Wednesday, June 3, 2020

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!






Saturday, May 2, 2020

JE Labs Man Cave 2020



CV21mm f4

The JE Labs man cave was originally planned as an annual feature. But due to a flood mitigation procedure in the fall of 2019, I blogged about the near-field system instead. 

Fortunately, a new drywall was installed and painted by the tail end of winter. I was at the final stage of arranging my library, cameras, LPs and miscellaneous items when lockdown commenced.  

Typically, I'd be on photo explorations in my spare time during spring. But due to the pandemic, I'm trying to be a responsible citizen practicing social distancing. Since I'm confined indoors, here's a virtual tour of the man cave viewed through my Leitz and Cosina-Voigtlander lenses mounted on a Sony A7II camera.

Leitz Summicron 35mm f2 V1


Main System









Antenna: Winegard HD6010 mounted in the garage attic

CV28mm f1.9

Preamp: JEL Octal + 76 


Speakers: Altec 753C, an homage to the Western Electric WE753C and the definitive evolution of my Altec 2-way project

Cables:  DIY Mogami/Neglex 2534 for phono, Kimber KCAG and DIY PBJ, KS24194/Telco Flex III 14 AWG speaker cable 

CV21mm f4

LPs + audio equipment and miscellaneous

CV21mm f4
 
Cameras + Library

CV21mm f4


Workshop

Leitz Summicron 35mm f2 V1


Workbench

SE10 mono integrated amp (under construction)

Test equipment: Hitachi V650F 60 MHz dual channel scope, Kenwood AG-203 sine/square wave oscillator, Fluke 87 and Triplett 9045 True RMS DVMs, Proster LCR meter, Weller WTCPS soldering station and a General Radio W5MT3A Variac



Summicron 50mm f2 Rigid

Near-field System


Turntables: Thorens TD124 and Mk II, Sony TTS 2500, Shield MO-19 and Rek O Kut B12GH

Tonearms: SME 3012Audio Technica AT1501 Mk II, Denon DA305Fidelity Research FR64fx, FR24 FR54, Grace G565 and G540LStax UA3NLSyntec S220

MM Phono Cartridges: Audio Technica AT110E, Nagaoka MP10, MP11, Pickering 380V15 DAT2V15 Phase IV and XV15Shure M3D, M7D, M44G, SC39B 

Digital Sources: Raspberry Pi 3b+/Volumio + Musical Fidelity V-Link, JVC XL-Z411 CD transport, Magnavox CDB465

DAC: NOS'ed Arcam Delta Black Box or tube buffered NOS TDA1543 

Line TransformerUTC A20

Preamp: JEL Loctal or Realistic 32-1100A mixer + 42-2109 phono 

Amps:  JEL SE300B mono blocksRadiotron SE2A3,  Nobsound NS-02g/JLH 1969 Class A


Speakers: Altec 755A in Dr. Bae/Silbatone Cabs or Altec 755C in 618 Cabs



Headphones


Koss Porta-Pro, Grado SR80 or AKG K72 driven by the Darling amp, JE Labs Style


Mono Hi-Fi 


Turntable: Gates CB77 + Gray 108B + GE RPX or Neat P58H + Calrad SV16 or Velvet Touch + DL102 or GE RPX

Digital Sources: Raspberry Pi 3b/Volumio and JVC XL-Z444 CD Player

DAC: Audio GD R2R-11

Tuner: Sansui T-60 or Sherwood S-3000 II

Amp: JEL mono integrated SE2A3 + Altec 15356 stereo to mono mixer  

Speaker: Altec 756B + Altec 32B + Altec 802 

CV21mm f4


Stay Safe and Happy Listening!







Wednesday, April 15, 2020

Gates CB77 - A Tribute to Art Dudley

It is with great sadness that I learned of Art Dudley's demise. I was very honored when he gave me credit on the Altec 755C/Open Baffle article he wrote for Stereophile many years ago. Even if we never had the chance to meet, we had exchanged a few emails and private messages. Aside from being an audio and music lover, Art was a true gentleman! 

From one idler turntable enthusiast to another, here's to you Art!🍻


My first exposure to this "stick-shift" controlled turntable was back in the late 90s when Ding scored a Gates CB77 at a Hamfest for next to nothing. These broadcast units were still under the radar then and I was confident that I'd be just as lucky. But as time passed, I had to resort to the auction site to add one to my collection.

Drive train sub-chassis built on 1/8" aluminum plate


Aside from the motor mounts which were showing signs of aging, my unit was mechanically sound. 

Replacing the motor mounts

remove motor bracket

drill out rivets

fresh rubber mounts
installed
from
McMaster-Carr

My idler wheel was in excellent condition but it's always good to have a spare. I ordered an idler from Serge at Karmadon. Highly recommended!

L = original idler, R = Karmadon idler 

Since the unit was already stripped down, I decided to repaint the chassis.

1/4" thick cast aluminum chassis

The heart of this machine is the mighty Ashland hysteresis motor also found in the top of the line Rek O Kut machines like the Rondine Deluxe B12H.

CB77 Ashland motor

However, due to the unconventional drive configuration (see the platter below), the Ashland motor is wired to turn at 600 rpm instead of the usual 1200* 1800 rpm.

*Thanks, Nate!

Drive train view with the platter off

Compared to the more sophisticatedly engineered Garrard 301/401 and Thorens TD124/MkI-II, the Gates CB77 is a simpler machine. It utilizes a massive 1/4" cast aluminum main chassis. A rigid 1/8" sub-chassis plate carries the main drive train. The finely machined 1" main bearing slips into an Oilite sleeve. The heavy platter/inner hub is driven by a heavy-duty 3-phase Ashland hysteresis motor running in single phase mode.

Massive platter with the idler driven inner hub and 1" bearing 

After following the required adjustments in the service manual, I mounted a Fidelity Research FR54 tonearm. I used it sans plinth for several months.


Despite the lack of an eddy current brake/speed control, pitch stability is solid. Low frequencies go deep with excellent definition. This motor unit exemplifies the bold and powerful dynamic authority at micro and macro levels of well engineered idler driven turntables.  


I'm not sure if my DIY two-tier medium mass plinth improved its overall performance 🤔 given its already massive stature. Regardless, the option of mounting another tonearm like the Gray Research 108B currently installed, is indispensable for my purpose.😊 Since the design relies solely on rudimentary rubber motor mounts and mass to mitigate noise and vibration, it ultimately lacks the finesse of the Garrard 301/401 and Thorens TD124.



Despite that, the value of this motor unit is on the rise. Its bigger brother, the 16" transcription CB500, has already broken the thousand dollar mark. Perhaps there are enough aficionados who really value the aforementioned dynamic authority over the black background of a high-end belt drive or the digital-like silence of a top-of-the-line direct drive.



Wednesday, April 1, 2020

The Good, the Bad and the Ugly TDA1543 NOS DACs


In spite of its humble origins, I praised the musical abilities of the Philips TDA1543 DAC chip found in late 80s to early 90s budget CD players. Below are two affordable (under $30) Non-OverSampling DAC boards I sampled that use this ubiquitous chip.

Non-Oversampling 16bit/44.1kHz TDA1543 DAC Boards

Don't even consider the DAC board to the left, which can be found all over eBay
 for $16-$20/shipped. Powered by this beefy linear wall wart PS, this is by far the worst-sounding DAC I ever heard! It has no redeeming qualities whatsoever. Enough said. 😣

For another $10 + the same linear PS, the DAC board to the right is a decent music maker. Unfortunately, it went out of stock as soon as it was delivered to my doorstep. Even if the Muse Mini TDA1543x4 (more infosounded dynamically more appealing, this single chip'd DAC board seemed harmonically purer and more authentic. In hindsight, I should have hoarded all the units offered by that lone seller. 😆

!!!WARNING!!! 

The voltages found in this circuit can be lethal! Build at your own risk!!!

Tube Buffer Circuit (one channel)

Since this TDA1543 DAC was configured with a passive I/V converter that already has a decent voltage output, I thought a med-mu 6CG7 tube buffer/cathode follower might mitigate the slight opaqueness in the midrange, improve both dynamics and the (lack of) definition in the frequency extremes - qualities which betray the budget origin of this rather musical DAC chip.

The Ugly 😄

Even if the TDA1543 was [and always will be] a budget DAC chip, the experiment paid off, taking this NOS DAC board to another level. 😊

Listen to lots of music, build a project or better yet, do both!
Stay safe! 🍻