Garrard 301 - Project

@larryi 

Agreed, it’s not about “old and quaint,” it’s about performance. I’m really enjoying my 301 paired with the Reed 3P — such a fantastic match. And with a few upcoming tweaks on the horizon, I’m excited to see just how much further I can push its performance. The journey continues…

The Bulk of Materials used on a Vintage TT of any design are still seen typically in use on any modern Turntable.

Certain material types such as Plastics and Rubbers may have changes to the constituents to produce the compounds, but prior to their being used on TT's the use of these materials in mainstream productions extends back a few hundred years, with the earliest types being close to a 1000ish years. The Mayans had Rubber Balls used for sporting events.

Cast Metals and Alloy's have a substantial history and the use of such materials in construction as a mainstream materials is nearly 200 Years old.

Other Alloy's have developed in more recent histories.

What has changed is knowledge of these materials and mitigating measures through design that enables the optimal performance to be attained from an assembly of the materials.

A little bit of modern day knowledge married into the Olden Designs does not leave much more to be wanted as a mechanical function.

Aesthetics is a different ball game, and that is one for the individual who has to live with the design to take on for themselves.

Myself I get right into the mechanical interfaces that are never to be seen, the more I learn about the 'fit for purpose' of the design. The more I want to get on board, this is a area of workmanship that is typically never seen and is usually discussed in Microns and about Materials that remain extremely stable when Microns are present as a dimension in use.           

Latest update: Oiling is done. Next, waxing the plinth before dropping the stainless arm pillars and brass arm-boards. 

@pindac 

You’re absolutely right — the materials haven’t really changed, it’s the knowledge and precision in how we use them that makes the difference. That hidden workmanship at the micron level is where vintage and modern really meet. 

@lalitk There are very well exposed Brands producing products that are totally dependent on the quality of mechanical interfaces, that produce very tight tolerances using materials at Mechanical Interfaces that are not optimised as a material to be used at such a selected dimension as the one selected for the interface.

There are Brands that do similar to the above and select a larger dimension at the interface, as this is dimension that is allowing interface materials to be optimised between each other.

When creating interfaces where very low Micron Dimensions for the spacings between interface parts are being selected, the need for stability of materials in all operational environments is critical.

If one is selecting very low microns (3 Microns as a Spacing Dimension) and paying the premium for this machining. The design is expected to be maintained as with a consistency for being friction free. Incorrect Materials used at an interface will quickly prevent the consistency of friction free from being present.

My experiences of subjective evaluation of very tight tolerance designs that are using parts very stable and parts that are not stable, leaves me with the assessment friction being present has a impact on the End Sound that can be discernible. As a basic description, there is a perception that there is a control present that is limiting to End Sound that can be produced. Where as Friction Free, gives the perception that obstacles have got out of the way and a freedom is discernible.

The Latter is always my preferred experience and the one I like to have maintained. 

This is the side interest in my analogue source world, the learning about the Values to be had from the mechanics selected for moving parts belonging to the source for the overall function.

@jperry 

Solid recommendation indeed on the Helox. Adding this beautifully crafted clamp has brought greater clarity, sharper attack, and improved transient precision. There’s a newfound crispness — tighter leading edges, more immediacy, and that satisfying sense of “snap” that breathes life into familiar recordings.

The only quirk? I now have to power the turntable on and off each time I place or remove the clamp. But then again, such are the lengths we go to in pursuit of extracting every last nuance from our favorite tunes — a small ritual in the greater joy of analog.