Cadence is reputed to give the individual brands within its group a significant amount of autonomy. SME would appear to be in safe hands.
The aquisition of the Garrard brand name by SME is in line with such autonomy and predicts SME's direction of travel in regard to future turntable design and manufacture.
The aquisition of the Garrard brand name by SME is in line with such autonomy and predicts SME's direction of travel in regard to future turntable design and manufacture.
I bought the 95 strictly on its looks. Monetarily, it's not worth much. I probably paid more than it's worth, but I just couldn't turn away from it.
Thanks for the encouragement. I'll use my DSLR instead of phone for decent pics and start a thread. I'm hoping it won't require complete disassembly, but it's likely to have old grease underneath things that can't be reached otherwise.
I put it in an opaque plastic bag so I couldn't see it and curiously open it up and test it out. Gotta finish the 50 first, I just don't have room for two projects inside the house.
Having said that, I'm looking at converting my shop to more of a listening environment than workshop on a non-existant budget. Right now it isn't quite weatherproof, no electricity, and very dirty. But its a 20x30 metal building on a concrete slab, so it shouldn't be too bad to get presentable. I'm trying to keep that as a priority during the nice weather, so it may be a while getting into the 95.
As long as I can keep from opening that opaque plastic bag...
-Tim
Thanks for the encouragement. I'll use my DSLR instead of phone for decent pics and start a thread. I'm hoping it won't require complete disassembly, but it's likely to have old grease underneath things that can't be reached otherwise.
I put it in an opaque plastic bag so I couldn't see it and curiously open it up and test it out. Gotta finish the 50 first, I just don't have room for two projects inside the house.
Having said that, I'm looking at converting my shop to more of a listening environment than workshop on a non-existant budget. Right now it isn't quite weatherproof, no electricity, and very dirty. But its a 20x30 metal building on a concrete slab, so it shouldn't be too bad to get presentable. I'm trying to keep that as a priority during the nice weather, so it may be a while getting into the 95.
As long as I can keep from opening that opaque plastic bag...
-Tim
I have great hopes for what comes next. I was taught by Spencer Hughes of Spendor. Spendor are in the SME group. The Garrard 501 was inspired by what Spencer told me. Lockwood being another who knew those things and doubtless Harbeth and Rogers. Klipsche also.
My proudest boast is that my son Christopher did much of the legal work. Even for Gradiente. They have always been real gentlemen and gave Loricraft full power to act in their name with a letter of attorney to back it up.
I can't say too much as to be honest I don't know much yet.
My proudest boast is that my son Christopher did much of the legal work. Even for Gradiente. They have always been real gentlemen and gave Loricraft full power to act in their name with a letter of attorney to back it up.
I can't say too much as to be honest I don't know much yet.
The 501 was more or less designed by Edmund Mortimer in 1952. We took the design notes that Monty presented to the board in 1952. What people have to understand is Garrard had nothing to copy although the 301 has ideas they had used since the 1930's. Monty had made a stop-gap 201, a model from before the war to do 33/45 and 78's up to 1952. The 201 a direct drive machine.
My favourite part of the paper was using glass as a calibration standard for bearings. Maybe common practice, all the same it is a simple thing we all can use. Linn say virtually identical things even the aging of the cast metal. My visit to Linn when not a Linn dealer 40 years ago inspired me. Myself and Julian Mason just turned up and asked to be shown around, I don't think Ivor before or since has had anyone do that. The LP12 looks like many other turntables. I still have one and it sounds great. The LP12 is about details of engineering. It looks so humble as to make people who love equipement doubt it. My 1989 LP12 is an optimum buy in terms of quality verses price secondhand. 401 and LP12 have similar traits, Linn call it timing.
http://www.garrard501.com/501 review En 10.05.pdf
Brian Mortimer son and head of quality control at Garrard says the 501 is typical of the machine his father would have built which then went to the cost engineers, Brian oversaw 501, I hope he won't mind me saying he had tears in his eyes at the Heathrow show when our guest. The solid machined chassis of 501 when the latter 301 and 401's a preasure die castings not unlike a Honda motorcycle crankcase. The first 301's gravity cast. 501 uses a stainless steel chassis which must be about 45 mm thick before machining. 501 is more 301 than 401 as the 401 seemed to be in a specification war with perhaps the TD150. On paper 401 worked, the 301 has slightly more verve. Early 301's can be usefull detuned ( rumble ) a litlle for stereo use ( 301 came before stereo ). 200/100VAC suit them if the bearing is oil filled ( SAE30, 1930's type, no additives if possible ).
As Linn say the mass of the Linn ( and 301/401 ) platter is ideal. Untill I hear that proven to be wrong I will say the same. I agree with Verdier and think heavy platters need his bearing design.
I guess how Naim Audio built their first CD player inspired me. Naim with the help of Philips built the machine Philips knew how to build yet never had. It's said Phillips were very impressed.
I also took notice of Harley Davidson. A strange piece of engineering that works. Whilst Indian changed everything except the look, Harley only changed things when forced to. This meant spares were easier to make and get. During the depression Harley used their spares business to stay alive. Indian could not cash in as their spares list was already vast. This also meant when the good times arrived Harley could step up production. That's one question we forgot to ask Harvey Rosenburg, Indian. Anyone who has seen the 1927 side valve Indian on the Wall of Death like a 301 just wants to own one ( if motorcycles matter to them ). Where Harley scored was the concept good or bad is a Harley. One changes things that really matter. To me that would be pistons and rings ( very big deal and the bore ), valves and valve seats, carburation and gearbox meshing ( noise ). How square things are that should square be also. Frame and folks if you like are the pick up arm and cartridge.
The one thing that was forced on Loricraft was a new motor. We ended up making it. That was very tough. It was then I learnt that there are experts and there are people who understand the job. I meet that a lot and the man who can often listens more than the others. How many times I have been told of things that are 99% of what someone else wants but isn't what I want. I won't say what the problems were as these things are production secrets bought by the new company. What I will say is people who work in F1 could not do it. One man who can lives in the Black Forest and is a time served engineer. It takes him days to set up to do that. The job is quick once set up. Grinding the spindles for the main bearing harder than many would think. The only real difference between 301/401/501 is the length of the shaft, 501 is the best of 301/401. The 301 used blanks for a detonator pin in wartime( sea? )mines. Garrard made for them for the MOD. The MOD supplied a Churchill Centreless. They had tons of these pins as surplus so that became the spindle. The MOD knowingly forgot the grinder in 1946. The 401 is the same overal length and has a longer 9/32" nose, this proves that is was as long as they could make on that machine or that surplus stock. Often the nose is slightly smaller to suit vinyl srinkage. A 9/32" reamer is a good thing to have.
We asked Thorens what they did 1939/45. They said if only they knew and if we found out please tell them. That was Lahr mostly as the Swiss side should know. The 501 motor spindle is Swiss.....?
The list of things to say could go on forever. Martina Schoener and her engineer Martin did the motor. I suspect I designed it. Maritina used her Thorens friends to source parts. The motor spindle is of exceptional quality and is Swiss as said. One little secret I can share is the 301 spindle is only to 55HRC hardness, the 501 to 64 HRC. That spindle was made by a company also in this story ( UK ). To make it much harder would not be difficult, no reason to do that. I love being told that the 301/401 spindle is no good. The 501 measures at about -78 dB weighted which beats many state of the art belt drives. It is still detectable that the vibration is mostly motor. Considering the motor power the motor apart from being very warm hardly seems to be on when rotaing. One reason is the 501 might be the only motor in the world that rotates at it's exact flux center, the 301/401/TD124 do not.
The motor. It is exactly like a 301/401( TD124 ) except larger. This makes for greater torque whilst lower vibration. The 501 motor is about 40VA and the 301 20VA. The 501 produces more torque at the same power when detuned from 40VA. The early 301 suggested that as an idea.
Finally in who did what. Terry O'Sullivan enticed his father, Gradiente, and most of the world to help build and fund the 501. His dog Sam had recently died and Terry like a fool asked me how to do a 501 as a way to honour Sam ( no I don't get it either although I love dogs ). I only know one way, the same as 301 only better. The thing Terry said that really counted was the John Wren who I am supposed not to mention told Gradiente we were safe hands to put the name of Garrard into. Strangely John wants no part of it. Sorry John this one time you are part of it. John I suspect was a cost engineer. 501 is our LNER locomotive Tornado ( I prefer 8F's ).
I've never met the new owners. I did set up the sale to them in the name of Terry. My hope is a cheaper 501 using their vast engineering contacts. I have known Phillip Swift of Spendor for years. He always loved BC1's.
If you want a truely wonderful system buy this. 401 12in SME old type. Denon DL110. Quad 33/303. BC1's. Build a single op amp RIAA using 470nF to do the 75uS and feed into Radio two input. That should make most hi fi sound lame and not cost a fortune. The 33 phono is it's let down.
My favourite part of the paper was using glass as a calibration standard for bearings. Maybe common practice, all the same it is a simple thing we all can use. Linn say virtually identical things even the aging of the cast metal. My visit to Linn when not a Linn dealer 40 years ago inspired me. Myself and Julian Mason just turned up and asked to be shown around, I don't think Ivor before or since has had anyone do that. The LP12 looks like many other turntables. I still have one and it sounds great. The LP12 is about details of engineering. It looks so humble as to make people who love equipement doubt it. My 1989 LP12 is an optimum buy in terms of quality verses price secondhand. 401 and LP12 have similar traits, Linn call it timing.
http://www.garrard501.com/501 review En 10.05.pdf
Brian Mortimer son and head of quality control at Garrard says the 501 is typical of the machine his father would have built which then went to the cost engineers, Brian oversaw 501, I hope he won't mind me saying he had tears in his eyes at the Heathrow show when our guest. The solid machined chassis of 501 when the latter 301 and 401's a preasure die castings not unlike a Honda motorcycle crankcase. The first 301's gravity cast. 501 uses a stainless steel chassis which must be about 45 mm thick before machining. 501 is more 301 than 401 as the 401 seemed to be in a specification war with perhaps the TD150. On paper 401 worked, the 301 has slightly more verve. Early 301's can be usefull detuned ( rumble ) a litlle for stereo use ( 301 came before stereo ). 200/100VAC suit them if the bearing is oil filled ( SAE30, 1930's type, no additives if possible ).
As Linn say the mass of the Linn ( and 301/401 ) platter is ideal. Untill I hear that proven to be wrong I will say the same. I agree with Verdier and think heavy platters need his bearing design.
I guess how Naim Audio built their first CD player inspired me. Naim with the help of Philips built the machine Philips knew how to build yet never had. It's said Phillips were very impressed.
I also took notice of Harley Davidson. A strange piece of engineering that works. Whilst Indian changed everything except the look, Harley only changed things when forced to. This meant spares were easier to make and get. During the depression Harley used their spares business to stay alive. Indian could not cash in as their spares list was already vast. This also meant when the good times arrived Harley could step up production. That's one question we forgot to ask Harvey Rosenburg, Indian. Anyone who has seen the 1927 side valve Indian on the Wall of Death like a 301 just wants to own one ( if motorcycles matter to them ). Where Harley scored was the concept good or bad is a Harley. One changes things that really matter. To me that would be pistons and rings ( very big deal and the bore ), valves and valve seats, carburation and gearbox meshing ( noise ). How square things are that should square be also. Frame and folks if you like are the pick up arm and cartridge.
The one thing that was forced on Loricraft was a new motor. We ended up making it. That was very tough. It was then I learnt that there are experts and there are people who understand the job. I meet that a lot and the man who can often listens more than the others. How many times I have been told of things that are 99% of what someone else wants but isn't what I want. I won't say what the problems were as these things are production secrets bought by the new company. What I will say is people who work in F1 could not do it. One man who can lives in the Black Forest and is a time served engineer. It takes him days to set up to do that. The job is quick once set up. Grinding the spindles for the main bearing harder than many would think. The only real difference between 301/401/501 is the length of the shaft, 501 is the best of 301/401. The 301 used blanks for a detonator pin in wartime( sea? )mines. Garrard made for them for the MOD. The MOD supplied a Churchill Centreless. They had tons of these pins as surplus so that became the spindle. The MOD knowingly forgot the grinder in 1946. The 401 is the same overal length and has a longer 9/32" nose, this proves that is was as long as they could make on that machine or that surplus stock. Often the nose is slightly smaller to suit vinyl srinkage. A 9/32" reamer is a good thing to have.
We asked Thorens what they did 1939/45. They said if only they knew and if we found out please tell them. That was Lahr mostly as the Swiss side should know. The 501 motor spindle is Swiss.....?
The list of things to say could go on forever. Martina Schoener and her engineer Martin did the motor. I suspect I designed it. Maritina used her Thorens friends to source parts. The motor spindle is of exceptional quality and is Swiss as said. One little secret I can share is the 301 spindle is only to 55HRC hardness, the 501 to 64 HRC. That spindle was made by a company also in this story ( UK ). To make it much harder would not be difficult, no reason to do that. I love being told that the 301/401 spindle is no good. The 501 measures at about -78 dB weighted which beats many state of the art belt drives. It is still detectable that the vibration is mostly motor. Considering the motor power the motor apart from being very warm hardly seems to be on when rotaing. One reason is the 501 might be the only motor in the world that rotates at it's exact flux center, the 301/401/TD124 do not.
The motor. It is exactly like a 301/401( TD124 ) except larger. This makes for greater torque whilst lower vibration. The 501 motor is about 40VA and the 301 20VA. The 501 produces more torque at the same power when detuned from 40VA. The early 301 suggested that as an idea.
Finally in who did what. Terry O'Sullivan enticed his father, Gradiente, and most of the world to help build and fund the 501. His dog Sam had recently died and Terry like a fool asked me how to do a 501 as a way to honour Sam ( no I don't get it either although I love dogs ). I only know one way, the same as 301 only better. The thing Terry said that really counted was the John Wren who I am supposed not to mention told Gradiente we were safe hands to put the name of Garrard into. Strangely John wants no part of it. Sorry John this one time you are part of it. John I suspect was a cost engineer. 501 is our LNER locomotive Tornado ( I prefer 8F's ).
I've never met the new owners. I did set up the sale to them in the name of Terry. My hope is a cheaper 501 using their vast engineering contacts. I have known Phillip Swift of Spendor for years. He always loved BC1's.
If you want a truely wonderful system buy this. 401 12in SME old type. Denon DL110. Quad 33/303. BC1's. Build a single op amp RIAA using 470nF to do the 75uS and feed into Radio two input. That should make most hi fi sound lame and not cost a fortune. The 33 phono is it's let down.
It's the first time I could !
BTW. Even for my dyslexia the various bit read strangely. The computer had a glitch which it seems I didn't completely sort out.
There are some very odd twists in the Garrard story. Terry in 1959 worked for Surbiton Park Radio. The new company that owns SME has the son of SPR as one of Terry's new bosses if I'm right. Terry's job at SPR was installing 301's. Terry would cycle from New Malden to Tottenham Court Road just to look at a 301. When I first worked with him he had 23 x 301's. Terry's dad was the cost engineer for the Festival of Britain and the Preston Bypasss and similar things. He heleped build Brazillia and the Eygption dams. He didn't have much to show for it and the 501 cleared out his savings and cost the New Malden house. Mr Churchill didn't like Terry's dad as he thought he made it impossible to stage the Festival in 1951 by slashing the money. Leo got the companies exhibiting to take on the costs. Leo did much work on the channel tunnel, he did the advanced tests of the sea bed. A Frenchman did wonderful ones in I think 1820 with no diving equipement! This is possibly the first time anyone has said this of Leo. He was like John Wren last MD of Garrard in Swindon. In East Knoyle Dorset there are many Wrens people and birds. One built St Paul's in London. I wonder if John is a Wren of that place.
BTW. Even for my dyslexia the various bit read strangely. The computer had a glitch which it seems I didn't completely sort out.
There are some very odd twists in the Garrard story. Terry in 1959 worked for Surbiton Park Radio. The new company that owns SME has the son of SPR as one of Terry's new bosses if I'm right. Terry's job at SPR was installing 301's. Terry would cycle from New Malden to Tottenham Court Road just to look at a 301. When I first worked with him he had 23 x 301's. Terry's dad was the cost engineer for the Festival of Britain and the Preston Bypasss and similar things. He heleped build Brazillia and the Eygption dams. He didn't have much to show for it and the 501 cleared out his savings and cost the New Malden house. Mr Churchill didn't like Terry's dad as he thought he made it impossible to stage the Festival in 1951 by slashing the money. Leo got the companies exhibiting to take on the costs. Leo did much work on the channel tunnel, he did the advanced tests of the sea bed. A Frenchman did wonderful ones in I think 1820 with no diving equipement! This is possibly the first time anyone has said this of Leo. He was like John Wren last MD of Garrard in Swindon. In East Knoyle Dorset there are many Wrens people and birds. One built St Paul's in London. I wonder if John is a Wren of that place.
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What can be improved on already good turntables like 501/601.
-78 dB weighted figure looks good. How is its speed stability ? Would they go to some offbeat path or go for still more improvements in their next model ? Since motor vibration was mentioned, here is an offbeat idea- Link. Their next turntable will be interesting.
Regards.
-78 dB weighted figure looks good. How is its speed stability ? Would they go to some offbeat path or go for still more improvements in their next model ? Since motor vibration was mentioned, here is an offbeat idea- Link. Their next turntable will be interesting.
Regards.
Hiten, I saw your idea, it's too good not to use. My friend Chris Lawton had an idea like that which when added to your idea and another incredible idea should work well. Some video machines work in a similar way.
One idea I played with is a DD motor run at high speed via an idler. Maybe.
I got very annoyed with someone who just would not understand my question. I asked if the current waveform into a Technics SP10 would be a 5.5Hz sine wave or whatever. Only to be told it was an idiot question and that the Technics used a sophisticated system of envellope control. So I went to ask a BBC guy and friend who showed me how it really works. It not only is a sine wave, it's controlled in a unique way he prefers not to share. I suspected a patent issue with Denon made Technics tell complicated stories. Stepper motors are the same of which the Airpax Linn type for AC is no different. It might interest people to know the vibration of that type of motor is very little to do with sine wave purity as the current wave form into the motor is more or less the same using square, triangle or pure sine waves when true rms voltages calculated.
The Linn Valhalla is a supurb piece of low cost engineering. It has a few PSU issues which can be made better for pennies. Although using the LM324N the THD is 0.05% at 90 Vrms. The current waveform is about 10% THD. A square wave has about 1/3 3rd harmonic and yet the current waveform remains the same. If a stepper/synchronous is pushed up or down in frequency often the toque is changed more so thana Garrard/Lenco/TD124 type. As far as I can see the synchronous motor forms a greater than first order filter. This is both good and bad.
Someone said Loricraft the shed engineers. 4000 feet^2 and that's not counting the factories of suppliers, yet it is a shed of sorts. When I visited the Linn of Castle Milk perhaps 40 years ago I was blown away by the place and still would be. The LP12 was really Ivors toy, I saw a submarine engine sump whilst there. Ivor said he was the luckiest man alive as his staff almost paid him to work there. They had built ship bearings as big as a house or locomotives at North British ( Garrard and GWR trained engineers together in Swindon ). There was nothing he could tell them except what he wanted. I learnt loads that day and I listened carefully. Ivor even told me the whole Linn story which was exactly the same as Ariston's Ray Collins told me. Ray looked like someone from the film Get Carter. Ray, I really liked Ray. Ray told me that Ivor despite his image to be the most sincere man he ever met. I would say the same. If he jokes with you it means you are being tested.
The biggest lie in hi fi would be belt drive turntables other than the AR. What is good about them is also bad about them. It is for cheap turntables. I have or should I say I bought for a friend a JVC L3 DD tiny turntable. From the first time it played it lives along side the 401 for sound. Paul Stewart ex of JVC insists no one can beat the JVC designs and hints that other designs are JVC. The politics of the time meant no on could hear how good it is. The arm that looks like a piece of junk is nothing of the sort. The platter has very little mass, yet the sound on piano puts my LP12 to shame. Midband is wonderful and HF surprising as not all DD's are like that.
If you seek to know more I would liken the sound of a great turntable to be like watching HD video against VHS. When VHS type is Sony Umatic one could almost say it's very good. Except there is always something that says it's a recording due to wow or whatever. On the other side. One very famous low cost DD has verve a plenty. What it lacks is refinement and low level detail and has a tizzy HF. One at Loricraft used that motor with a 401 platter ( both adapted ) in a hardwood chassis. The arm he made, he makes the PRC record cleaner arms. To top it off a Lyra ( Helikon ? ). The sound is up with the best and does have the detail.
The motor and how it works is imprortant.
How did I get so interested? In UK libraries the section are numbered. 621 is electronics. Next door would be marine diesel engines. A book analyisied the vibration they cause and basically said the problem is so large that it won't go away. The big concern therefore being things not liking vibration and what to do. The square top sine wave on the compression stroke the cause and much calculus. Many cylinders and crank balance being factors that could help and mountings etc along with injector timing. In a second that was the analysis I was looking for.
One idea I looked at was vibration feedback and making a correcting waveform. This is ideal for a digital storage device as one pass should be OK for that motor. The more I thought about it the more I realised it wouldn't work as the motor dicatates how it draws power.
The distortion on a Garrard motor is about -52dB. That is a much better place to be than the -20 dB of many steppers on a sine wave. If we tried to measure a diesel engine on the fuel flow we wouldn't learn much. Lucky for us the current waveform into a motor says something. With modern scopes even the track resistance from waveform generator to motor might yield results. Who cares if it's 10 mV, it should be enough. One must be careful to measure in a way that doesn't change the workings.
When the stainless 501 came out no one ever bought a aluminium one ( special grade ). Thus I came up with 601 to use up the parts. I love it. TD124's done this way, 301/401 also.
One idea I played with is a DD motor run at high speed via an idler. Maybe.
I got very annoyed with someone who just would not understand my question. I asked if the current waveform into a Technics SP10 would be a 5.5Hz sine wave or whatever. Only to be told it was an idiot question and that the Technics used a sophisticated system of envellope control. So I went to ask a BBC guy and friend who showed me how it really works. It not only is a sine wave, it's controlled in a unique way he prefers not to share. I suspected a patent issue with Denon made Technics tell complicated stories. Stepper motors are the same of which the Airpax Linn type for AC is no different. It might interest people to know the vibration of that type of motor is very little to do with sine wave purity as the current wave form into the motor is more or less the same using square, triangle or pure sine waves when true rms voltages calculated.
The Linn Valhalla is a supurb piece of low cost engineering. It has a few PSU issues which can be made better for pennies. Although using the LM324N the THD is 0.05% at 90 Vrms. The current waveform is about 10% THD. A square wave has about 1/3 3rd harmonic and yet the current waveform remains the same. If a stepper/synchronous is pushed up or down in frequency often the toque is changed more so thana Garrard/Lenco/TD124 type. As far as I can see the synchronous motor forms a greater than first order filter. This is both good and bad.
Someone said Loricraft the shed engineers. 4000 feet^2 and that's not counting the factories of suppliers, yet it is a shed of sorts. When I visited the Linn of Castle Milk perhaps 40 years ago I was blown away by the place and still would be. The LP12 was really Ivors toy, I saw a submarine engine sump whilst there. Ivor said he was the luckiest man alive as his staff almost paid him to work there. They had built ship bearings as big as a house or locomotives at North British ( Garrard and GWR trained engineers together in Swindon ). There was nothing he could tell them except what he wanted. I learnt loads that day and I listened carefully. Ivor even told me the whole Linn story which was exactly the same as Ariston's Ray Collins told me. Ray looked like someone from the film Get Carter. Ray, I really liked Ray. Ray told me that Ivor despite his image to be the most sincere man he ever met. I would say the same. If he jokes with you it means you are being tested.
The biggest lie in hi fi would be belt drive turntables other than the AR. What is good about them is also bad about them. It is for cheap turntables. I have or should I say I bought for a friend a JVC L3 DD tiny turntable. From the first time it played it lives along side the 401 for sound. Paul Stewart ex of JVC insists no one can beat the JVC designs and hints that other designs are JVC. The politics of the time meant no on could hear how good it is. The arm that looks like a piece of junk is nothing of the sort. The platter has very little mass, yet the sound on piano puts my LP12 to shame. Midband is wonderful and HF surprising as not all DD's are like that.
If you seek to know more I would liken the sound of a great turntable to be like watching HD video against VHS. When VHS type is Sony Umatic one could almost say it's very good. Except there is always something that says it's a recording due to wow or whatever. On the other side. One very famous low cost DD has verve a plenty. What it lacks is refinement and low level detail and has a tizzy HF. One at Loricraft used that motor with a 401 platter ( both adapted ) in a hardwood chassis. The arm he made, he makes the PRC record cleaner arms. To top it off a Lyra ( Helikon ? ). The sound is up with the best and does have the detail.
The motor and how it works is imprortant.
How did I get so interested? In UK libraries the section are numbered. 621 is electronics. Next door would be marine diesel engines. A book analyisied the vibration they cause and basically said the problem is so large that it won't go away. The big concern therefore being things not liking vibration and what to do. The square top sine wave on the compression stroke the cause and much calculus. Many cylinders and crank balance being factors that could help and mountings etc along with injector timing. In a second that was the analysis I was looking for.
One idea I looked at was vibration feedback and making a correcting waveform. This is ideal for a digital storage device as one pass should be OK for that motor. The more I thought about it the more I realised it wouldn't work as the motor dicatates how it draws power.
The distortion on a Garrard motor is about -52dB. That is a much better place to be than the -20 dB of many steppers on a sine wave. If we tried to measure a diesel engine on the fuel flow we wouldn't learn much. Lucky for us the current waveform into a motor says something. With modern scopes even the track resistance from waveform generator to motor might yield results. Who cares if it's 10 mV, it should be enough. One must be careful to measure in a way that doesn't change the workings.
When the stainless 501 came out no one ever bought a aluminium one ( special grade ). Thus I came up with 601 to use up the parts. I love it. TD124's done this way, 301/401 also.
The Garrard Story on Strikingly
Edmund was with Garrard since it's birth when turntables. I didn't know that. Brian also published his fathers observations on life in Swindon in the 1920's. It's grim reading, worse than it's possible to think in the 20th century. Worse than the third world today?
Edmund was with Garrard since it's birth when turntables. I didn't know that. Brian also published his fathers observations on life in Swindon in the 1920's. It's grim reading, worse than it's possible to think in the 20th century. Worse than the third world today?
That sounds interesting. I have two at Loricraft I can play with. They are the BBC ones with external controls.
Brian Mortimer asked us when the 501 started. About 1984 as a concept. " OMG said Brian, Dad would have stayed alive for that. On second thought he would have taken it off of you because that was what he was like". I said it would have been perfect if he had. I would have been happy to help.
I mentioned Julian Mason my old friend. He translated the German 501 review. Julian reminded me of having a meal with the Swiss part of Thorens, Remy Thorens. He was very bitter about the Lahr Germany side. It seems they didn't protect the name. Had not Loricraft policed the Garrard name it might have gone the same way.
Brian interviewed me in 1972. Alas no jobs in electronics then. He could see I was upset and gave me a factory tour. Such a nice man. It was the experimental dept where 401's were made. 401's lost money. Not really as it was summer work and kept the staff buzy. Platters were aged 7 months. I asked to see a BBC 401. Brian looked shocked and said no such thing exists. The BBC 401 was a legend and mostly a myth. What I meant was the BBC consol I suspect ( we have two ). Brian said we do get a few that measure best of batch and we do put them aside should the BBC ask. However differences would be very small. Loricraft has that testing machine from there.
Brian has restored his dads Ford Capri Classic ( not the Mustang clone of the 70's ). It's his daily ride I think. From the time of the 301.
Garrard and Porsche
Brian Mortimer asked us when the 501 started. About 1984 as a concept. " OMG said Brian, Dad would have stayed alive for that. On second thought he would have taken it off of you because that was what he was like". I said it would have been perfect if he had. I would have been happy to help.
I mentioned Julian Mason my old friend. He translated the German 501 review. Julian reminded me of having a meal with the Swiss part of Thorens, Remy Thorens. He was very bitter about the Lahr Germany side. It seems they didn't protect the name. Had not Loricraft policed the Garrard name it might have gone the same way.
Brian interviewed me in 1972. Alas no jobs in electronics then. He could see I was upset and gave me a factory tour. Such a nice man. It was the experimental dept where 401's were made. 401's lost money. Not really as it was summer work and kept the staff buzy. Platters were aged 7 months. I asked to see a BBC 401. Brian looked shocked and said no such thing exists. The BBC 401 was a legend and mostly a myth. What I meant was the BBC consol I suspect ( we have two ). Brian said we do get a few that measure best of batch and we do put them aside should the BBC ask. However differences would be very small. Loricraft has that testing machine from there.
Brian has restored his dads Ford Capri Classic ( not the Mustang clone of the 70's ). It's his daily ride I think. From the time of the 301.
Garrard and Porsche
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