. This won’t change performance but will improve the look. This was the only niggle I had with the plinth, as fit and finish is commensurate with the price, and the Garrard performed extremely well within the plinth.
As I said at the beginning of this review I had originally wanted to try the Garrard with different tonearms but due to an oversight on my part and ill health getting in the way that was not possible, but trying different cartridges on the one arm, including the trial of different platter mats was very telling regarding the Garrard, being a very transparent platform upon which to match tonearms, cables and cartridges – and of course play music. Each cartridge and mat change was obvious and differences clearly heard.
I am pretty sure there are folks out there who are rolling their eyes as they read this and are thinking a Garrard sounds its best with more vintage tonearms and cartridges, and its original mat and in anyone one of the numerous other plinth options there are out there, and I dare say that those other options will bring differing flavours to the menu but better ? Maybe, maybe not. For me this particular Loricraft Garrard brought me plenty of musical enjoyment and with a relatively modern tonearm and cartridges fitted. To my mind this demonstrates that a turntable from the 1960s was so well designed and constructed that it more than holds its own today.
Despite thinking I had an open mind at the beginning of this review, as time went on it was clear that my being surprised regularly at how good this turntable sounded really mean’t I must have had some subconscious bias against it, its vintageness all along.
Its pretty clear to me now that a Garrard 401, and while I haven’t heard one by default a 301 as well, is as valid a turntable choice today, as any other modern turntable on the audio market. Those Garrard engineers back then knowing a fair bit about how to spin and extract music from the grooves of a vinyl record would no doubt be smiling broadly, as I am while listening to my records on this turntable.
Source of turntable – Used market purchase.
Source of Review Item – Skeletal Plinth – Loricraft Audio, The Piggery, Mile End Farm
Wantage Road, Lambourn, Berkshire, RG 17 8UE
Review Item Price – On Application.
(1) ‘Here is some of the engineering work we carry out on the units as part of the servicing and restoration work.
- We offer a periodic service where we strip and relubricate the motor and spindle bearing. We suggest this is done every 3 years following a major service. If you feel confident, you could tackle the other servicing yourself, we are happy to offer this service as a substitute for the major service.
- A major service involves a complete strip down to the last nut and bolt. The isolation grommets are replaced on the linkage. The motor is stripped, cleaned and most importantly, has its oil reservoirs replenished (The oil is contained in large felt pads hidden around the spherical bearings.) The main spindle bearing is stripped, cleaned and lubricated. The lubricant is a special product for low speed bearings. Be warned: motorcar lubricants can be harmful!
- On the 301 a new electrical spark suppressor is often needed, these can be fitted free of charge as a part of the major service.
- If the main bearing has been run without lubricant, the bearing shells will need replacing. These are non-standard parts and are individually made. 90% of decks do not need this. We can offer exchange bearings to the highest possible tolerance as a replacement or upgrade.
- Idler wheels. We only have a very small supply of original manufacturer Garrard idler wheels. However we are able to restore the majority of wheels sent to us when servicing.
- The 301 linkage is cadmium plated which is not very durable and is poisonous (wash hands after touching). We remanufacture and replate original linkages with zinc.
- Resprayed chassis. If your chassis is looking less than pristine, we can restore it. This can be part of a major service or you can strip your own deck and return the chassis to us.
- Platter respraying. As before, we can refinish the platter. There is an additional charge if the platter has strobe markings which have to be remachined.
- New 301 on/off, speed and model plates. If yours are damaged, we can supply usually these as a complete set if this is part of a full service.
- New 401 speed plate and knob inserts. Again as above
- New 301 control levers. When transporting the 301, be very careful, these easily break. We have a limited supply of new ones which we only fit as part of servicing.
- New 301 mats. We have remanufactured the original 301 mat as fitted to the majority. Due to small manufacturing runs, these have been more expensive than we would have liked. The quality is excellent and makes a big difference to the appearance of the deck.
- Motor rebuilding. If the motor has been run without lubrication for some years, the bearings will become noisy, but regular servicing avoids this. Again, all the parts are non-standard and no original tooling exists. This involves much expense so please be very aware of the need for regular servicing. This carries a lifetime guarantee if the regular servicing is continued.
- The renowned Loricraft Audio plinth, can be supplied for Garrard and other classic turntables. Please remember that other than rare original spares, the new parts supplied by Loricraft are genuine Garrard parts.
- When shipping, we can supply a special Garrard transport box, (strongly recommended).’
- When buying a second hand Garrard 301 or 401, be aware of the need to pay a sensible price as much of the above work may still be necessary. Judging by the state of some units sent to us for servicing, after being purchased on the Internet, some of the descriptions of the quality are optimistic or based on superficial observations’ – http://www.garrard501.com/rebuild.html
History of Garrard – http://www.garrard501.com/history.html
(2) Something that has dogged me a lot recently – such is life.
(3) I want to dedicate this review to my friend Chris and his Son Theo, who helped remind me what good audio equipment is about – the joy of discovering music via it.
© Text and Photos Copyright 2017 Adventures in High Fidelity Audio. Except album sleeves/manufacturers images Copyright resides with those owners.
NB No part or portion of this article may be reproduced or quoted without written permission.