Garrard 401 + Alfred Bokrand AB309 tonearm

 Garrard 401

Fine Engineering from Swindon, UK

 I have a couple of very good friends whose ears I trust that are Garrard 401 users - Ben and Joey. Joey is the head honcho of Harana Audio and one a partner in G.I.P. Labs, Philippines. Another was my dearly departed buddy, Brian "monofantastico" Clark, who actually believed the 401 was superior to the 301. 

So there's been no doubt in my mind that the 401 is at least at par with its older brother. Although I've always wanted one, I wasn't dying to own one.

Manufactured on the 23rd week of 1968

That was until one dreary Sunday evening, when I put a modest bid for a 401. Much to my surprise, within a couple of hours, I received an email notice that I won!

This is one of, if not the best, transaction I ever made at the auction site. The packing was bullet-proof and the unit was pristine! Best of all the seller was a kindred soul. Thanks so much FJ!

Open Plinth

Garrard 401 + Audio-Technica AT1501 MkII + Denon DL103

The 401 was pretty much plug and play except for the dead strobe light, which I didn't mind since it's a 50Hz UK model anyway. The square chassis made it a natural for open plinth mounting. With a few scrap pieces of wood + clamps I gathered from the garage + an Audio-Technica AT1501 MKII, it was making music in no time.

I was transported back to the late 80s with my first Thorens TD124 MkII and Garrard 301, which I acquired in the mid 90s. These idler driven turntables had to acquit themselves on their own merits without the aid of heavy damped plinths. 

Garrard 401 + Audio Technica AT1501 MkII + Nagaoka MP11

I have Flickr and Instagram contacts who use their 401s and other idler drives sans plinth. They probably hear the same open, effortless and airy sound I heard. The experience is akin to open baffle mounted drivers. 

But just like open baffle speakers, bass extension is rather limited in my temporary set up. I think this can be significantly improved by the use of a heavy tonearm pod and massive support columns.  

Moldavian Plinth

 While I was scouting my area for a machine shop that can fabricate a heavy tonearm pod and support columns, a friend who knew I'm a sucker for light colored mid-century modern wood finish, offered his surplus Moldavian-built Garrard 401 plinth. 

Garrard 401 + Grace G565 + Denon DL103

After a few hours with a hole saw, chisel, lots of saw dust and wood chips, I pretty much confirmed the assertion of my aforementioned friends with regards to the merits of the Garrard 401. Indeed, it has all the great qualities of the 301, except the snob appeal. 

All it needs now is a tonearm that befits its stature.

Wanted: transcription length tonearm

longer = less tacking distortion

Audio Technica AT1501-II
spindle to pivot mounting distance = 270mm

Although the Audio-Technica AT1501-II and Grace G565 are excellent 11" tonearms, both lack the gravitas of the Ortofon RMG309 and SME 3012. The 1" (25.4mm) shorter length shared by the AT1501-II and Grace G565 vis a vis their European counterparts is a factor.

 

Grace G565
spindle to pivot mounting distance = 270mm

Other contributing elements are the design, quality and type of bearings, tonearm material and mass. All of these can make or break the performance of a tonearm.

Ortofon RMG309
spindle to pivot mounting distance = 309mm

After over two decades of Ortofon RMG309 and SME 3012 ownership, I'm convinced that the RMG309 extracts more musical information from the SPU cartridge than the SME 3012. However, the RMG309's counterweight/tracking force arrangement limits its use to the SPU or a head shell/cartridge combination = 30 grams.  

SME 3012 Series II (early version)
spindle to pivot mounting distance = 295mm

 

The versatility of SME 3012 makes it a great partner for the Denon DL103 series and other cartridges in my stash. Perhaps the original stainless steel SME 3012 gives the RMG309 a run for the money? But good luck finding one.

Alfred Bokrand AB309 Tonearm

With my limited budget, hunting for another RMG309 or SME 3012 is out of the question in this day and age. It was just timely that Alfred Bokrand was running an auction for a few of his bespoke creations based on the Ortofon AS212.

 I've always lusted after the EMT 997 "Banana" reissue and Groovemaster II. So I chose to bid on an AB309 instead of the more conventional AS309. After putting a winning bid, I waited patiently for over a month. 

Due to the slow sailing galleon from Spain, I had time to search for my original RMG309/TD124 tonearm board and cut a tonearm board for the 401/Moldavian plinth.

To facilitate moving the tonearm between the 401 and TD124, I also ordered an extra Ortofon AS212 tonearm base from Serge at Karmadon Audio. Highly recommended for tonearm swappers!

As I took the AB309 out of its foam-lined wooden presentation case, it exuded with quality workmanship. If Alfred didn't disclose it, I wouldn't have known that this tonearm was built on the main bearing tower of a vintage Ortofon tonearm.   

Thorens TD124 + AB309 + Pickering 380

Since I already had the RMG/TD124 tonearm board prepared, set up was a breeze on the Thorens TD124. Tracking force is set by sliding the counter weight until proper vertical tracking force (VTF) is reflected on a tracking force gauge. 

It's only necessary to use the large + small counterweight when using the SPU, which weigh a little over 30 grams. My other cartridge/head shell combinations within the 14-26 gram range only required the single large counterweight.

Compared to the SME 3012, the AB309 is even simpler to use and the split counterweight arrangement makes it truly a versatile tonearm. Bravo, Herr Bokrand!

AB309 tonearm
spindle to pivot mounting distance = 309mm

After several months of listening to my favorite LPs with the AB309 mounted on the TD124 or 401, I still could not get into A/B testing/reviewer mode. I'm always drawn to enjoying the music LP after LP. 

Suffice it to say, I've known my hifi system for many decades. When a new component is inserted I can immediately detect whether it is detracting or enhancing my musical experience. 

There may be some subtle differences between the 301/RMG309/SPU#1s vs. 401/AB309/SPU#1s but that would be splitting hairs, which I'm loathe to do. So from here on, I will share my thoughts as to why I've held the Ortofon RMG309, SME3012 and more recently, the AB309 in such high esteem.

Thorens TD124 + AB309 + Teac TC15 aka FR1 MKII

Just like the Ortofon SPU cartridge, a transcription length tonearm is an acquired taste. For the uninitiated, the sonic virtues of the SME 3012, RMG309 and AB309 may come across like the volume control was taken down a couple of notches. To put it another way, due to the larger scale presentation, the added details become more subtle.

However, once you get past this threshold, you will notice a more expansive soundstage with a blacker background. From there you'll start hearing better lower level detail retrieval, improved micro and macro dynamic contrasts, greater dynamic range and more extended frequency extremes. 

Garrard 401 + AB309 + SPU#1s

The relaxed yet dignified authority of these tonearms is what makes them highly sought after by aficionados. 

Stay safe and happy listening!